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Working with shades of reds, blues and grays, the legendary Kenny Scharf has fashioned a tantalizing new body of paintings. On view through July 28 at TOTAH on the Lower East Side, the artworks feature a series of alluring, surreal landscapes. The exhibition, aptly titled blue blood, both entertains and provokes, as it raises questions as to the future of our planet. Featured above is Out of the Void, painted with oil and acrylic on linen with aluminum frame. Several more images I captured while visiting the exhibit follow:

Greysvillandia, 2019, Oil on linen with aluminum frame

Fuzzjungle, 2019, Oil, acrylic and spraypaint on linen with aluminum frame

What Me Worry? (Red), 2019, Oil, acrylic, silkscreen ink and mylar on linen with aluminum frame

In the Beginning, 2019, Oil, acrylic and diamond dust on linen

Segment of Funderworld — mesmerizing installation with fluorescent spray paint submerged in black-lit darkness

Located at 183 Stanton Street, TOTAH is open Tuesday through Saturday, 11am – 6pm.

Photos by Lois Stavsky

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Some of the most intriiguing walls in town can be found on Atlantic Avenue and Hinsdate Street — directly off the L train’s Atlntic Avenue stop — in East New York.  It is where graffiti writers and street artists convened this past weekend in the spirit of unity. Featured above is old school Uptown/Bronx writer Clyde adjacent to fellow Ex Vandals’ member Will Power. What follows are several images I captured earlier this week:

Will Power posing in front of his rendition of Biggie

Albertus Joseph checking out his work before adding final touches

Graffiti meets fine art in Col Wallnuts’ abstraction

Long Island-based Phetus 88

Ex Vandals Ree and Kool Kito

Staten Island-based La Femme Cheri

The legendary Part One

OG Millie does Muhammed Ali

Keep posted to our Instagram for more images of graffiti and street art that surfaced last weekend in East New York. And, reports Will Power, we can look forward to a new set of walls — of both graffiti and street art — next month in the same location.

Photos by Lois Stavsky

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The following guest post is by photographer/arts educator Fawn Phillips aka Rachel Fawn Alban

A park in the largely residential neighborhood of Hackensack, NJ may sound like an unlikely destination for graffiti lovers, but Union Street Park is a gem. Curated by Darrius-Jabbar Sollas since 2007, its walls feature some of the best graff I have seen in some time. Pictured above are DC-based  CRI and Bronx-based Kingbee. Some more photos of the graffiti art I photogrphed this past week follow:

Massachusetts-based Mike Helz

Veteran Bronx writer Nev and Bronx native Abe

UK-based Trans1

Veteran writers Jus One, Vase One and Mad2

Bronx-native Pase

Veteran Bronx writer Jew

Union Street Park is located at 97 Union Street, Hackensack NJ

Photos Fawn Phillips 

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The following guest post is by Houda Lazrak

Earlier this year, I visited Waterford, Ireland, the country’s oldest city — approximately 100 miles south of Dublin. Best known for its exquisite crystal, Waterford has also become, in recent years, a street art destination. Using the arts to rejuvenate urban space, its annual street art festival, Waterford Walls, has transformed Waterford into Ireland’s largest and most accessible outdoor gallery. 

While there, I had a chance to meet Waterford Walls founder, Edel Tobin, at its headquarters, and speak with the nonprofit’s Assistant Project Manager, Gabe McGuinness, as we strolled the streets together:

You are based in an interesting building right in the center of the city. What an ideal location!  How did it become the site for your offices?

Yes, it’s great! The building was donated by a local family. They wanted to see what we can do with it to develop the arts in Waterford. 

Lucky you! The festival was initiated a few years ago in 2015. How many walls have you produced since?

We are up to 180 walls at this point. And we try not to paint over any previous ones.  

Why Waterford?

It started with a community garden project spearheaded by Edel.  From there, she got the ball rolling to showcase public art.

How did you become involved? 

I came to visit the festival one year, absolutely loved the project and applied for a job!

Can you tell us something about your background?

My background is in archaeology and geography. I am interested in integrating the arts with these disciplines. I also studied cultural policy and arts management. I’ve produced music festivals, and I’ve done production management for short films.

