News

Misha-Tyutyunik-MDOT-SoHo-Mural-Art

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.

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You’re also a prolific painter of smaller works – from works on paper to paintings on huge canvasesHave 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.

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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.

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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.

MDot-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.

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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!

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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.

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swoon-women-coney-island-installation-Brooklyn-Museum

Featuring a wondrous range of approximately 140 artworks in various media referencing the iconic Brooklyn site, Coney Island: Visions of an American Dreamland, 1861–2008 continues through March 13 at the Brooklyn Museum. Here are a few more images of works in the exhibit of special appeal to us street art aficionados:

Swoon, another close-up

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Daze

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Unknown

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Located at 200 Eastern Parkway, the Brooklyn Museum is open Wednesday through Sunday. Check here for hours.

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

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.

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lady-k-fever-abstract-graffiti

Launched and coordinated by the West Harlem Art Fund, Fusion NY presented a series of panels, tours, performances and pop-up exhibits earlier this week – Armory Week 2016 – in various venues throughout Harlem.  Of special interest to us graffiti and street art aficionados were the panel discussion,  Basquiat Still Fly @ 55, moderated by Jeffrey Deitch and the pop-up exhibit, Street Art Gone Fusion Crazy, curated by Lady K Fever and Savona Bailey. What follows are a few more images by artists — who also use the streets as their canvas — that we captured on our visit to Street Art Gone Fusion Crazy this past Wednesday.

Bind

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Brim, Tats Cru and Share 37

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BG 183

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Ree

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Curators Lady K Fever and Savona Bailey

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First image is close-up from huge piece by Lady K Fever

Photo credits: 1-5 Dani Reyes Mozeson; 6 Lois Stavsky

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.

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Lorenzo-masnah-with-artwork-chelsea

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.

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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.

Guillermo-Perez-musicians

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.

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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.

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Graffiti-A-New-York copy

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.

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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.

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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.

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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.

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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.

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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.

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giz-ghost_edited-1

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.

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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!

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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.

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 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.

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How have folks responded to the exhibit?

They love it!

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 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.

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T-kid-on-canvas-at-212-arts-NYC

Continuing through March 8 at 212 Arts in the East Village is Graffiti Legends, an exuberant exhibit of artworks by legendary Bronx artists: Bio, BG 183, Ces, Crash, Nicer, Skeme and T-Kid.  What follows is a sampling:

Another by T-Kid

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Skeme

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 BioTats Cru, close-up

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Ces

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Crash

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And a range of tags  — many, also, legendary — that surfaced on canvas opening night

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Curated by 212 Arts director Marc Leader, Graffiti Legends remains on exhibit through next Tuesday at 240 East 4th Street.  Hours are:  Tuesday through Saturday 2:00 pm – 8:00 pm, and Sunday 2:00 pm – 7:00 pm.

Photo credits: 1 Tara Murray; 2 Houda Lazrak; 3 Lois Stavsky and 4-7 Dani Reyes Mozeson

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.

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Sei-and-Ki-smith-brothers

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!

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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.

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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!

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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.

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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 BevingtonRyan Bock, Morell Cutler, Alana Dee Haynes, Kolter Hodgson, Charlie Hudson, The Love ChildJulia 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.

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4sakn-paints-graffiti-nyc

Bringing flair and flavor to the walls on and off Bogart Street in Bushwick this past Saturday were some first-rate graffiti artists. Here is a sampling:

Large fragment of 4Sakn’s completed wall

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Miami’s Eskae 545 at work

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Bishop203 aka Jat1

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Hoacs at work

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Trace at work

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Roachi

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Photo credits: 1-6 Tara Murray; 7 Dani Reyes Mozeson

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.

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the-newstand-installation-MoMA-NYC

The Newsstand, the underground zine and visual art space that ran inside the Lorimer L/G subway station from 2013 to 2014, has been recreated for MoMA‘s exhibit, Ocean of Images: New Photography 2015,  And it is certain to delight not only fans of photography and zines, but graffiti and street art aficionados, as well! Here are a few images we captured on our visit:

Back in the day

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With fire extinguisher in hand

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Along the tracks

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The Domino Sugar Factory and more

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Lele Saveri‘s photos of commuters, tags on bills and more

the-newsstand-bills-photos and more

 Close-up

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Produced in collaboration with Alldayeveryday, the installation remains on view through March 20th. Lele Saveri and other artists from The Newsstand and 8-Ball communities will present two free zine workshops for NYC high school students next month. You can check out the details here.

Photo credits: 1 Lois Stavsky; 2 – 7 Dani Reyes Mozeson

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

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