Interviews

Speaking with Joel Bergner

November 14, 2012

Nomadic artist and educator Joel Bergner aka joelB is best known for his expressive, brightly-hued murals that focus on issues of social justice. Currently based in Brooklyn, he has recently graced Bushwick with two huge vibrant murals.

When did you first begin creating art?

I was always into art as a kid, but I got more seriously into it when I was 16. I was going through hard times, and I was stressed out about a lot of things. Among them was becoming a father at such a young age and suddenly having so much adult responsibility. Art was an outlet for me. I used to stay up all night drawing and painting.

Have you a formal art education?

No, I took a few art classes in college, but I couldn’t get into creating art in an academic environment. Maybe I just didn’t have the right teachers. So I focused on developing my style on my own.

When did you first start hitting walls?

When I was a teen, I was a graffiti fan and dabbled a little in bombing and tagging, but I wasn’t so good at graf lettering…so I gravitated toward painting more figurative styles.

What inspired you to create murals?

I lived for many years in Latino neighborhoods in Chicago and San Francisco, where murals are a popular form of expression — from classic Mexican murals to graffiti to various street art styles. I soaked it all in and got inspired by all these movements. I wanted to share my work with a much broader audience than is possible from the gallery scene, which caters to a small and often privileged group, so painting on the street was my natural direction.

Where did your early murals surface?

The first one I did was actually indoors — in a cafe in Chicago. But in my early 20’s, I was living in the Mission District in San Francisco and I painted a series of pieces there on the street.

Had these murals any particular themes — as the ones we’ve seen here in Bushwick are rich with multi-cultural references?

I’ve always been interested in different cultures, exploring social issues and giving voice to marginalized communities, who participate in many of my public art projects and workshops in the US and abroad. I work with street children, incarcerated youth, the disabled and young people from shantytowns and slum areas through my Action Ashé! art and education project.

What do you suppose draws you to these issues?

Well, even when I was young, I always clicked with people who society doesn’t value. I took on jobs working with the mentally ill and the homeless and counseling troubled adolescents — not just because I wanted to be a “do-gooder,” but because I really enjoyed them and connected with them — and this has continued in my art and my community work as I’ve gotten older. I now spend part of every year living and working in the City of God (Cidade de Deus), a poor community in Rio de Janeiro where I run youth public art projects. These experiences open your eyes to so many injustices and allows you to see the value in places and people whose beauty is rarely recognized.

What is the intent of your art?

I think the best art moves people on many levels — emotionally, spiritually and intellectually. That’s my goal for my personal art. And for my collaborative pieces with street children and other groups, I have the added goal of giving them the opportunity to express their humanity to a society that usually ignores them.

In what other countries have you painted?

I’ve painted in Brazil, Cuba, Poland, Cape Verde (in West Africa), El Salvador and Peru.

Any favorites?

Probably Brazil and Cuba, where I’ve spent the most time. I strongly connect to the people and cultures.

How has your relationship been with graffiti artists and street artists – who share public spaces with you?

It’s been positive; there’s a sense of mutual respect. I think when people respect each other’s work, all those labels fall by the wayside—graffiti, street art, mural art, public art. At the end of the day, what matters is if a piece is good or not. I see my art as a combination of many styles and artistic traditions, so I don’t let myself be boxed in by choosing any specific one to define my work.

Have you any favorite artists who currently work in the public sphere?

Many…I like Os Gemeos, Saner, Sex aka El Niño de las Pinturas, JR, Swoon, Retna, Pose2 and How & Nosm and a million others.

What about traditional muralists? Any favorites?

I definitely like “Los Tres Grandes” from Mexico: Diego Rivera, David Alfaro Siqueiros, and Jose Clemente Orozco, as well as many who have followed in their footsteps like Juana Alicia and Susan Cervantes in California.

You mentioned before that you find the gallery world “elitist.” Would you be open to exhibiting your work in galleries?

I’d be open to it if it were the right situation where I had the freedom to take it in a unique and provocative direction. As I’ve gotten older, I realize that it doesn’t have to be elitist just because it’s indoors. But my main work will always be on the streets.

How do you feel about the role of the Internet in all this?

I love it. I get to see what other artists are doing and share my work with others who might not otherwise see it.

What’s next?

I’m heading to Mexico in a couple days for my next project, and then I’m off to Nairobi, Kenya for a project that we just finished raising money for on Kickstarter.

Could you tell us something about it?

