Street Artists

Welling Court Mural Project Celebrates Its 10th Anniversary: See One, Hellbent, Roberto Castillo, Kork93, Jeromy Velasco, SP.ONE, Free5, Never Satisfied, Joe Iurato, Garrison Buxton & more

June 18, 2019

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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Meet Bogota-Based Multidisciplinary Artist Andres Osuna aka Bochica

June 12, 2019

I was delighted to have the opportuity to meet up with the multi-talented Bogota-based artist Andres Osuna aka Bochica who is currently visiting NYC — ready and eager to share his vision with us.

When and where did you first start painting on the streets?

I began ten years ago while I was studying filmmaking in Buenos Aires, The first mural I ever painted was a Tree of Life in Palermo.

What inpired you to do so? Why did you choose to hit the streets?

Because the streets belong to everyone. It is our collective home. Working on the streets enables me to communicate with and share knowledge with a wide community. I see painting on the streets as a revolutionary act.

Do you paint with any crews?

I’m a member of the art collective Renova. Our mission is to transform deteriorated or abandoned urban areas into pedagogical platforms using art as a tool.

Do you generally work in illegal or legal spaces?

I’d say 90% of what I do is illegal.

What is your family’s attitude towards what you do?

They are so supportive! My mother is a warrior. She was the first fire-woman in Colombia. She has always taught me to follow my passion.

What percentage of your time is devoted to art?

All of it!

What is the source of your income?

It’s all art-related. Commissions…set design…festivals…video shoots.

That’s quite impressive! Have you a formal art education?

I’m self-taught. I studied filmmaking, but not visusal arts.

How do you feel about the role of social media in this scene?

I think it’s a good tool; it helps us artists connect with each other.

What is the riskiest thing you’ve ever done on the streets? And why did you do it?

Painting in very dangerous neighborhoods — where I had to worry about both the police and the local gangs.Why did I do it? Because it was necessary–

Do you work with a sketch-in-hand? Or do you just let it flow?

I do both. It depends on the circumstances. But I do best when I work from my head.

Are you generally satisfied with your finished piece?

Sometimes!

Are there any particular artists out there who inspire you?

I’m inspired by Diego Rivera and the entire school of social realism. As far as living artists, Obey is a personal favorite. I like his aesthetic of resistance. I also love Banksy‘s sarcasm. And I’m a huge fan of Bordalo and the way he uses trash to create amazing public artworks. My stencil art has been inspired by the Bogata-based collective Excusasdo.

What about cultures? Do any specific ones inspire you?

Indigenous cultures inspire me. I’ve been hugely influenced by many native civilizations, particularly the Chibcha one.

How has your work evolved since you first started painting on the streets over a decade ago?

I feel that everything I’d done up until now was experimentation. My style is far more developed and my ideas are far more synthesized.

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

I see the artist as a model for transformation. Just as an artist can show us how a surface can be transformed, the artist can teach us how to transform the world.

What’s ahead?

I’d like to continue to grow as an artist to help transform myself and the world. Hopofully, I have a few decades ahead.

Interview conducted and edited by Lois Stavsky; all photos courtest of the artist

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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Speaking to Underhill Walls Curator Jeff Beler on Site with: Oscar Lett, Justin Winslow, Ralph Serrano, Gia Gutierrez, Jaima, Marco Santini, Nassart, Android, Miishab, Majo & more

June 10, 2019

Underhill Walls — a model grassroots project in the Brooklyn neighborhood of Prospect Heights — has once again morphed. This time it is a canvas for 17 diversely enchanting murals reflecting the theme Urban Jungle. While visiting it last week, I had the opportunity to pose a few questions about Underhill Walls— its origins and more — to its indefatigable curator, Jeff Beler.

Underhill Walls continues to bring so much intrigue and beauty to this neighborhood. When did this project first begin?

The first set of murals surfaced here — at St. Johns Pl. and Underhill Avenue — back in the fall of 2015.

