Interviews

Hoacs on No Days Off, His First Solo Exhibit, at Eden Fine Art in SoHo

March 14, 2016

Currently on view at Eden Fine Art in SoHo is No Days Off, an ingenious installation of vibrant images in a range of media by the wonderfully gifted Queens-based graffiti master Hoacs. While visiting the space this past Friday — while Hoacs was adding the final touches to No Days Off for his Saturday evening opening — I had the opportunity to speak to him.`

This is amazing! What a brilliant installation! How long have you been working on it?

I began several months ago — in mid-December.

Integrated within the huge pieces painted on the walls is a range of media here. I love the varied surfaces you’ve painted on. Can you tell us something about that?

Yes! With the exception of several canvases, everything has been painted on pieces of discarded wood that I found. I hand sanded and treated them all before painting on them. Each is distinct.

What would you say was your greatest challenge in executing the installation — as everything seems to work so well together?

My chief concern was my choice of colors. It is important to me that the individuals walls — particularly those across from one another — work well together.

This space and this neighborhood couldn’t be more perfect! How did this wonderful space come your way?

A friend of mine, the jeweler Mr. Flawless — another Queens native — knows the owner of this gallery and introduced us.

What would you say is the principal difference between working on the streets and working in an indoor space like this one?

When I paint outdoors, I am at the mercy of the elements — the cold, the heat, the rain, the winds — and I often stop what I’m doing to speak to folks who drop by. I also tend to paint with others. Here — I am in my own world!

Are you satisfied with the way it is looking?

Yes! I got to do exactly what I wanted to do!

What about the title of the exhibit, No Days Off?

Graffiti is a passion that comes with huge demands! There are “no days off” for a graffiti writer!

How can folks see the exhibit?

Eden Fine Art SoHo is s located at 470 Broome Street and is open seven days a week, 9AM to 9PM.

That’s perfect! Congratulations!

Interview by Lois Stavsky

Photo credits: 1-3, 5.-8 Lois Stavsky; 2 & 4 Tara Murray

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available here for Android devices.

{ 1 comment }

Speaking with the Prolific and Talented Misha Tyutyunik aka MDot

March 10, 2016

Based in Brooklyn, Misha Tyutyunik aka MDOT is an accomplished painter, muralist and illustrator. His recent venture, fashioned along with a team of Groundswell youth, looms large at 11 Howard Street in SoHo. Earlier this week, we visited his studio and had the opportunity to speak to him.

When and where did you first make your mark on the streets?

Back in 1999, Wisher 914 and I hit up the water tower in Mohegan Lake in North Westchester where we grew up. But my outdoor work is largely commissioned murals. I painted my first one for SoBro in the Bronx in 2006. My most recent one is a collaboration with Groundswell youth at 11 Howard Street in SoHo, the site of Aby Rosen’s latest hotel venture.

You’re also a prolific painter of smaller works – from works on paper to paintings on huge canvases. Have you exhibited your works in gallery settings?

Yes! I’ve exhibited throughout NYC in a range of spaces from CATM in Chelsea and Tambaran on the Upper East Side to a variety of alternative venues.

Do you have a formal arts education? And was it worthwhile?

Yes, I have a BFA in Design and Illustration from Pratt. And, yes, as I learned how to problem solve through creative means.

Are there any particular cultures that have influenced your aesthetic?

I spent my first seven years in the Ukraine, and was definitely influenced by social realism. Other influences include: graffiti in its heyday; Japanese prints; abstract expressionism; traditional mural painting and German expressionism.

What about artists? Any particular influences?

Among the many artists whose aesthetic has influenced me are: Diego Rivera, Klimt and Egon Schiele.

Do you prefer working alone or collaborating with others?

I used to prefer working alone, but lately I’ve become more open to collaboration. I recently collaborated with Chris Soria.

If you could collaborate with any artist – alive or deceased – with whom would you collaborate?

Picasso – all day every day – and Max Ernst.

How does your family feel about what you are doing?

They love it! None of them are artists, but they all love what I am doing!

What percentage of your time is devoted to art?

Pretty much all of it.

Is art the main source of your income?

Yes, the money I earn from commissions, along with income from teaching mural-making and art sales. I’ve also begun working on fashion design.

How you feel about the role of the Internet in this scene?

It’s everything! Without the Internet I’d be nowhere.

Are you generally satisfied with your finished work?

I think so. But the question is: Is anything ever really finished?

How has your artwork evolved in the past few years?

By leaps and bounds! I’m much more comfortable than I used to be with different styles. My visual language has become more confident.