The Kibera Walls for Peace project will use public art to encourage unity and cooperation among ethnic and political groups ahead of the presidential election scheduled for March, 2013. Kibera, one of Africa’s largest slums, was strongly affected by the violence and political turmoil that engulfed Kenya after the last election. Preventing a repeat of this crisis is the project’s main objective. I will be working with the community- based youth organization Kibera Hamlets and 30 local youth to study peace-building and public art, culminating in the creation of five public murals in high-profile locations around Kibera, all aimed at easing tensions between different ethnic and political groups and encouraging peace. We will be filming the experience for a documentary. I’m very interested in making documentaries of my projects, including one I organized in Rio de Janeiro called “Street Art with Street Kids.”

Wow! That sounds fabulous. Good luck!

Thanks!

Photos by Dani Mozeson, Sara Mozeson and Lois Stavsky

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Speaking with Mario Rosales about his film “The Return of Lencho”

November 8, 2012

In 2002, Mario Rosales left his native Guatemala to pursue an MFA in Media Arts Production at The City College of New York. In fall 2008, Mario began production on his first feature film “El Regreso de Lencho.” Presenting a poignant portrait of his country’s searing suppression of street art and hip-hop culture, “The Return of Lencho” begins a one-week run at Manhattan’s Quad Cinema, starting tomorrow.

You seem to blur the boundaries between artist/filmmaker and activist. What was your intent in this film?

My intent – as an artist — is to create awareness and, ultimately, bring about social and political change. The focus of The Return of Lencho is the state’s persecution of youth and street art culture.

Who is the inspiration for Lencho?

My younger brother. He was shot and tormented by the police in Guatemala for no reason. He was assumed to be a gang member simply because he has tattoos on his legs. My brother is an anthropologist. In the course of the film – ironically and tragically – one of the main actors, Carlos Chacon, aka El Chino, a graffiti and hip-hop artist, intent on passing his skills onto others, was assassinated. The movie is dedicated to his memory.

In The Return of Lencho graffiti is presented as a people’s movement that reclaims the streets from advertisements and desolation. What do you see as the role of graffiti in society?

The role of all art should be to give a voice to the people. In the 1980’s all of Guatemala’s expressive voices were silenced. An entire generation of artists, photographers and painters was annihilated. Graffiti represents the voice of the suppressed.

What do you see as the future of graffiti in your country?

It has begun to explode and I’m certain it will continue to do so.

The scene with the curator comes off as metaphorically rich. Is this particular curator modeled after someone in particular or is she simply a symbol of imperialism and warped values? The sex between Lencho and her seems quite hostile – with a reversal of roles, with her as the victim, almost as though she’s taking on the guilt of her entire race. Can you tell us something about what’s going on here and the kind of response it has elicited?

Yes, she is a symbol of an exploitive Western imperialism. I’ve had many responses to that scene. I’ve been asked, in fact, to remove it. That is how I know just how effective it is.

Was it difficult to get permission from the government to produce this film? Was it possible to get funding?

I promoted it as a film about muralism. We spoke to the ministry of culture, and we never talked about the film’s political content. The Guatemalan government does not provide any support at all for the arts unless you have a connection.

Who is the intended audience?

It is wide — from Guatemalans and Latin Americans and immigrants to a general audience in the U.S., particularly those people who are not aware of the impact of this country’s international policies.

You seem to imply a counter relationship between graffiti and globalization. Can you elaborate?

Globalization has become synonymous with colonization. Graffiti is a means to reclaim our spaces from global corporations. Yet at the same time — quite ironically — graffiti has become a world-wide movement as a result of globalization.

What’s next?

The U.S. theatrical premiere of The Return of Lencho will begin tomorrow, Friday, November 9^th at the Quad Cinema and continue through the 15^th. There will be Q&A’s after the 7:50pm show tomorrow and Saturday and after the 5pm show on Sunday. We plan to continue touring college campuses with the film and bring all the artists featured – Stinkfish, Bastardilla, Aeon and Soft – back to Guatemala early next year.

Photos of film stills featuring Stinkfish’s art courtesy of Mario Rosales and Occularis Films; photo of Lorenzo Masnah’s art on East Village shutter by Lois Stavsky.

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Speaking with LNY

November 6, 2012

Recently selected by RJ Rushmore of Vandalog for Complex Magazine as one of the “fifty greatest street artists right now,” LNY has shared his visions with us in NYC on walls in Chelsea, Williamsburg and Bushwick. We recently had a chance to speak with him before he left for the streets of Korea.

When and where did you begin getting up?