How were you able to access these walls? The concept is brilliant. It reminds me of the Centre-fuge Public Art Project that for years transformed an East Village eyesore — a neglected DOT trailer — into a rotating open-air street art gallery.

I live nearby, and I had been eyeing those walls for 10 years. They’d been ravaged by a fire, and they’d been neglected. I eventually contacted the owner of the three-floor abandoned building who was open to the concept of beautifying the property.

And then what? How did the actual transformation take place?

I started to put a team together. The first step was to build panels. And the first artists to participate in the project back in 2015 were: UR New York, Fumero, Badder Israel, Raquel Echanique, Col Wallnuts and Sienide.

Did you collaborate with any organizations at the time?

For our first project, we coordinated with the non-profit Love Heals. Titled “What’s Your Sign? Mural Project,” our first project’s mission was to raise public awareness for the HIV/AIDS crisis among Black and Latino youth.

What are some of the challenges you’ve faced in seeing this project through these past few years?

Selecting artists with the right chemistry to work together. When that happens, everything flows smoothly and beautifully. And this is exasctly how “Urban Jungle” played out.

How often do the murals change?

Twice a year. Every May and October. Since 2015, we’ve had nine rotations.

What’s ahead?

So long as the panels are here, we will be here! And each project will continue to reflect a distinct theme.

Fabulous!

Images

1 Oscar Lett

2 Justin Winslow

3 Ralph Serrano (L) and Giannina Gutierrez (R)

4 Jaima and Marco Santini collaboration

5 Nassart

6 Jeff Beler

7 Android and Miishab collaboration

8 Majo

Interview with Jeff conducted and edited by Lois Stavsky; photos by Lois Stavsky

Keep posted to StreetArtNYC Instagram for more recent images from Underhill Walls.

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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Meet Nico Skolp — Masterful Italian Designer, Graffiti Writer & Muralist

June 6, 2019

Based in Bari in the South of Italy, Nico Skolp is a masterful designer, graffiti writer and muralist with a particular passion for working in public spaces. As he readies to visit and share his talents with us in New York City, I had the opportunity to pose a few questions to him:

You began painting on the streets as a graffiti writer while still a teenager. How has your style evolved since?

I still paint graffiti, but I am always searching for new inspiration. I’m interested in the possibility of communicating with a larger audience — one outside of the graffiti community. My murals blend shapes and colors into elaborate site-specific abstractions. Although graffiti is composed of letters, it is more difficult to understand and more abstract than some other types of art. It is an interesting paradox!

You’ve been increasingly collaborating with other artists. What is that experience like? Is there any artist — in particular — with whom you’d like to collaborate?

I like collaborations. I like sharing visions and methods. It helps sharpen skills. If I could choose anyone with whom to collaborate, I would definitely say MOMO. His works are so interesting! I admire his research and his experimentation.

Have you a formal art education?

I graduated with a degree in Industrial and Communication Design. In fact, I feel more like a designer than an artist. In 2006, I set up a visual arts and design agency, Ff3300.

Do any particular graffiti/street art memories stand out?

There is no one memory — in particular — that stands out. But I feel that my crew — Sorry Guys — contributed to the growth of a new generation of writers. Younger writers often enthusiastically tell me how much we have influenced them, as they grew up following us. It is an honor to think that I have inspired other writers, as others — who came before me — inspired me.

When you paint in public spaces, do you work with a sketch-in-hand or just let it flow?

It depends. If the work is a commission, frequently I must first produce a sketch. Otherwise, I don’t, but I do seek inspiration beforehand. I used to work spontaneously, but recently, I’ve been using a method based on the rules that represent my style. It was from my style that the software open-source — based on shapes that are controlled by certain variables — was conceived. With these, you can make infinite compositions. You can download the software here. I designed it with Piero Molino, a close friend — an engineer who works for UBER in San Francisco.

Are you generally satisfied with your finished piece?