As your work on the streets is largely commissioned murals, have you run into any conflicts with street artists or graffiti writers?

On occasion. While painting a commissioned wall down in DC, for example, I was approached by graffiti writers who told me that the wall was theirs. When I explained to them what I was doing and they saw my work in progress, they came around.

What do you see as the role of the artist in society?

I see my role as to reflect on our times, while bringing a strong aesthetic sensibility back into a largely conceptual realm.

What’s ahead?

Everything! Taking over the art world!

That’s quite ambitious! Are there any particular projects we can look forward to?

I am currently painting an anti-gun violence mural in conjunction with BRIC, and I will soon begin working on a mural with Groundswell youth at Stapleton in Staten Island. And opening tonight and continuing through March 31 is The Internal Muse, a selection of my new paintings at Melet Mercantile at 84 Wooster Street in SoHo.

It all sounds great! Congratulations!

Interview conducted by Lois Stavsky with Tara Murray

Photo credits: 1 & 2 courtesy Lindsey Brown McLravy | SLATE PR; 3, 5 & 6 Lois Stavsky; 4 Tara Murray

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available here for Android devices.

{ 1 comment }

Art Historian and Sociologist Peter Bengtsen on The Street Art World

March 9, 2016

Currently based in Sweden, Peter Bengtsen is an art historian and sociologist who has been researching street art for the past nine years. The Street Art World, a 248 page book, is the result of his research based on studies of everyday interaction among artists, gallerists, collectors, bloggers and street art enthusiasts. I recently had the opportunity to read Peter’s engaging book and pose some questions to him.

When and how did you first become aware of street art?

I grew up in a small town in the Danish countryside, with virtually no exposure to graffiti or street art. As a kid I would sometimes see throw-ups by Tower and Carn in the underpasses when driving with my parents on the freeway, and those names have been stuck in my head ever since. It wasn’t until I moved to Copenhagen in 2000 that I really became aware of street art and graffiti, though.

You write that when you first discovered street art, you did not deem it “worth documenting and preserving.” What changed your mind?

When I say that street art wasn’t worth documenting, what I really mean is that for a while the immediate and brief encounters with the work on the street were enough for me. However, over time I started getting attached to some of the artworks I passed regularly, and I also began recognizing the work of certain artists like HuskMitNavn and later Armsrock and Faile. I found myself feeling a bit sad when the artworks eventually disappeared, and I felt an urge to somehow keep them. Photography was one way of doing that. The technological developments around that time had a lot to do with making this form of documentation possible. Back in the early years of the 2000s I was using a film camera and I couldn’t afford to photograph graffiti and street art, but that changed when I got my first digital camera in early 2005.

When it comes to preserving street art, I am still conflicted. As an art historian, I see a value in keeping material examples of street artworks for posterity. However, a key part of street art for me is that artworks are transformed over time, because the street is open to change and dialogue. When street artworks are placed under glass or cut out of walls to be preserved in a more controlled environment that openness is taken away. In preserving street artworks, I think one of the essential things that set street art apart from other art may be lost.

As an academic, what are some of the challenges you face when researching and writing about street art?

Even before I started my research, I found expressions of a rather strong anti-intellectual and anti-institutional mindset in the street art world. These public expressions have become less dominant in recent years as street art gets more integrated in the mainstream art world. However, academics that are seen to attempt “investigating” street art – rather than actually engaging with the art and the social environment that surrounds it – are sometimes still looked upon as a species of “culture vulture,” swooping in to pick the bones of a social and cultural environment they know little about. Over the years I have seen researchers fail in their work because they lacked a fundamental understanding of the social rules of the field they were trying to study.

To mitigate the critical attitude towards academic researchers, and the institutional art world they are seen to represent, I think first impressions are very important. In my own case, because my interest in street art was not academic to begin with, I had already been socializing with other street art fans for some time when I started doing formal research in 2006. While I have still met some skepticism and received derisive comments regarding my role as a researcher and my attempts to intellectualize street art, I think the connections I already had with other enthusiasts made it a lot easier to move forward with my project. If I had come from the outside with a research agenda, things might have been different.

How have other street art enthusiasts – from bloggers and collectors to the artists themselves – responded to your academic approach to the subject?

Apart from the skepticism I already mentioned, people have generally been very positive during the research project. When I was working on the book, I had a lot of help from people who provided me with viewpoints, information, and – very importantly – photographs of artworks I couldn’t get to myself. My research budget doesn’t allow for expenses related to image rights, so if people hadn’t been so generous and willing to let me use their images, the book would have ended up looking very differently.

