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ELBOW-TOE on Eleven Spring, Wooster Collective, Street Art and more

November 28, 2016

To celebrate the launch of the new book from Wooster Collective, ELEVEN SPRING: A CELEBRATION OF STREET ART, artist ELBOW-TOE remembers the historic event and its impact on the world of street art.

I was talking to a younger artist the other day about street art that I was involved in as opposed to murals — which she considers street art — and she said, “Oh, you mean vandalism.”

How did we get here?

I recall the moment that I knew I wanted to be a street artist – I was at work, and one afternoon, my friend pointed me to this post on a blog I had never heard of called Wooster Collective. It was an image by an artist who had photoshopped street signs, so that they looked transparent from the correct angle. It was absolutely magical. How did it get there? Who was the artist? I had seen some street art around over the years: WK Interact when I was in school in the early 90’s and around the early 2000’s quite a bit of NECKFACE around the corner from a print shop I was using.

As I began to explore the archives of Wooster Collective, I saw that there was in fact a community that had built up around these random acts of art that I had paid little heed beyond the internal “huh, that’s interesting.” What was truly fascinating about the work was that, aside from a moniker, the work was anonymous. In that anonymity there existed a mystery. It elevated even the most banal work, purely by the act of risk that was involved. And for the first time in over a decade in the city, it pulled me out of my tunnel vision and got me looking at the walls as spaces to be activated.

The Wooster Collective site was such an impeccably curated space that it got people outside of the movement to give it their attention. Having known the Schillers over those early years, I, of course, was head over heels when I was asked not only to be involved in their secret project but to be given a coveted space on the main floor. At the time I don’t think any of us realized that this exhibition would have the impact that it did.

11 Spring was truly a transformative exhibition; it reflected the very transition that would occur wholeheartedly in this movement just by walking from the outside of the building to the inside. The exterior of the building still had the raw power of getting your work up. The work was often messy and might last only a few hours before being covered by a new piece. Contrast the organic energy of the ever-changing composition on the shell with an impeccably curated show inside the five floors of a gutted building, where all these artists were able to truly flex their technical and creative muscles without concern of the work being damaged or transformed by others.

It was this mercurial quality of traveling from the outside to the inside and then back out again that gave this show such power in my opinion. I am not sure that there is a direct correlation of this show to the mural program that followed, but it certainly opened a larger audience up to the possibilities of their public spaces’ potential.

I will always cherish the experience.

Note: With its outstanding documentation, along with an introduction by Shepard Fairey and an afterword by JR, ELEVEN SPRING: A CELEBRATION OF STREET ART captures an important moment in the history of the movement. Tomorrow, Tuesday, November 29 — from 6:30 to 8:00 PM — Marc and Sara Schiller, along with FAILE, Lady Pink, Michael DeFeo, and WK Interact, will be at the Strand for a special signing and celebration of the book’s launch. You can buy tickets to the event here.

Images

1. COVER, ELEVEN SPRING: A CELEBRATION OF STREET ART

2. ELBOW-TOE (BRIAN ADAM DOUGLAS), EVERYBODY’S GOT ONE, MADE WITH WOOD BURNER, YARN, AND PAINT. PHOTO ELBOW-TOE

3. WK INTERACT, THE FIRST ARTIST INVITED INSIDE THE BUILDING. PHOTO JAKE DOBKIN

4. 11 SPRING STREET, THE DAY OF THE OPENING. PHOTO JAKE DOBKIN

5. SHEPARD FAIREY, HARD AT WORK, MAKING IT LOOK EASY. PHOTO WOOSTER COLLECTIVE

6. BARNSTORMERS’ COLLABORATION WITH PAINTINGS BY Z¥$, DOZE GREEN AND KENJI HIRATA. PHOTO JAKE DOBKIN

7 JUDITH SUPINE AND DAVIDE ZUCCO (R3KAL), THERE IS HELL IN HELLO. PHOTO DONALD DIETZ

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Joe Iurato Fashions His Signature Cutouts for Washington DC Tour of Red Bull Flying Bach Dancers

November 26, 2016

This past summer, Red Bull reached out to Joe Iurato — one of our favorite artists — to create his signature wooden cutouts to help support and promote the upcoming Washington DC tour dates of Red Bull Flying Bach, a new dance tour that fuses classical music, break dancing and modern dance, set to Bach’s “The Well-Tempered Clavier.”