Just when does the Waterford Walls festival take place? And what goes on during it?

The festival takes place annually at the end of August. This year it will be held from August 22-25. We invite artists to paint, of course, but we also host other activities — such as panel discussions and talks on themes around public space. And we organize children’s workshop and set up live music events, among other things. 

Which neighborhood does the festival take place in?

In the first years it was in the city center. Starting last year, we expanded and brought it up to a hillier part of the city called Ballybricken. 

How do you go about finding and selecting artists?

We invite two or three headliners each year, and we also have an open call. Artists are encouraged to apply to the open call, which is generally held from September – December. The  selection committee then determines the final roster. We have hosted artists from all around the world and Waterford-based artists  — like Caoilfhionn Hanton — as well.

Is there an overarching theme each year?

No, there is no brief for artists. We ask them to create something based on what Waterford represents to them. We encourage them to spend time in the city before painting to seek inspiration from the local culture and history. Some of the common themes are: nature and animals, Irish folktales, Vikings, marine-related motifs and the famous Waterford Crystal factory.

What has been the impact of the festival on Waterford?

It has helped develop O’Connell Street as cultural quarter of the city. It has encouraged creative industries to come into Waterford. We also do focus groups with community members and ask what they would like to see. Their input serves as a basis for our five-year plan. Like I said, we’ve focused on the city center, but we want to expand to bring public art to the outskirts, as well. 

And what about the locals? How have they responded?

We’ve gotten a lot of support from the Waterford community! Some of the hotels give us free storage space during the festival and local businesses offer lunch to the artists. We also get emails from people saying they want to give us walls for the festival. Unfortunately, many walls are made of pebbledash, or roughcast, so the surface is tricky to work with. It’s basically plaster with pebbles thrown on it. They are okay for abstract murals, but details don’t work well. There are also local businesses who want to sponsor walls, so they pay for the entire production cost. Some of the murals have also been totally appropriated by the Waterford residents. The seated elephant by Louis Masai, for instance, is adored! There would probably be protests if it were removed!

What are some of the challenges you’ve encountered in seeing such a momumental project through?

We are well-known among artists but not by the general public. Most people in the next big town over, Cork, don’t even know about us. We are trying to change that. We started doing weekly guided tours on Saturdays from April to November, and we offer private tours, as well, for tourists or other visitors. We also host tours for schools interested in branching out of the more traditional Celtic art taught in class. Another, more practical, challenge is that artists often request walls without windows, which are hard to come across! The festival is also a non-profit, so it relies heavily on sponsorship. The last two years we’ve been sponsored by German Montana, but it’s tough to find funding. More and more people are coming to Waterford specifically for the murals, though, so that helps with fundraising. 

Yes! Myself included! The murals brought me here to Waterford! We wish you the best for the future. And we are looking forward to the 2019 edition! 

Images

1 Glasgow-based Australian artist Smug, Portrait of Waterford Walls curator, Louise Flynn

2 UK-born, Johannesburg-based Sonny Sundancer

3 The itinerant American muralist Arcy

4 Irish artist Shane O’Malley 

5 Waterford-based artist Caoilfhionn Hanton 

6 The French Monkey-Bird Crew

7 London-based Louis Masai

8 Dublin-based Ominous Omin

Photos and interview by Houda Lazrak

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

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On view through July 12 at South Bronx gallery WALLWORKS NEW YORK is Memorias en Arte. Curated by South Bronx photographer Gloria Zapata, it features photos captured by Gloria while visiting her homeland, Honduras, along with renderings of them by a range of NYC artists.

Images of memories  from her childhood capture the essence of her native country, while the accompanying artworks further explore the notion of “home.” After visiting the brilliantly conceived and handsomely curated exhibition yesterday, I had the opportunity to speak to Gloria.

I love your passion for photography, along with your devotion to documentation. Can you tell us something about its beginnings?

I first studied photography while I was a student at Washington Irving High School. That was back in the nineties. While studying Multimedia Video Arts at the Borough of Manhattan Community College a bit later, I started writing scripts and producing films. I  wanted to be next Stephen Speilberg! After graduating from BMCC, I wrote and directed an award-winning short film “A Mirror of Me,” but I soon discovered that pursuing that passion would require funds and an investment of time that I didn’t have. Then for my 27th birthday, my mother bought me a professional camera. That was a turning point! Currently, while pursuing my passion, I am studying Art and Photography at Lehman College.