In terms of the finished book, the response has been overwhelmingly positive. I was confident I had created a solid piece of scholarly work, but it was also very important to me to write something that people outside the academic world would be interested in reading and could relate to. From the comments I have received, street art enthusiasts enjoy the book and recognize the world I am describing. This doesn’t mean they always agree with everything I write, but to me that is really great. My goal with the book was never to present the “truth” about what street art is – I actually don’t believe one such single truth exists. My hope was that the book could be part of an ongoing dialogue about street art, and critical engagement and disagreement are essential to that.

What are some of the changes that you have observed in the street art “world” since you first began documenting it and writing about it?

One of the most significant changes is that the street art world has become increasingly professionalized. This can be seen in for example the establishing of commercial magazines dedicated to so-called urban art, the increasing number of print houses and galleries that produce and/or sell limited edition artworks, the companies around the world that arrange commercial street art tours, and the vast number of street art festivals that have popped up in the past decade. With a more professional system in place, I think it has become easier for some artists to make a living from their work. While this is a positive development in many ways, from a personal point of view I do find it tiresome that some artists now seem to consider doing street work simply as a way of promoting their commercial wares. This is for example reflected in the number of websites and social media handles that are now included in, or placed next to, work in the street.

Along with the professionalization, street art enthusiasts seem to have become increasingly focused on the market value of commercial products. I see this very clearly on street art forums. Members have always discussed the value of their collections, but investment potential has gradually become the main focus since 2006, when urban art really started becoming a thing with galleries and auction houses. I think this development may partly represent a change in attitude among the people who were into street art when I first started out with my studies, but I strongly suspect it is also because a different demographic has taken an interest in street art and/or urban art as an investment object. Sadly, it seems to me that critical discussion about the art itself has largely been quashed by the market.

What are some of the key factors that have contributed to these changes?

Money obviously has a lot to do with the way the street art world has developed. With the increasing recognition and popularity of street art/urban art, it has become big business for some to provide a growing customer base with consumable products like limited edition screen prints. As a result, a growing number of print houses are constantly on the lookout for new artists, and it is not uncommon to see prints from artists who have done very little street work. This is in part possible because artists today make very conscious efforts to be “discovered” quickly, for instance by placing their street work in highly photographed areas and by leaving their contact details in or next to the work.

Having witnessed the market success of some of the older generation of street artists, it is perhaps not surprising that members of a new generation see doing street work as a shortcut to a commercial career. Lack of experience and maturity on the part of these artists may be one reason a lot of the commercial work released today is very formulaic and/or blatantly rips off previous work by other artists. Despite this, much of the published work seems to sell out. It is hard to say whether this is because customers actually like the artwork, and perhaps are unaware of the source material, or because they don’t want to miss out on what is often deliberately presented to them as an investment opportunity. However, the number of prints on the secondary market is an indication that a lot of customers do see their purchases as investments.

Apart from money, technological developments have profoundly influenced the street art world. Digital photography and videography has made it simple for people to create visual material, and the internet in general – and social media in particular — enables people to share what they, and others, produce.

I think the ease of sharing content has played a very important role in the developments seen in the street art world. It is to a large degree through the online sharing of visual material that the interest in street art is spread to new people. These new enthusiasts — and potential consumers — form a basis for the continued existence of the marketplace that now constitutes a central part of the street art world.

Is street art dead? Or is it just sleeping?

I would say that all depends on your definition of street art. The notion of the death of street art comes about when someone experiences a conflict between a specific, subjective ideal of what street art should be and what they think it has become. The statement “street art is dead” has been popping up at regular intervals for as long as I have followed the street art world, yet people are still making, documenting, discussing and trading what they call street art. Although the street art world has become more professional and commercially oriented, much to the frustration of some, I don’t think this implies that street art is dead or even dying. It simply means street art – like all things – is evolving.

Note: If you are interested in purchasing a copy of the book or if you want more information about it, you can contact Peter at peter.bengtsen@kultur.lu.se. You can also check out Joe Austin‘s review of the book here

Interview by Lois Stavsky; all images courtesy Peter Bengtsen

1. Cover illustration: Ericailcane

2. Faile, polaroid of paste-up, Copenhagen, 2004

3. Armsrock, photos of the Danish artist in Copenhagen, taken in July and September 2008, illustrating how artworks are gradually transformed in the street context

4. Banksy, stencil painting behind acrylic glass, London, 2015

5. Ericailcane, mural Fame Festival, Grottaglie, 2012

6. Stencil, filling the street – a space already over saturated with commercial messages – with additional advertising

7. Stencil painting, unknown artist, Copenhagen, 2008

8. Stencil, Malmo, Sweden, 2015

9. Kissmama, paste-up, Copenhagen, 2015

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available here for Android devices.