I began in high school – doing some toy crap, here and there, in Jersey City and West New York, NJ. What I really liked about it was the freedom to try and also to fail. It was just play. But things got serious four or five years ago, when I started drawing again – making portraits of friends. I was living in Seoul and visiting Japan, and I found myself making life-size drawings of people and pasting them onto walls. That was a turning point.

Why did you begin writing on public spaces? What made you continue?

At the beginning it was just something fun to do. But now it’s a way for me to share my vision with others, as I like telling people’s stories through my eyes. Also, it’s my way of giving back to the people. And it all makes so much sense. I wouldn’t do anything else.

Do have any preferred surfaces?

Anything really, the more textures, the merrier. I see the work on the streets as just another layer added to the city’s history, architecture and community. I consider street art successful when all these layers come together.

Do you have any preferred spots?

I enjoy the travel aspect of making art. I’m in a sense nomadic. My favorite spots in a city are those that seem to scream for interaction, for care or for a second look.

Who or what inspires you?

Anybody who is going hard and doing his or her thing… either art-wise or not. This game is not about limits or rules so you’ve got to make your own. I try to surround myself with people that inspire me and they range from friends to family members to public figures like Newark’s Mayor Cory Booker.

Have you any memorable moments from your work on the streets that stand out?

Most memorable are people’s reactions — either acceptance or rejection of a piece — by a particular community. Kids coming by and giving you props is the best. But any reactions – even criticisms – are good.

With whom have you worked?

I have worked with a range of people including fashion bloggers, scientists, painters, architects and writers. I love collaborating with people like ND’A because of the bold rhythms in his brush strokes or OverUnder because of his way with lines and his productivity. I enjoy working with anybody who is passionate, and I like to be as open as possible because the mix of mediums and people can only push the work forward.

Have you been arrested?

Yes. I was arrested yesterday. I opened my mouth when it should have stayed shut.

Well, I’m glad you’re here today. Where else – besides here in Bushwick — have you gotten up?

I’ve gotten up in Korea, Japan, China, Berlin, Paris, Ecuador, Mexico, Philadelphia, New Jersey, Atlanta, Mexico and other spots. I will get up anywhere life takes me.

How does your family feel about what you are doing?

They love it and are very supportive. As long as they see me safe and happy, they are happy.

Have you made money from your art?

Yes, and I thank all the people who have supported my vices and adventures by buying work directly from me or from galleries. I’m grateful to all those institutions, festivals, foundations and individuals who have facilitated grants and invited me to work with them. I appreciate everyone who’s given me materials or just a helping hand. Much, much, much love and keep it up.

What are some of your other interests?

I love shooting videos and editing them because I have no idea what I’m doing — same with taking pictures. I am an avid amateur at a lot of things. As an artist, I am open to all cultures, as we artists impact our immediate surroundings and help create them. So I eat up books, watch an insane amount of movies and TV shows, read blogs, look at fashion, watch season games, try all types of foods and drugs and listen to all kinds of music. I was about to try the cinnamon challenge last week, but I’m glad I didn’t.

What do think about the street-art/graffiti divide?

I don’t see a divide, but I can feel one. In New York it is more of a personality or ego-driven divide. Graffiti and street art cannot exist without each other. They owe a lot to each other as modes of expression and they’ve developed a symbiotic relationship in the market place. Graffiti is an act of assertion and ownership that comes out of a feeling of disfranchisement. It’s a free form of expression that started back in the day in Philly and the Bronx and has traveled across the globe. Passed from one generation to the next, it has translated into an act that reclaims public space and builds upon that freedom to be active in a society that would rather keep you passive. This is precisely what street-artists are doing, and you can see the different directions the movement is taking with activist work and masterful muralists around the world. Most of the beef I see is ego-driven and I hate that noise, because it denies the greater possibilities of both.

How do you feel about the movement of street-art and graffiti into galleries? Have you exhibited your work in galleries? If so, where and which ones?

Graffiti and street art can never exist in galleries. The intention is different. The audience is different. But both graffiti and street artists can create work for galleries and for the people who visit galleries. I appreciate both arenas. I have shown in tons of galleries all over, but I don’t really keep track or add them to a CV. But some of my favorites were in Korea and Berlin and now in Brooklyn – where I will have a solo show early next year at LowBrow Artique.

What do you think of the role of the Internet in all this?

The internet is a double-edged sword, as it allow anyone to be famous for 15 minutes. But fame on the Internet does not equate with talent, so be safe out there.

Do you keep up with the current street art scene?