An interview with the artist follows:

Can you tell us something about the process of creating your distinct cutouts?

It begins with a photograph of a central subject and a story in mind. Once I have the image I want to work with, I create my layer separations for the stencils. I don’t use a computer program or a filter to create my layers. I just print the photo out multiple times in black and white at the exact size I want the wood cutout to be. Then, I cut my stencil layers by working directly from the unaltered photos, more or less drawing the tones loosely with a knife. Once my stencils are cut, I make an impression of the first layer, a silhouette, on a piece of wood.

And how does the piece get cut? At what point is it ready for placement?

The piece gets cut on a scroll saw, which is good for making cuts up to 24”, as it has a thin blade and allows me to maneuver intricate cuts. The cut then gets sanded and primed. Then, I lay in my stencils – spraying them one layer at a time. When the piece is completed, I’ll varnish and seal it. Lastly, I’ll add any hardware to make it stand, float, whatever– all depending on the intended interaction. At that point, the piece is ready for placement.

How do you decide where it will be placed?

Sometimes I know where the completed work will be placed; other times, it’s a matter of hunting for the right location. I always install them by myself, mounting them securely. The challenge is finding a location where they will last for awhile! For this project, Red Bull is securing several locations, based on where they will work best, for 10-12 of my 16″ pieces. Three similar large scale wood cut pieces — roughly 6 feet tall — will be on display from January 6-8th at the Warner Theater for the DC performances of Red Bull Flying Bach.

How long does it generally take to create a 16 inch piece?

It depends on the level of detail in the particular piece and where I am in the process. If I’m going from initial concept through to final, then it usually takes me about three to four days to create the first one. But once the stencils are cut and it’s a matter of ripping wood cutouts and spraying them out, I can make duplicates within a day.

How does creating this work for Red Bull differ from the way you generally work?

I generally work from my own imagery, but in this case, Red Bull has provided me with photographs of the Red Bull Flying Bach dancers to work with and is involved in securing locations. As I don’t know specific locations, I’ve chosen a variety of movements that could work in a range of location.

Can you tell us a bit about your experience of working with Red Bull?

It’s been very exciting. I, myself, was once a breakdancer! And Red Bull has given me complete creative freedom — something very important to my artistic process.

Special thanks to Karin du Maire who met up with Joe Iurato at Red Bull Studios in Chelsea last week.

Photo credits: 1 & 4 Karin du Maire; 2 & 3 Drew Gurian, courtesy Red Bull

Note: Red Bull Flying Bach dancers will be performing in DC at the Warner Theater, January 6-8. Check out dates of all upcoming shows here

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Francisco de Pájaro aka Art Is Trash on NYC Streets and at Castle Fitzjohns Gallery to November 30

November 23, 2016

With his delightfully unorthodox approach to both art and the streets, Francisco de Pájaro aka Art Is Trash recently brought his vision to NYC. What follows is a glimpse into the man and his whimsically provocative work:

The completed piece pictured above — in his solo exhibit MATURA — as seen at Castle Fitzjohns Gallery

With Art Is Trash‘s newly published book to its right

The artist at work

Segments of MATAÚRA

Castle Fitzjohns Gallery, exterior

And the artist with noted photographer Donna Feratto

The exhibit remains on view until November 3oth at Castle Fitzjohns Gallery, 95 Orchard Street, on Manhattan’s Lower East Side.

Photo credits: 1, 4 & 5 Audrey Connolly aka Bytegirl; 2, 6 – 8 Karin du Maire and 9 Lois Stavsky

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Riding the NYC Subway Trains With Classic Graffiti Writers: Rocky 184, Kerz, Lava, Taki 183, Easy, Slave FAB 5, Ree, Nic 707 and Quik

November 19, 2016

Nic 707’s InstaFame Phantom Art movement continues to bring dozens of classic writers back into NYC subway trains. Pictured above is Rocky 184 and Kerz. Here are a few more images recently captured while heading from the North Bronx to Midtown Manhattan:

Taki 183 & Easy

Nic 707

And a recent Nic 707 abstract

Quik

Photos by Lois Stavsky

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Joey “Serve” Vega Solo Exhibit at More Points Bx with Closing Party This Saturday, Nov 19

November 17, 2016

Serve FBA‘s current exhibit at More Points Bx is a brilliantly executed visual ode to the golden days of hip-hop. Here’s a small sampling of what I saw when I visited the Hunts Point space last weekend:

The Roxy, West 18th Street, NYC

Club Zanzibar, The birthplace of Jersey house music, in Newark NJ

Studio 54, West 54th Street, NYC, Disco Man Heaven

Bar Two OTB Car, close-up

Two of several masterpieces — showcasing Serve’s extraordinary writing skills — on canvas

And a closing reception for a chance to see it all and get to own at least one piece —

Also on display and for sale are subway maps and record covers designed by Serve, along with his BLACK BOOK.