{ 0 comments }

Urban Reference with Lorenzo Masnah, Alex Seel and Guillermo Perez Continues through Tomorrow at 548 West 28th Street in Chelsea

March 3, 2016

On view through tomorrow at 548 West 28th Street is Urban Reference, an engaging exhibit of works in a variety of media by Lorenzo Masnah, Alex Seel and Guillermo Perez. When I visited earlier this week, I had the opportunity to speak to Lorenzo.

Just what is going on here?

When an opportunity to exhibit art in this space came our way, we decided to launch a show on the theme of urban life. It is what we know best!

There seem to be a few different motifs going on here.

Yes! Alex‘s photos were shot in Colombia’s capital city, Bogota. He spent several weeks there working on a documentary focusing on the city’s street life Highlights include: live bombing by APC members, including Stinkfish; an interview with Bogota’s legendary MC, Manny from the underground rap group, Crack Family and advice from assorted characters who dwell on the streets of Bogota.

And what about Guillermo Perez? I love his paintings.

Guillermo Perez was born in the Dominican Republic into a family of master painters. On exhibit are his small works referencing people he’s met in the urban sphere.

How did you all three meet?

A number of years back, we shared the same living space in Bushwick — before the neighborhood became so gentrified.

You are continuing your series of dancers and musicians here, along with new works with a distinct urban flair and outsider sensibility. What are your primary media?

I work with the “tools of the trade,” — Mean Streak markers and paints on a huge range of surfaces. And I find myself incorporating graffiti elements.

How did you get the word out about the exhibit — on such short notice?

Largely through Instagram and Facebook. And, of course, we let all our close friends know.

How can folks see the exhibit?

It will continue through tomorrow, Friday. We are on the third floor of 548 West 28th Street between 10th and 11th Avenues.

Note: Lorenzo can be contacted at thirdwolrdpirate@gmail.com to confirm a visit

Images:

1. Lorenzo Masnah

2. Alex Seel

3. Guillermo Perez

4. Lorenzo Masnah, close-up

Interview conducted and edited by Lois Stavsky

Photo credits: 1 Lois Stavsky; 3 Dani Reyes Mozeson & 4 courtesy of Lorenzo Masnah

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

{ 0 comments }

Francesco Mazza on Directing and Producing Graffiti A New York — and Bringing it Back Home to New York

March 1, 2016

Aired last year in Italy, Sky Art’s underground documentary hit Graffiti A New York brilliantly chronicles the history of graffiti in NYC focusing on several key figures in the scene. After viewing the documentary, we had the opportunity to pose some questions to its producer and director Francesco Mazza.

You grew up in Italy. What spurred your interest in NYC graffiti? And how were you first introduced to its culture?

In the early 90’s a number of original graffiti writers from the Bronx moved to Italy looking to recover — thanks to the good weather and the healthy food — from the “crazy 80’s” in New York. They, maybe, needed what we now think of as a “detox” after the tumult. At the time, graffiti writing had already come to the European consciousness through the movie Style Wars and the book Subway Art, but because of the influence of these newly migrated Masters, Italy, unlike the rest of Europe, developed a graffiti style akin to that of New York City’s. It was the kind of style created by Phase 2, who moved to Italy himself, back in the 70’s. The walls of my neighborhood, Milano Lambrate, in the early 90’s looked exactly like those in the Bronx during the 70’s and the 80’s.

To us kids playing soccer in the street, those wall paintings were a sort of a mystery, and kids love mysteries. So, out of curiosity, we started asking questions to the older guys, and we all got involved. From that point on, graffiti became an essential part of our lives — in our neighborhoods and in our identities as individuals.

What made you decide to produce a film on the topic?

Having lived in New York for three years already, I was looking for a way to show the city to an Italian audience from a fresh and original perspective. I asked myself, “What do I know best?” The answer was clear: graffiti. I figured that behind the history of the graffiti movement, there was the history of the city itself. Really, graffiti writing could flourish only because of the terrible financial situation of New York during the 70’s. I always found it fascinating that all the crime and pain and blood of the 70’s spawned, at least, the most vibrant art movement the world has ever seen.

How long did the process take — from its conception to its completion?