I have never felt like I belonged to any scene, so now being part of one that is international and multifaceted is perfect! With the Internet it is super easy to have eyes all over the world. I keep up with the local scene with blogs like Brooklyn Street Art, 12OzProphet, Arrested Motion, Vandalog, Animal New York and yours. But I also check out what’s happening on the streets of South America and Europe with Buenos Aires Street Art or Graffitimundo. And even though I don’t even read French, I follow these French stencil blogs. And Instagram keeps me up with both street art photographers and artists. I have met a lot of people through Instagram, so hit me up @lunarnewyear.

How do you feel about the evolution of graffiti and street-art?

Both are getting institutionalized and being tamed as they become accepted by the mainstream, so what interests me is how these art forms are going to stay culturally relevant. I’m interested in seeing who keeps them alive in a time when their explosion and exposure have added a lot of voices to the conversation. And let’s face it — a lot of these voices are not saying anything new or worthwhile.

Have you received formal art training?

I studied at the university level, but I saw studio work as limiting, although at the time I didn’t know why. What I was missing was the immediacy of communication that you get from working in public and everything else that this brings. But I’m not going to front. I learned so much from the artists I met in school and all the friends I made. Plus you can’t destroy an idea before you understand it.

Can you tell us something about this current mural at Bushwick Five Points?

I’m never sure what a wall will look like or say until I paint it. And even then, I am not sure. I love this ignorance. I like not knowing, as it keeps me fresh and honest. So this mural is — at one level — a portrait of Malik, a young man I met through developing workshops with Young New Yorkers, a Brooklyn-based restorative justice program that works with underage kids who are tried as adults in the city. My experiences led me to view the entire American justice system as a corruption which strips minorities of freedom and turns doing this into a lucrative business. We used to call this slavery. I think it’s called cost-effective business now. This portrait is a celebration of one of our system’s victims — who represents hope for change. I see my mural as a form of public prayer.

What do you see yourself doing five years from now?

It’s hard to say. It might be another city, or maybe even another continent. But I know it will be a natural progression from the work I’m now doing. I am also very conscious of where I don’t want to be or what I don’t want to do with my art so this will also guide me. I will be adding to the conversation, moving things forward and giving back all the love I receive.

Interview by Lenny Collado; photos by Tara Murray, Dani Mozeson and courtesy of the artist

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Speaking with Lorenzo Masnah about “Hard Times/Tiempos Difíciles”

October 29, 2012

For the past several years, the young Colombian artist Lorenzo Masnah has been culling images of human rights violations, national tragedies and global disasters from a range of international magazines and newspapers. These images – recycled, recreated and screen printed by the artist – have made their way not only onto public spaces, alternative settings and galleries, but also into a series of hand-made books, Nuevos Tiempos.

Lorenzo Masnah’s most recent book, Hard Times/Tiempos Difíciles focuses on natural disasters and presents haunting images of lost and frightened people in the face of tragedy. We recently had the chance to speak to Lorenzo, who is based these days in NYC and is at work in the East Village on a number of political murals.

The images in your book Hard Times/Tiempos Dificiles are quite disturbing. Why did you choose to create a book with images that focus on life’s bleaker side?

When disaster struck in Haiti in 2010, I was particularly moved by newspaper photos that revealed the facial expressions of the Haitian people in the wake of tragedy. I began collecting these images and mounting them throughout my living spaces. They seemed to speak to me. At about the same time, heavy rains struck Bogota and, again, I was drawn to the facial and bodily expressions that surfaced in the printed media, as they reflected what I was seeing as I walked around the city at the time. The following year, I was on the West Coast when heavy rains struck again. Reworking images I collected and self-publishing them was my way of honoring those people struck by unforeseeable disasters that could happen to anyone at any time. It is also my therapy.

How did you go about selecting the images that you include in the book?

I have endless boxes filled with images I collect that engage me either politically or emotionally. From time to time I review these images and I categorize them. Then, I choose my favorites. Those are the ones I include in my books.

Tell us something about the process of publishing these books.

After I select the images that I want to include in the book, I dissect and rework them – often with lines and elements influenced by graffiti – and then I screen print them. When I’m satisfied with my selection of images, inks and colors — with feedback from folks at my local deli — I bind the pages with cardboard covers, recycled from boxes I get from nearby restaurants.

What motivates you to keep working on this particular project?

My intent is to give new meaning to news that is generally discarded at the end of each day. I see what I’m doing as a long-term project – recreating visual narratives that speak about and to a range of people across the globe. I am interested in preserving memories.

Masnah’s books are available directly through the artist at thirdwolrdpirate@gmail.com. His prints, along with those by other members of APC — the Animal Power Crew that Lorenzo co-founded with Stinkfish back in 2006 — are available at Mula Printing. Photo of Lorenzo with book by Lois Stavsky.