Do you remember what you first documented once you had that camera that your mother had bought you?

Early on it was nature and architecture. I especially liked photographing landscapes.

And what about street art and graffiti? When did you first start photographing the walls in your neighborhood?

I’d always loved murals. For years I’d seen works on the street by Tats Cru and Crash, but I had no idea who these artists were. Then one day — about five years ago — I met Crash when he was painting on the streets, and he invited me to WALLWORKS NEW YORK. Nothing’s been quite the same since!

And how did you meet all the street artists and graffiti writers — among the other artists —  whom you included in your show? I assume you met many here at WALLWORKS NEW YORK?

Yes! And I met several while I was volunteering as a teaching assistant with ICP (The International Center of Photography) at the Point.

I love the conversation between your photos and the artists’ interpretations of them. How did you decide which artists to include in Memorias en Arte? Its concept is brilliant.

I included artists whose works speak to me and who responded enthusiastically to my concepts of “home” and “memories.” A few of the artists I approached had too many other commitments at the time to participate in Memorias en Arte, but I hope to collaborate with them in the future — perhaps in an expanded version of the project.

What were some of the challenges you faced in seeing such an ambitious project through?

Following through with the artists to make sure that their pieces would be completed in time and sufficiently believing in my vision to see it though. But working with WALLWORKS NEW YORK has made any challenges so much easier to overcome.

How have folks reacted to this show?

The response has been great. And people tell me all the time how much they love the exhibition’s concept.

I first saw your work several months ago on exhibit at the Point’s Riverside Campus for Arts and the Environment. Where else have you exhibited? What were some some of the key shows?

I participated last summer in Through A Feminine Lens, a group show — curated by Juanita Lanzo and Kimberly Vaquedano-Rose — that featured photography and mixed media works exploring motherhood, immigrant perspectives, equity and race at the Longwood Art Gallery at Hostos Community College. Earlier, I showed in a group exposition, Exposure, here at WALLWORKS NEW YORK.  And in 2017, I participated in The Next Generation of Bronx Photographers at the Andrew Freedman Home.

Have you any particular favorite subjects as of late?

Yes, I’ve been focusing on portraits – especially of dancers — and sunsets.

Wow! You certainly have a wide range of interests! Have you any favorite photographers? Photographers who have inspired you?

Yes! Among them are: Martha Cooper, Joe Conzo and Ricky Flores. I love their commitment to community. I love Martha’s photography —  from the images she started shooting in the 80’s through those she currently captures  — and I love her story, along with the stories her photos tell. I was so happy to have an opportunity to work with her. In terms of photographers who capture dancers, my favorite is Andrea Mohin, a staff photographer for the New York Times, whom I’ve also had the chance to meet and work with.

How can folks see your current exhibit, Memorias en Arte?

It will be on view through next Friday, July 12, at WALLWORKS NEW YORK, 39 Bruckner Blvd. in the South Bronx. Gallery hours are Tuesday through Friday 11am – 5pm and weekends by appointment.

Featured images:

1 Zimad and Gloria Zapata

2 Photo of Gloria Zapata

3  Gloria Zapata and Lady jDay

4 NicerGloria Zapata and BG183

5 YesOne and Gloria Zapata

Eric Orr and Gloria Zapata

7 Installation close-up, Gloria Zapata

Photos by Lois Stavsky; interview conducted and edited by Lois Stavsky

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A cultural event that takes place on the Dutch King’s birthday, Kings Spray celebrated its 4th edition this year. Under the curatorial direction of Street Art Today founder Peter Ernst Coolen, local, national and international street artists and graffiti writers painted on container-installations scattered around the NDSM Wharf in front of the soon-to-be-open international street art and graffiti museum. The boldly-hued mural featured above was painted by Mexican artist Cix Mugre. Several more images — all captured by travel and street photographer Karin du Maire aka Street Art Nomad — follow:

Barcelona-based Dune

Spanish artist Malakkai and Dutch duo Karski and Beyond

The Amsterdam-based duo Pipsqueak Was Here!!!