The film itself took about a year to be made, but there are some elements of the history that I’d still like to add. I’m hoping for the opportunity to re-shoot some parts and add additional ones for a US release. I’m searching for funding right now. As great as it was to bring this to the Italian market, it has become clear to me that the documentary was the kind of record of a movement that deserves to be a part of the American canon, as well. It’s about NYC. It documents the scene decade by decade. It’s really important to find a way to bring this history “home.” Hopefully, I’ll find the financial backers; and due to the nature of the film, I’d love to partner with a museum, if possible.

How did you decide which artists to include?

“Graffiti writer” is a label. When you look beyond the label, there is literally everything. Artists, addicts, entrepreneurs, fools, poets, murderers; you name it, I saw it. Right off the bat, you have to understand that you won’t be able to get close to everybody if you want to stay somewhat safe. It’s also very hard to gauge the importance of the single artist. Is a graffiti artist important because he had or has a great style? Cool, but what if the said writer has done only a couple of hits and nobody in the community cared about him? And what if you focus on the quantity, but then the style of that writer — whose name was everywhere — literally sucked?

There was a balancing act. I, of course, chose artists with historical importance, but I also reached out to the writers that I like and that inspired me when I was a kid. Fortunately, most of them were willing to help me with the project. I also felt strongly about making sure women were represented in the film. They were absolutely a part of the movement, but sometimes when history chronicles events, women don’t always get the due they deserve in the record. It was important to me to not fall into that trap as a director.

How did the artists respond to you?

Some of them were skeptical at the beginning, and they were absolutely right. When mainstream media talks about graffiti writing, they tend to create confusion. If we consider the art world, I think that after the 19th century, nobody considered an artist as someone who can only “make something look pretty.” Nobody thinks that Pollock, so to say, was an amazing artist because he could simply “make a canvas look pretty”; there was a complexity that was beyond — or sometimes even consciously lacking — beauty. For some reason, all around the world, when media, or institutions, or public opinion deal with graffiti writers, they consider the graffiti writers’ work just on their ability to “decorate” a wall in a happy, colorful way. To me, and I think to all graffiti writers, there is, indeed, decoration. Maybe beautiful, wonderful decoration, but graffiti writing is also something else. Graffiti writing points right to the contradiction of contemporary society where we all matter. We all pay taxes and have the right to vote — but, at the same time, to what degree do we really matter to the machine? I think it’s a question everyone asks. As a result, millions of individuals decide to express their identity, their presence in the world by writing on a wall, consciously facing the consequences of their deeds.

When I walk in my Crown Heights neighborhood in Brooklyn and I see a portrait of a dragon on a shutter, I think, nice illustration, but nothing beyond that. When I see a rough tag on a wall, I don’t say, “Look at that! So pretty!” but I think about a guy or girl that, despite the risk of getting busted and sentenced to two years of prison, decided to face the challenge and put his freedom at jeopardy to have me see his name. Now, what is more interesting, from a social/cultural point of view? The fellow who copies an illustration of a dragon and gets paid for that, or the one who takes the risk for free to screw up his life forever just to have one individual out of one hundred thousand reading his name? I personally have no doubt about which is both more interesting and matters more. So, the graffiti writers I contacted were really scared that I was another guy from the media industry with no grasp at all of the roots and the meaning of the movement. It took me a lot of time and efforts to gain their trust, but once they realized what I was talking about, they were really cooperative and with some of them I built great friendships.

What were some of the challenges you faced in producing the film?

I served as writer, director, and executive producer. The network, Sky Art, gave me a budget, and I was free to manage it however I liked. But that was hard, because as a director, I always wanted more — more days of shooting, more footage, more writers to interview — but as an executive, I had to put some limits. It was like being two different people at once. Now that I can look back, I better understand the limitations I had and their effects on me. And an American alternative presentation — that wasn’t able to be made at the time — is something important to pursue going forward, as much to “do right” by NYC.

Who was/is your target audience?

The original documentary targets an Italian audience who is fascinated with New York but doesn’t really have a knowledge of it, as well as everybody else who wants to know, once and for all, the real history of one of the most relevant artistic, cultural and, to a certain extent, political movements of the 20th century. Now I need to broaden the reach beyond Italy.

Will New Yorkers have the opportunity to view it?

Unfortunately, as of now, they don’t, and that’s a travesty. That’s where my fight is now — finding a means to change that. Everything about this movie is New York City. The residents need this film. It needs to be a contribution to their historical record. Hopefully, I’ll find the funding for what is really a “preservation” project. People aren’t around forever. The interviews with important artists in Graffiti A New York, all in English, need to come “home.”

I certainly agree! Graffiti A New York is not only a passionate homage to the roots of graffiti, but an essential visual and spoken record of a significant NYC era. What’s ahead for you? Can we expect any more films on the topic of street art or graffiti?