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Speaking with Christian Cortes

October 25, 2012

NYC-based painter and illustrator Christian Cortes has been increasingly exploring combinations of graffiti typography with surrealism, abstraction, South American iconography and New York City culture.

Your extraordinary artwork has graced the walls of 5Pointz for years. Where else have you gotten up?

I’ve painted in France, Germany, Spain, Japan, Ecuador, the Dominican Republic and in Puerto Rico. I’ve also gotten up in Seattle, Miami and Fort Lauderdale. And here in NYC, I’ve recently painted in the Bronx.

Any favorite place?

Probably Puerto Rico. I had many Puerto Rican friends as a teenager, and I feel a strong connection between NYC and Puerto Rico.

When did you first start getting up in public spaces?

I was in 7th grade when I began paying close attention to what was happening on the 7 train, on rooftops and along the 59th Street Bridge. Soon afterwards I was bombing those surfaces. I was most active on the streets – as Waqs A3crew– between 1990 -1995 piecing. But then I took a ten-year break.

Do you have a formal art education?

I attended the High School of Art and Design and I began fine art studies at three different colleges. But I dropped out of all of them, as I became increasingly involved in my own work.

What kind of work were you doing?

I was doing lots of commercial work such as record covers, backdrops for videos and steady commissions for rap groups. Among my projects was a video for Jeru the Damaja. This was ideal work for me, as I’ve always felt strongly connected to musicians. When I hit a wall with other artists, it’s like we’re all making music!

What got you back into painting on the streets?

5Pointz – for sure! Also traveling and the Internet. I share much of what I do on YouTube these days. I feel a responsibility towards the younger writers, and I love the interaction with them.

Have you any advice for young artists?

Aspiring artists need to learn the value of discipline. Art doesn’t happen quickly or easily.

Who inspires you?

Mode 2 from France and I’ve developed a new appreciation for Seen. I’m also inspired by musicians – such as Sadat X of Brand Nubian and Eddie Vedder of Pearl Jam.

Tell us something about your skulls. They surface in so many of your pieces.

Skulls have forever been a theme in all genres of art. When I first started painting skulls – while still in high school — I was suggesting that graffiti is dead. But now I think of skulls as a celebration of life through acknowledging death. And in relation to graffiti, the skulls have come to imply rebirth, as graff has been reborn.

What do you see as the future of graffiti?

I see it developing into more of a grass-roots movement. I see us developing our own events, along with smaller brands, as the huge brands have been dictating what kids see.

How do you feel about the street art vs. graffiti divide?

I don’t see them in conflict with one another. I see them simply as two separate genres. But I have difficulty understanding, for example, the Banksy phenomenon.

What’s next?

More traveling, more black book videos, more tutorial videos and more walls. I’m planning to paint next in Brooklyn and I’m starting something new at 5Pointz. Next month I will be heading down to Miami for Art Basel.

Good luck! ‘sounds great!

Photos of Cortes at 5Pointz by Dani Mozeson; in the Bronx by Lois Stavsky and painting in the Bronx by Lenny Collado

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Speaking with Stik

October 19, 2012

One of London’s best-known and most active street artists, Stik has been creating his elegantly stark stik characters for over ten years. On his recent trip to New York City, Stik found a home for his Stik people up in the Bronx and at Bushwick Five Points. We were delighted to have the opportunity to pose a few questions to him:

When was Stik born?

In the early part of the century.

Who is he/she/it?

My little meditations…my way of transforming the complex into the simple. Stik is a loud whisper.

Why did you decide to get Stik up on walls and share him with others?

I wanted to keep him safe. I’ve always been drawing living things, and I didn’t want them to stay on paper. I feel they are safer on the streets. And it is also my signal to the world that I exist – somewhat in the vein of a graffiti artist. The street is like a theatre. When I get up there, I join the dialog. My art becomes my voice.

How do you decide which walls to hit?

When I walk by a column or wall, I try to imagine Stik there. I like the idea of giving a personality to a wall that will be visible to others.

What about the risky aspects of what you do – both physically and legally? Why are you willing to take such risks?

It’s a matter of putting my mark on the land. And when I’m painting, I feel connected to the wall. I feel safe. It’s my sense of entitlement and ownership. There is also a social purpose to what I am doing. Advertisers tag public spaces to push consumerism – it’s almost as though they can buy and sell our lives. People are the products. I’m pushing aesthetics. I feel as though graffiti writers get the rap for the frustration folks feel towards the advertisers.