Photos by Lois Stavsky

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From São Paulo to New York City: SALMOS Brings FRACTURED FAIRY TALES to the Martinez Gallery in Harlem

November 15, 2016

Born in Brazil in 1982, SALMOS first made his mark in São Paulo’s public spaces and freight trains as ISHI. In 2004, he opened his own tattoo store, and ten years later, he emerged as SALMOS, Sou Artista Livre Mais Ouseda de São Paulo, “the most daring free artist in Sao Paulo.” His current work — both indoors and outdoors — is largely a delightful fusion of graffiti writing and classic comic characters. This past Saturday, SALMOS‘s first NYC solo exhibit, FRACTURED FAIRY TALES opened at the Martinez Gallery. While visiting, I had the opportunity to speak to the artist.

When did you first hit the streets?

Back in 1996-97. I was 14 at the time.

What motivated you to do so?

I was drawn to the streets. Pixação — in particular — inspired me. And I came up with the idea of integrating comical characters into my writing.

Can you tell us something about these characters? What is their appeal to you?

They are magical! They fuse the nostalgia that adults feel with the mystification children experience.

And how do you choose your characters? Why — for example — Garfield?

I love the ones that make me feel like I am a kid again! Garfield enchants me!

And what brought you here to NYC?

The amazing opportunity to paint here. New York City is where it all started. The history of graffiti is here in NYC.

And we here in NYC love how writers from places like São Paulo are taking it to another level. We’re so glad you made it here! Have a safe trip home!

Curated by Octavio Zaya, FRACTURED FAIRY TALES can be seen Mon- Sat, 11AM to 5PM, at the Martinez Gallery on 135th Street and Broadway.

Note: Standing to the left of SALMOS is Martinez Gallery‘s noted director, Hugo Martinez.

Photos by Lois Stavsky

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Bisco Smith, MANIFEST, at Okay Space in Williamsburg, Brooklyn

November 14, 2016

Back in NYC, in the place he calls “home,” Bisco Smith — the first artist in residency at Okay Space — has been busy! At work during one of the most tumultuous weeks in the history of our country, the artist proposed that creating his newest body of work, MANIFEST, helped “center” him, as he strives to find “the goodness amidst the chaos.” This past Friday, MANIFEST was unveiled at Okay Space at 281 North 7th Street. Here are several images captured shortly before it officially opened to the public:

Bisco Smith adding info to Methods, serigraph on paper, edition of 111

Manifest Moments #9, acrylic & spray paint on canvas

Manifest Moments, the series — each, 18 x 18 — acrylic & spray paint on canvas

Gratitude for all things past, service for all things present, responsibility for all things future

And as seen at night from the outside, shortly before it opened

Okay Space is open Monday through Friday, 11-6, and on Saturday 12-5. For further info, you can contact the space at 929-250-2388.

Photos by Lois Stavsky

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On the NYC High Line with Zoe Leonard, Tony Matelli, Matt Johnson, Kathryn Andrews and Barbara Kruger

November 8, 2016

With the mission of fostering a dialog with the surrounding neighborhood and urban landscape, High Line Art — curated by Cecelia Alemani — presents a wide array of provocative artworks in a range of media. Pictured above is I want a president, Zoe Leonard‘s 1992 text-based work installed on the occasion of today’s election. Here are several more works that can be seen on the High Line.

Tony Matelli, Sleepwalker — for Wanderlust, a group exhibition exploring the themes of walking, journeys and pilgrimages

And alone at dusk

Matt Johnson, Untitled — repurposed original High Line rail track — for Wanderlust

Kathryn Andrews, Sunbathers II, as seen at dusk

Barbara Kruger, “BLIND IDEALISM IS REACTIONARY SCARY DEADLY, an adaptation of a quote from Frantz Fanon

Photo credits: 1 & 6 Lois Stavsky; 2 & 4 Dani Reyes Mozeson and 3 & 5 Romare Taylor

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.