Currently I’m working on a project for the Discovery Channel for which I hope to be able to announce details soon. Later this year I’m doing a documentary on Stewart Brand and the Whole Earth Catalogue that I’m very excited about. This fall I’ll be shooting a short project in New York again. I’m also continuing to show Frankie: Italian Roulette, my short fictional film from last year, at festivals across the US. Next up for Frankie is the Crossroads Festival in Jackson, MI on April 2. Even Frankie is about life in NYC and fighting to stay there, so — going forward — it’s no surprise that I’ll, of course, continue to focus on the themes present in Graffiti A New York: art, actions of consequence, social responsibility of both the system and the individual, and, of course, the city of New York itself. And, fingers crossed, we can make the US adaptation of Graffiti A New York. That really must happen.

The questions for this interview were formulated by Lois Stavsky and Tara Murray after viewing the European market release Graffiti A New York.

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

{ 0 comments }

Fillin Global Inaugural Art Show Continues through Tonight at Castle Fitzjohns with: Giz, Ghost, Such, JA, Marc Evan, Dain, Phetus and more

February 28, 2016

This past Friday, we visited Fillin Global’s inaugural showing of curated art at Castle Fitzjohns on the Lower East Side. Featuring a diverse range of creative artworks by over two dozen artists in different media, the exhibit exudes a wonderfully expressive energy. Among the artists whose works we saw are many who also bring their talents to our city’s streets. While there, we had the opportunity we had the opportunity to speak to Thomas Feinstein — of Fillin Global — who curated the exhibit with co-curator Jackie Collins.

This exhibit is amazing! There are so many different styles and techniques represented here, and everything seems to work together. Just what is Fillin Global?

FILLIN is an artist agency, representing innovative artists from across the globe.

How did you get such a varied, talented group of artists together in one setting?

Many are friends. Some I’ve known from my childhood growing up in Long Island. Let’s just say I was a bad kid!

How long did it take you to get this exhibit together?

I began working two months ago for a February 19 launch. But during the final week, I barely slept at all.

What were some of the challenges that came your way in getting this all together?

The biggest challenge was working with such a wide range of styles and media and making it all flow.

How have folks responded to the exhibit?

They love it!

What’s ahead?

We are planning an event in a huge warehouse where artists will be able to paint directly on the walls. It will take place this summer.

That sounds great! Good luck and congratulations on this inaugural show.

Note: Today, Sunday, Feb 28, is the final day to check out the Fillin Global’s inaugural exhibit. The gallery — located at 98 Orchard Street — will remain open until 10pm.

Images:

1. Giz & Ghost, Untitled

2. Such, The Big ‘H’

3. JA & Giz, Tabs of the Rising Sun

4. Marc Evan, Limitless Undying Love

5. Dain, I Wasted Time on You

6. Phetus, Untitled

Photo credits: 1, 3 & 6 Tara Murray; 2 & 5 Dani Reyes Mozeson and 4 Lois Stavsky

More artworks and info about them can be seen here.

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

{ 0 comments }

Speaking with Apostrophe NYC Founders and Curators Sei and Ki Smith

February 25, 2016

We recently had the opportunity to meet up with Apostrophe founders and curators — Sei and Ki Smith — and find out a bit about their plans for 2016:

Just what is Apostrophe?

Apostrophe began as a gallery and performance space in Bushwick in 2012, and it has since evolved into a series of pop-up exhibits and events. As a collective, it is designed to offer exposure to artists while sparking a creative energy that can be experienced by everyone. Our last exhibit, Subway Show, took place at the Kosciusko Street stop on the J train. The subway passengers, along with anyone else who came by, were treated to art, music, a comedic performance and refreshments!

What about its name, Apostrophe?

Our concept came before the name. The name was inspired by the title of Frank Zappa’s eighteenth album Apostrophe’. It suggests an inclusive fusion of energies.

What is Apostrophe’s current mission?

The mission of our current project Base 12 is to highlight the art of twelve talented artists in a dozen diverse, unconventional settings, while making their art accessible to folks who might not otherwise see it. When art is shown exclusively in gallery settings, its audience can be limited.

What kinds of alternative settings are you referring to?

Of the nine upcoming pop-up shows here in NYC, three will take place on subway platforms, three in museums and three in parks. They will all engage passersby in non-traditional ways. Details will be announced the day of the event via Instagram and Facebook.

That sounds great! How did you select the artists?

Some had participated in exhibits in our former Bushwick space; others we met through friends. And some we discovered through our open call for submissions. We’ve all gotten to know one another, and we all work well together. Once a month we come together, and we critique each other’s artworks. We love not only the works of the artists we are showing, but their energy, as well!