What if a major corporation were to approach you and ask you for their use of Stik for commercial purposes?

That has already happened. My answer is, “No.” I will not allow companies to use my image to sell products.

How have folks responded to Stik?

They love him. They respond to his simplicity. I like watching people’s reactions to Stik from my studio window.

Tell us something about your style.

It’s always been simple, and it seems to be getting simpler as time passes. I appreciate simplicity.

What are your feelings about street art in gallery settings? Are you comfortable creating Stik on canvas or paper and selling him?

I keep the street street and the gallery gallery. The gallery can be a whore house, but it’s an honest living.

What brought you to NYC?

I wanted to meet people in New York. I want to find out what real New Yorkers are like. I want NYC to fess up and show me its vulnerability.

Has it? What do you think of NYC?

It’s still a big scary beast of a city, but if you’re lucky, it will roll over and let you tickle its tummy.

What’s ahead?

I have a couple of big social projects coming up in the UK and other countries. And I plan to return to New York in the near future.

That sounds great! We are already looking forward to your next visit.

Photos by Lenny Collado, Dani Mozeson and Sara Mozeson

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Speaking to David RIMX Sepulveda

October 10, 2012

We first met David RIMX Sepulveda at this year’s Afropunk Festival and at once fell in love with his aesthetic. Soon after he completed his wondrous wall at Bushwick Five Points, we met up with him again and posed a few questions:

When did you start writing?

I started back in ’97. I was 16.

What inspired you to get up?

I was attending an art high school, the Central High School of Visual Arts in Santurce, PR and my friends and I formed a crew. I grew up in the projects of San Juan, so tagging was the natural thing to do.

Have you any preferred surfaces these days?

I like big walls and highways because I like to share my art with as many people as possible.

Have you any favorite artists who influenced you?

I love Rembrandt and the Spanish painter, Joaquín Sorolla. My favorite Puerto Rican artists include: Lorenzo Homar, Rafael Tufiño, Antonio Martorell and José Alicia. I also love the Mexican artists Diego Rivera and Gabriel Orozco.

What about graffiti and street artists? Any favorites?

I have many. Among them are: Sen2, Ske and Rek, Sex, San and Dems from Spain and Sego from Mexico.

Have you any formal art training beyond high school?

Yes. I studied art in college in Puerto Rico at la Escuela de Artes Plásticas. I’m trained as a classical painter.

Do you feel art school helped you develop your craft?

Definitely! And learning about the history of art was important to me.

Do you tend to paint alone or with crews?

Both. I paint alone, and I also paint with El CORO, ADM and APC.

Where have you painted?

I’ve painted in Puerto Rico, Miami, Barcelona, Granada, Japan and New York.

Have you a favorite place to paint?

Puerto Rico, because of the weather. But I like the scale of the buildings in New York City.

What about galleries? Have you exhibited your work in galleries?

I’ve exhibited in galleries in New York City, Miami, Paris and Japan.

What percent of your time is devoted to art?

Almost all of it. During the day, I work at a tattoo shop.

How do you feel about the role of the Internet in all of this?

It’s great. It gets our art out to the world.

What are your thoughts on the so-called street art/graffiti divide?

I think of graffiti writers as purists. They gain their respect by being everywhere and by hitting hot spots. Street artists are more focused on ideas. But the two disciplines will merge.

What’s ahead?

More projects that engage more people. I want to continue to integrate everyday people into my work.

That sounds great! We are looking forward to seeing more of your artwork on the streets of NYC!

Photos by Lenny Collado, Tara Murray and courtesy of the artist.

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Speaking to Joseph Ficalora: Curator of Bushwick Five Points

October 8, 2012

Within the past year, the walls along Scott, Troutman and St. Nicholas in Bushwick, Brooklyn have evolved into a vibrantly intriguing outdoor gallery. We recently had the opportunity to pose some questions to its curator, Joe Ficalora.

What inspired you to transform this neighborhood into such a wonderful open-air gallery?

I’ve lived in this neighborhood all my life. Growing up here, I was not even allowed to play outside. The delis were drug spots, and the surrounding blocks teemed with prostitutes and junkies. I was continually exposed to hookers and gangs. My dad was murdered right down the block as he was leaving the L train Jefferson Avenue station. As artists and creative types began moving into the neighborhood, things changed. And after my mother’s death, I was moved to transform the cold industrial aura of this area into something that would revive me and provide the artists with a space to showcase their talents. I am trying to create an environment that I couldn’t get as a child.