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Internationally Acclaimed Brazilian Artist Eduardo Kobra Paints Massive David Bowie Tribute Mural in Jersey City

November 7, 2016

Recently in the news for setting the Guiness Book of World Records for the “latest spray paint mural by a team” with his Rio Olympic-inspired Ethnicities, self-taught Brzailian artist Eduardo Kobra has brought his extraordinary talents to Jersey City. Kobra’s rendition of pop icon David Bowie is the most recent addition to Jersey City’s more than 86 other public art works as part of the city’s Mural Arts Program launched in 2013 by Mayor Steven Fulop. This past Friday, a dedication ceremony was held at Jersey City’s Cast Iron Lofts where I had the opportunity to pose a few questions to the artist.

When did you first paint in an outdoor venue?

Ten years ago.

What inspired you to do so?

Everything I had seen and read about what was happening in New York City.

Can you tell us something about the first huge mural that you painted?

It was in Lyon, France. It was a tribute piece to immigrants in a building that was about to be dismantled.

Approximately how many huge murals have you painted since?

Over 30 in more than 20 countries.

The figures you’ve painted range from pop icons like John Lennon and Bob Dylan to historical figures inlcuding Ghandi and Nelson Mandela. What inspired you to paint David Bowie here in Jersey City?

Bowie’s creativity and vision had always inspired me. I’d actually painted this portrait six years ago on a canvas, and I was delighted to have the opportunity to paint it here in Jersey City on such a tall building. It is my way of keeping his memory alive among people who embrace him.

What was the greatest challenge that you’ve faced these past two weeks since you began painting here?

The height of the building is intimidating! And the mural, itself, is 180 feet tall.

How have folks responded to the mural?

They love it. The response has been overwhelming.

Congratulations! It is wonderful!

Interview conducted and edited by Lois Stavsky; photos by Sara Ching Mozeson

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.

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Speaking with the Original MSK — Manhattan Subway Kings — in Inwood

November 5, 2016

I met up with several members of the East Coast – and original – MSK crew while they were painting up in Inwood earlier this year. Among the writers I spoke to were: Kister, its current president; Dia One, MSK’s president back in the 80’s and its legendary former vice president, 2 New. (Note: pictured above is 2 New to the left of Dia One).

When was MSK first founded? And by whom?

It was founded in 1982 by MADE and WASE, along with a few other writers who attended IS 52 — right here in Inwood.

Which trains was MSK hitting back in the day?

Any one nearby – the 1 train, the A, the AA, the C, the CC, the RR and sometimes the D and B.

How were the original MSK crew members regarded back then?

All of us growing up in the Heights and here in Inwood had enormous respect for them. Everyone knew them and looked up to them.

Can you give us a sense of what it was like hitting the trains back then?

We followed a routine. Five or six of us would gather in a friend’s house. We’d design an outline. Then we’d rack the paint from a local hardware store. And once we had the paint, we’d pick a yard and sneak in.

And once you got into the yard?

We had to worry about gangs, dogs, cops and stepping on the 3^rd rail. Success was getting out alive and taking a photo.

Do any particular memories stand out?

When three young MSK guys went to the 145^th Street lay-ups and had their cans taken away by members of Jon One’s crew. We had to retaliate, and we ended up eventually beating the crap out of two of them. The drama only continued, and eventually Jon One left NYC for Paris.

As the train era ended in the late 80’s, what surfaces were MSK’s second and third generation hitting?

Mostly highways, rooftops and handball courts. And because we had to be fast, we mostly did bombs and throw-ups. We didn’t have time for pieces – except for occasional ones on handball courts.

Here you have members of all three generations of MSK working together – painting on a legal wall.

Yes, we do it because it’s fun. It’s our way of celebrating our culture.

And how does painting on a legal spot like this one differ from working illegally?

On a legal space like this, we can take our time and make as many changes as we want as we work. But when we paint on walls like these, we can’t get the adrenalin rush that comes with working illegally. It’s not the same — nowhere close! And we miss it!

Images

1. Dia One and 2 New against mural by Frankizm

2. Frankizm at work on tribute mural to 2 New

3. Dia One at work at night

4. Kron

5. Dia One — memorial wall first painted in 1992 and redone, at the family’s request, in 2013 — with Flite, Frankizm, Kister, Cel & Nest

Interview & photos by Lois Stavsky

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