Do you both have a formal art education?

We both went to art school, but neither of us finished. We grew up, though, in a family of artists and have always engaged in art-related projects here and abroad.

What’s ahead?

In addition to what will be happening here in NYC, we are planning three exhibits and events abroad: at Alan Istanbul in Turkey; at corretger5 in Barcelona, and at a gallery space — to be announced — in London.

It’s all very exciting! Lots of luck! We will definitely keep posted to your Instagram.

Interview by Lois Stavsky with Houda Lazrak

Photo credits: 1 Lois Stavsky; 2-4 courtesy of Apostrophe; 5 Tara Murray

2 Subway Show

3 James A Reyes, My Shorty

4 Sei Smith, Half Portrait No. 5

5 James Rubio, Black Flowers, close-up of public art work

Apostrophe’s Base 12 will also feature the works of Caslon Bevington, Ryan Bock, Morell Cutler, Alana Dee Haynes, Kolter Hodgson, Charlie Hudson, The Love Child, Julia Powers and Bruno Smith

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

{ 0 comments }

Octogenarian Photographer Allan Ludwig aka Elisha Cook, Jr. on Soho, Street Art, Graffiti, David Bowie and more

February 21, 2016

Still out there each day with camera in hand documenting what has surfaced overnight, photographer Allan Ludwig aka Elisha Cook, Jr recently shared with us some of his thoughts on the changes that he’s witnessed in his downtown Manhattan neighborhood and more:

You’ve lived here in Soho for decades. At what point did the changes in your neighborhood become most apparent?

Around 2003, I noticed that the new stores in my neighborhood were — for the most part — only selling expensive items. I no longer recognized my neighbors’ faces on the streets. Tourists and shoppers were everywhere. I knew then that I must turn my lens onto the graffiti and street art here before it all disappeared.

And what are some of the changes that you have observed in the street art that surfaces here these days?

It has largely lost its edginess. Much of the street art here has gotten exceedingly commercial. It’s often difficult to tell the difference between what is sanctioned and what is done without permission. Street art and ads have become increasingly interchangeable. And too many “street artists” these days seem to use public space primarily to promote their gallery shows.

What do you suppose has caused these changes?

The monetization of it all. And I feel that the street art festivals have not only legitimized an underground movement, but have created an elite — not all that different from the mainstream art world.

We’ve noticed that you tend to focus your camera on illegal works, particularly tags and bombs. Why is that?

Because they are real and raw. I love their poetic spontaneity. I can feel the artist’s pure passion and love for it.

Not everyone would agree with you! Any thoughts about Mayor de Blasio’s proposed efforts to keep the city graffiti-free?

I don’t see any point to it. It’s a misdirected use of funds. The money should be used, instead, to help the homeless.

We noticed that you were daily documenting the impromptu David Bowie memorial in front of his home. Did you know Bowie personally?

I live just down the block from him, so I’d see him from time to time around the neighborhood. But, no, I didn’t know him personally. I would simply nod in acknowledgement and respect when I saw him. I sensed that he was my kind of person. But I did not want to invade his privacy.

And what about the memorial? What spurred you to photograph it daily and in such detail?

I loved it! I loved that it was spontaneous and inclusive. There was no hidden agenda!

Interview conducted by Lois Stavsky with Tara Murray

All photos by Allan Ludwig aka Elisha Cook, Jr, except for the first one — featuring Allan alongside Buff Monster — which was photographed by Julie Dermansky; photo 3 features Dylan Egon; photo 4 features Dee Dee and photo 5, Dasic Fernandez

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

{ 5 comments }

Gallery Director Laura “Lulu” Reich on 212 Arts: Its Mission, Gumshoe’s Current Exhibit, Its Upcoming Graffiti Show and more

February 9, 2016

I recently stopped by 212 ARTS and had the opportunity to speak to Laura “Lulu” Reich who, along with Marc Leader, founded and directs the gallery.

I’ve heard great things about your current exhibit, Gumshoe: Red, White And Black, and I’m so glad I finally had the opportunity to visit this space! How long has 212 ARTS been here?

We’ve been here as 212 ARTS since this past October.

This space here at 240 East 4th Street is so perfect for a gallery. Why did you choose this particular neighborhood? And how were you so lucky to get this space?

I’m an East Village girl and I love everything about this neighborhood — its history, alternative culture and more. Yes, acquiring this space was mere luck! I had found out from the landlord that it was available.

What is the vision behind 212 ARTS?