Wow! You are certainly succeeding. Bushwick Five Points has become one of our favorite spots in NYC! How do you manage to have access to so many walls?

Some are family-owned and others I’ve negotiated with their owners. Once these building owners see a finished wall, it is not difficult for them to recognize that the artwork surfacing here is far more appealing than random tags and unspeakable words!

We’ve noticed and love just how varied the artwork is here – in terms of both artists’ backgrounds and styles. Have you any favorites?

I love them all, and I love the mix! Each piece is special to me. I love watching everything from the progress of the artists to the reactions of the passersby.

How do you decide which artists to feature on the walls here at Bushwick Five Points?

I look for passion and integrity. I always meet the artist first, and we walk through the neighborhood together. I show them the walls, and I tell them a bit about the other artists who’ve painted here. If I like the artist’s work and feel right about the artist, it’s a go!

How do you decide which walls go to which artists?

We discuss which spaces are available and the artist then chooses his or her canvas.

Any thoughts about the graffiti/street art divide?

I admire the graffiti that has been surfacing in the vicinity of Morgan Avenue. But I love the varieties of expression that street art offers.

How do you feel about the role of the Internet in all this?

I think it’s beautiful. We all get to see and appreciate what’s surfacing throughout the world.

What’s ahead?

I’m not looking long-term. I’m enjoying what I’m doing now. And I’d love to keep doing what I’m doing the rest of my life!

That sounds great! We are so glad you are doing what you are doing.

Special thanks to Bodega Wine Bar for the delicious complimentary snacks we were served while interviewing Joe.

Images beginning with top: Nick Walker, Danielle Mastrion and Concrete Jungle, photo by Dani Mozeson; Icy and Sot, photo by Lenny Collado; Priscila De Carvalho, Maria Berrio & Miriam Castillo, photo by Lois Stavsky; Never, photo by Lois Stavsky; The Yok and Sheryo, photo by Dani Mozeson; Rimx, photo by Dani Mozeson; Dan Witz, photo by Dani Mozeson; Hellbent, photo by Tara Murray; OverUnder and LNY, photo by Dani Mozeson; Jim Avignon, photo by Lois Stavsky

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Speaking with KR.ONE

October 4, 2012

As passionate today as he was back in the 70’s when he was making his mark on a range of public surfaces, Louie Gasparro aka KR.ONE recently shared some of his experiences and impressions of the ever-evolving graffiti culture with us.

When and where did you start getting up?

I started getting up in 1977 in Astoria, Queens. I was part of what is considered the third wave of original NYC graffiti writers.

Why did you begin writing?

We were trying to be somebodies in a world of nobodies. There was no money. It was our way of advertising ourselves…of getting our names out in a big way. The pieces and tags we did were essentially ads that we didn’t have to pay for. And we loved that it was so underground. We had our own way of saying things that outsiders didn’t understand. It was cool.

Any formal training?

Nothing formal. I was inspired by comics, some how-to-books, hard rock album covers and television cartoons. And I used to cut out of my school and hang out at the High School of Art and Design. Through Fome 1, I met writers such as Erni (Paze), Doze Green, Lady Pink, Daze and Seen TC5. But I’ve been drawing since I was a little kid – everything from hot rods to the members of the band Kiss. Once, the principal walked into my classroom when I was drawing a caricature of Gene Simmons with his tongue out spitting blood. He looked at the piece, and I thought, “Oh my God!” But he said he liked it and decided to hang it up in the hallway. I was amazed at his response.

With whom did you write? Any influences?

TSS (The Super Squad), TKC (The Killer Crew), RTW (Rolling Thunder Writers), IRT (Invading Rapid Transit) and NWA (New Wave Artists) . I wrote with KB, Fome1, Erni, Sick Nick, Mace, Robert 78 and RCA (Reckless Car Artist). I was influenced by Don1, Dean, KB, Son1, Roto1 and Zephyr.

Have you any particular memory from back in the days?

I was almost killed in the M yard in 1980. There is a bus depot nearby, and there were always bus drivers hanging out. They would usually just chill, but one time as I was writing and piecing with Fome1, they began throwing bottles in our direction. The glass was shattering around us as they laughed. We took cover under the trains. Suddenly the train began to move, and I was almost hit by an oncoming motor.

Wow! What were your preferred surfaces back then?

I liked painting on everything. I started on paper, then walls, then trains. And when that era was over for me in 1983, it was back to walls and paper and then canvasses.

How do you feel about graffiti’s evolution? Do you follow the current scene? Any favorites?