Denmark-based Balstroem and Richard Holmes

The legendary NYC-based Blade posing with Queen Taraji in front of tribute mural by Swiss artist Soy R2F with pieces by Blade & UK-based Dominic950

Photos by Karin du Maire aka Street Art Nomad 

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

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I’ve been mesmerized by Vanessa Rosa‘s distinctly beautiful and engaging aesthetic since I first came upon the Brazilian artist’s mural painting several years ago — as part of the Faces on the Blue Wall project — outside Lisbon’s Julio de Matos Psychiatric Hospital. We initially met up as she was beginning her residency at Red Hook’s Pioneer Works in 2017 and reconnected last week.

You are quite nomadic! Can you tell us a bit about your recent travels and adventures? Where have you been in the past year?

Yes! I visited Thailand for the Dinacon, the Digital Naturalism Conference, an experimental conference about exploring new ways of interacting with nature. I then traveled to China, where I visited the Shanghai K11 Art Mall, the first art mall in Mainland China. While in China, I also visited fiber optics fabric factories in Shenzhen, because I am interested in creating crazy patterns with this material. Following a brief visit to NYC and Boston, I spent time in a music producer’s space in Sao Paulo, where I painted and got to know rappers — especially Nego Bala — from the favelas. I spent the month of September in the Amazon beginning an artistic partnerhsip with the extraordinary shaman and artisan, Same Putumi.

In October, I traveled to Frankfurt to represent my family’s publishing company, Viajante do Tempo, at the Frankfurt Book Fair. From Frankfurt I went to Berlin and then London. Finally back in Brazil, I produced a show at the Museum of Image and Sound in São Paulo, and also worked with Same Putumi and with my friend, the architect Veronica Natividade.

Wow! You are amazing! What brought you back to the US?

I’d been invited to participate in next year’s Smithsonian Folklife Festival, an annual exposition of living cultural heritage on the National Mall in Washington, DC. It  is DC’s largest cultural event. In 2020, the festival will explore how diverse domains of cultural knowledge—from religion to design to science—shape the ways we understand, experience and respond to ever-changing natural, social and built environments.

And why New York City? Why did you choose to work in New York City?

I want to make things happen. And for someone who wants to have access and impact, no other city is as important as this one. I am, in fact, in the process of applying for an artist’s visa.

Your studio space here at the NYC Resistor in Downtown Brooklyn is extraordinary in terms of its equipment and resources.

Yes. My residency here at the NYC Resistor is ideal. We meet regularly to share knowledge, hack on projects together and build community. It is the perfect match as it is so rich in technology. And interacting with its other members advances my research and the projects that I’d started earlier with Same Putumi.

Can  you tell us something more about your mission — particularly regarding your collaborative work with Same Putumi?

My mission is to save the Amazon through the recognition of knowledge systems possesssed by indigenous groups. The Amazon’s genetic diversity is more important than gold. We must recognize and strengthen indigenous people’s knowledge systems. It is a knowledge they have attained from a high level of observation that no scientist can reach.

And what about your new drawings?

I’m combining 16th century drawings — by the Italian artist Serlio — on how to use linear perspective with Islamic patterns and 17th century crazy character drawings by Braccelli. And I’m doing this with a drawing machine!

What about public art? Mural Art? Will you be doing anything here in NYC? Can we expect to see anything soon?

Yes! I will keep you posted!

That sounds great! I’m looking forward!

Note: On Saturday, July 13, 1-4pm, Vanessa will be presenting a workshop on watercolor at the NYC Resistor, 87  3rd Avenue, 4th Floor in Brooklyn. Information and tickets are available here.

Photo credits: 1, 4 & 5 Lois Stavsky; all others courtesy of the artist; interview conducted by Lois Stavsky

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A lover of words — both spoken and written — I’ve been a huge fan of Jay Shells’ (Jason Shelowitz’s) ambitious rap project from my first glimpse of his site-specific mural on Myrtle and Broadway several years ago. The recently released The Rap Quotes Coast to Coast — published by Dokument Press — is a photographic foray into Jay Shells’ brilliant urban interventions installed in several key cities from 2013-2018.  Accompanied with maps of site-specific rap lyrics, it is an homage to hip-hop, the spirit of the streets and to street art.