It is to give exposure in a gallery setting to urban artists, particularly those who work on the streets, as well as in their studios. It is also to educate folks about the artists in this scene. There are stories to tell, as in this current exhibit, Gumshoe: Red, White And Black.

Can you tell us something about this current exhibit?

It is Gumshoe‘s first solo exhibit in NYC. We chose to present this exhibit because we love Gumshoe’s work and her distinct female energy! And it seemed like the perfect exhibit for Valentine’s Day.

And what about its title, Red, White and Black?

Most of the pieces in the exhibit are red, white and black. The title is a play, of course, on the colors of the American flag, presenting the darker side of the American dream.

And the gum that always makes it way onto those glorious red Louboutin heels? What is that all about?

As we strive for perfection and sometimes almost reach it, we meet inevitable disaster! The gum is the metaphor for that. We get stuck along the way!

Oh, yes! There is a story to tell! Until when will folks be able to see this exhibit?

We are open Tuesday through Saturday 2:00 pm – 8:00 pm and on Sunday 2:00 pm – 7:00 pm. You can also make an appointment to see it by contacting me at laura@212arts.com Gumshoe‘s exhibit closes on Wednesday, February 17th.

What’s next?

Opening on the 18th is an exhibit featuring artworks by NYC graffiti legends. Among those showing are: Crash, Skeme and T-Kid.

I’m certainly looking forward to that! Good luck!

Interview conducted and edited by Lois Stavsky; all photos feature Gumshoe‘s work; photo 4 of Gumshoe‘s installation also features Jily Ballistic and Al Diaz; photo 5 of Gumshoe at work was captured awhile back on the Lower East Side.

Photo credits:1 & 4 Lois Stavsky; 2 & 5 Dani Reyes Mozeson and 3 Houda Lazrak

Note: Our highly acclaimed Street Art NYC App is now available for Android devices here.

{ 0 comments }

Patrick Verel on Graffiti Murals: Exploring the Impacts of Street Art

February 5, 2016

In his highly acclaimed book Graffiti Murals: Exploring the Impacts of Street Art, free-lance writer and photographer Patrick Verel presents six case studies, along with dozens of photographs, exploring the role of sanctioned graffiti murals and street art in the urban environment. I recently met up with him and had the opportunity to ask him a few questions:

What spurred your interest in this topic?

I was always into graffiti. I have a short attention span, and I love being surprised! Cities stimulate me and graffiti is part of that stimulation.

How did this initial interest evolve into a book?

I never thought I’d actually write a book. It developed from the thesis that I wrote when I was enrolled in Fordam University’s Urban Studies Master’s Program.

You focus on six cases from the South Bronx to Trenton, New Jersey. How did you connect to all of the folks whom you interviewed?

I sent out lots of emails after poking around the Internet. And I made some of the connections via my Flickr contacts — like the photographer Luna Park, who hooked me up with Robots Will Kill.

What were some of the obstacles you encountered while doing your research?

Getting people to talk to me and synthesizing all of the information.

You seem to have accomplished that quite well! What — would you say – was the mission of your book?

To change the way so many people think about graffiti. To introduce them to the positive benefits of graffiti murals in enhancing the urban environment.

Are there any particular factors that assure the success of these interventions?

So much depends upon the owner of the space and his relationship with the artists. That owner must be able to trust the artists to do what they want. And a successful collaboration demands money, effort and time.

Were there any unexpected outcomes following the publication of the book?

Yes! I received a positive response from City Government, and I connected to Natalie Raben of the Lower East Side BID and the 100 GATES Program.

Have you noticed any changes in the graffiti/street art since you wrote your book?

There seem to be more projects, like the Bushwick Collective and the Welling Court Mural Project, that give artists legal opportunities to paint outdoors.

Published by Schiffer Publishing, Graffiti Murals: Exploring the Impacts of Street Art, is available online and in most bookstores.

Interview by Lois Stavsky

Photos of murals by Patrick Verel

1. Book cover, Lank completes mural he painted with Delve, Luv1 and Casso in Jersey City

2. Wallnuts mural in Gowanus with Dos, Chester, Muse, Been3 and Werc

3. 5Pointz in LIC with Meres, Zimad and more

4. Robots Will Kill in Bushwick with Chris, Veng, Peeta, Never & ECB

5. Taste, Mek, Evak, Sno Reo & Zoe at TerraCycle in Trenton, NJ

Note: Our highly acclaimed Street Art NYC App is now available here at Google Play for Android devices.

{ 0 comments }

← Previous Entries

Next Entries →

Interviews

Categories