It was all about New York City. And then it was the whole world. It went from dudes writing their names in simplistic plain letters through a metamorphosis of styles and a global expansion. It’s truly amazing. Favorites? Some of my favorites from today are actually European-based artists such as Swet from Denmark, Daim from Germany, Mode2 from Paris and Uor and Rife from Italy. I still really dig what Daze, Part, Ces, Kaves and Whisper are still doing, as well.

How do you feel about the so-called street-art and graffiti divide?

Those are just categories that do just that — they divide. It serves as a way to market both. Street artists and graff writers have their distinct styles and mindsets. Sometimes their differences are subtle; sometimes they’re not. But both come from the streets.

What do you see as the future of graffiti? How do you feel about the movement of graffiti and street art into galleries and museums?

Graffiti and street art deserve to be in galleries and museums. There should be entire museums dedicated to urban arts. Scholars realize what’s going on and can see that this movement — that began largely by children — has become a true phenomena. What essentially started in the streets has become the biggest movement in art history.

What are you up to these days?

Since my last show, Bringer Of The Kolorstorm, this past March, I’ve been creating new works for my new solo show this coming Saturday, October 6^th. This latest offering, A Fistful of Stars, is a selection of illustrations, mixed media pieces and canvas work. I return to my old stomping ground in Long Island City at a place called C.A.W.S. (Cause Art Will Survive).

How do you feel about the role of the Internet in all this?

The Internet is the cyber bench to the graffiti world…the window to the whole world. You can be sitting in a place like Milwaukee and see a piece that was just painted in Scandinavia. It’s an instant get-up — a world-wide instant get-up. I remember when we would wait all day just to see a certain piece pass by on a train. I remember waiting on a train station for a Dondi and Lee piece to roll by, so that I could just look at it and absorb it. I don’t have to do that today.

What’s ahead?

I plan to stay as creative as possible and continue to share my work with others.

Interview by Lenny Collado; Photos by Tara Murray, Lois Stavsky and courtesy of the artist

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Speaking with Alice Mizrachi

September 27, 2012

Queens native Alice Mizrachi, aka AM, is an artist, curator, educator and community organizer whose artwork is not only on walls throughout New York City and beyond, but in galleries world-wide.

We’ve seen some new pieces of yours at Long Island City’s 5Pointz and in Welling Court. What else have you been up to?

During the summer, I had the opportunity to paint in Tel Aviv, as I was there for a solo show at Bazel Gallery. I’m also curating, along with Diana McClure, Purple, an exhibit produced by YOUNITY — an international collective of urban female visual artists, designers and craftswomen — to open at Causey Contemporary Gallery on October 19.

You seem to move fluidly among the worlds of street art, graffiti, and fine arts. Not many artists do. How do you feel about the so-called divide between street art and graffiti?

To me there is no divide. My work is my work, whether it’s on a wall or a canvas or wood or sculpture. I like to express myself, have fun and explore. I dislike labels.

Who are you looking at these days? Have you any particular favorites or artists whose works inspire you?

I’m inspired by what Cern is doing. I’ve know him for a very long time and it’s great to watch and grow with your peers. Carlos Mare 139’s graffiti-inspired futuristic sculptures are astonishing. He has been a great friend and studio mate to me this past year and I’m inspired by his life and history. I’m always looking at what Trystan Bates from Honeycomb Arts — an arts collective based out of Argentina — is doing. His work is beautiful! And I also want to mention QA (Queen Andrea). Her recent exhibit at the Fuse Gallery featured a new selection of her work, including some beautiful abstract geometric pieces.

What’s next?

This week I’m getting ready to paint with one of my favorite NYC-based graff writers Free5 in the Bronx for a project that Erotica and Clark organized. Next week I paint alongside Ian Kuali’i, David Ellis and Gilf! for a project in Jersey that Arrested Motion will feature. After Purple in the fall, I’m preparing for a solo exhibit during February at Weldon Arts. I’m also working on a community-based project for Art Forward during Women’s History Month, and I’m getting ready to launch a rug with UR Place, a line of street art/graff-inspired carpets. In May I do a residency in Spain, and in the summer I’ll be in Argentina for a show. On top of all that, I’m still teaching workshops and classes with the youth. So as you can see, I’m keeping busy busy busy.

It all sounds great! Good luck! And we are certainly looking forward to checking out Purple next month.

First three photos — AM at 5Pointz, LIC; AM with Free5 & Cope2 at West Farms, Bronx; AM holding print in Chelsea studio –by Lois Stavsky; photo of AM mural in Astoria, Queens by Dani Reyes Mozeson and photo of AM at work in the Bronx by Lenny Collado

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