Traveling with photographer and award-winning videographer Aymann Ismail, Jay installed over 400 site-specific interventions. Largely displayed as street signs, the rap lyrics sometimes surfaced on billboards, bus stops, phone booth advertising takeovers and painted murals.

While the first segment of the book focuses on NYC — the birthplace of hip-hop in the early 80’s –The Rap Quotes Coast to Coast  also transports us to neighboring Philly, across the country to LA and then to Atlanta and Houston.

Providing a window into the psychology and cultural differences among the varied sites, the playfully poetic lyrics are witty and sly and— in the vein of rap — often hyperbolic. And offering further insights into it all, each city documented in The Rap Quotes Coast to Coast is introduced by a hip-hop journalist. 

The Rap Quotes Coast to Coast is widely available in bookstores and online and can be purchased here.

All photos courtesy Dokument Press; book review by Lois Stavsky

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Just a few blocks from the Kings Plaza Shopping Center in Flatbush, Brooklyn, a huge, beautifully-crafted, provocative billboard greets passersby. I’d met the artist, Miguel Diego Colón, several months ago in the studio he shares with other Fountain House artists in the Silks Building in Long Island City. At the time he was working on the images he’d planned to incorporate into this project. I recently had the opportunity to catch up with him and find out more about this ambitious venture:

What an impressive, powerful mural “Stand Up” is!  Can you tell us something about its theme? Its intent?

I was interested in creating a public mural that reflects the many forms of oppression that I have faced and have observed in my community here in New York City. Among these are: the destructive forces of racism, sexism, inequality, and the stigma against those struggling with mental illness. It is my way of providing solidarity with others who are oppressed.

Did any specfic recent events or incidents spur you to focus on these themes of inequality and resistance?

I had heard about a photographer who had been slammed to the ground at a Trump rally. And that had me thinking about all the bullying that has been taking place at various Trump rallies and the importance of  “standing up.”

How were you able to access such a huge, visible space?

Betty Eastland, a peer-specialist and artist, working at Fountain House Studio had sent me a link to 14×48, a non-profit project that repurposes vacant billboards as public art spaces. 14×48‘s mission is to create opportunities for artists to engage with public art. I sent 14×48 a sketch, along with a proposal, and examples of other paintings on the theme of social justice. I was amazed when I found out that I had been selected.

How long did you work on “Stand Up?”

About five months. Once I was ready to paint, I constructed stretcher bars. I then started with graissaile before adding paint.

This was your first public mural. How have folks responded to it?

Everyone has been so supportive. The response has been overwhelmingly positive.

What’s next?

 I would love to create more work in public spaces. I think of it as an audition to do more public works. And I’d love to bring my vision to Manhattan. Times Square would be ideal!

Yup! That would be great! And congratulations on “Stand Up.”

Photo credits: 1, 3 & 4 Courtesy of the artist; 2, 5 & 6 Lois Stavsky

Interview conducted and edited by Lois Stavsky

Note: To find out more about Miguel–his educational background, influences, personal circumstances — you can read an extended interview here.

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Conceived and curated by Ad Hoc Art, the Welling Court Mural Project has been transforming Welling Court and its neighboring blocks in Astoria, Queens for the past decade. Featured above are the works of See One and Hellbent who once again shared their talents with us in this community-driven project. Several more images that Ana Candelaria and I captured this past Sunday follow:

 Roberto Castillo and Kork93

 Jeromy Velasco in memory of the Stonewall Riots’ 50th anniversary —  for NYC Pride with the LISA Project NYC

The legendary Greg Lamarche aka SP.ONE 

Queens-based Free5 captured at work

And an hour later

Never Satisfied

Joe Iurato pays homage to Keith Haring 

Welling Court Mural Project founder and curator Garrison Buxton for NYC Pride with the LISA Project NYC (close-up from huge mural) — and Yes One and more graffiti art below

Photo credits: 1, 4, 6, 9 & 10 Lois Stavsky; 2, 3, 5 & 7 Ana Candelaria 

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