In general, yes! I’m satisfied, but I’m always striving to improve. Technically, I think I’m at a good level, The skills I have acquired have boosted my self-confidence. I’m happy with my life choices.

Have you exhibited your work in gallery settings?

I’ve never had a solo exhibition. I’ve just contributed canvases to some graffiti exhibitions such as the one held at the 2010 Meeting of Styles in Tessalonica, Greece. I’ve been thinking recently about showing in a solo exhibition and hopefully start with one in Bari. I love this city and it is where it all started for me. It has recently become a hub for tourism, and I love the idea of making a cultural contribution to it.

What’s ahead?

I just finished my latest work in Matera, the 2019 Capital of Culture in Europe, and I’m heading now to New York City, where I’d like to explore its urban art culture and make a contribution — why not a wall? — to the city! I will make myself available for any opportunities.

Yes! That would be wonderful!

Note: Nico Skolp can be contacted via his Instagram or his email nicoff3300@gmail.com.

Interview conducted and edited by Lois Stavsky; all images courtesy of the artist

Featured images:

Matera, Italy
Bari, Italy
Bari, Italy
Corato, Italy
Matera, Italy

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Dublin-Based Stencil Artist Solus on the Streets of NYC and in Upcoming Solo Exhibition at 212 Arts in the East Village

June 4, 2019

Dublin-based stencil artist Solus has once again brought his talents to NYC. Featured here are several images of his work on NYC streets and from his upcoming solo exhibition opening this Thursday, June 6 at 212 Arts in the East Village.

Another image of Solus at work on his “Boxing Ballerina ” portrait at the Ridge Hotel on Manhattan’s Lower East Side.

Up in he South Bronx — painted on an earlier visit

Preparing for Thursday’s opening at 212 Arts

To be featured in “What Was in My Head,” the artist’s upcoming solo exhibition at 212 Arts

What Was In My Head opens Thursday evening from 6-9:30pm. Located at 523 East 12th Street, 212 Arts is open Thursday-Saturday from 3-7pm and Sunday, 2-8pm.

All photos courtesy of the artist; photos 1-2 by Ana Candelaria

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Serge Louis on: His New Book, STENCILISTS POCHOIRISTES, His Passion for Stencils, His Upcoming Book-Signing at 212 Arts & more

May 30, 2019

Comprised of interviews with 17 American and European artists who use the stencil technique as their principal means of expression, STENCILISTS POCHOIRISTES, by art and culture enthusiast Serge Louis, has arrived in New York City! Featuring 444 pages and 273 illustrations, along with an introduction by stencil art connoisseur Samantha Longhi, it is Serge Louis’s second book devoted exclusively to stencil art. I recently had the opportunity to speak to Serge:

What spurred your interest in stencil art?

I’ve always been passionate about alternative forms of expression and how and why they surface. Why do folks create stencils? And how do they go about sharing them with others? And stencil art particularly appeals to me because it’s an ideal way to translate and share a message.

Yes. Stencils are quite an accessible means of communication. When did you begin working on this book?

I’ve been interested in stencil art for over a decade, and I had already published one book on the theme. Pochoirs et Pochoiristes à Bruxelles specifically focuses on Brussels’ rich stencil art scene. Three years ago, I began this book of interviews and images produced by artists in both America and in Europe.

Have you any early memories related to stencil art? Or any that stand out?

My earliest memory is of a very simple black and white one. Every stencil stands out in some way. Each one is something new. Each one is a surprise. Since I started paying attention to stencils, the way I view my environment has changed. Each city is distinct. And when I visit someplace new, I feel as though I’m on a “hunt.”

I can certainly relate to that! What were some of the challenges you encountered in producing this book?

The main challenge was convincing the artists to give me the time I needed to interview them in depth. Their time is precious, and they had to feel that taking the time to share their experiences was worthwhile and would interest others.

How can folks get a copy of STENCILISTS POCHOIRISTES?

Along with several of the artists, I will be at 212 Arts — 523 East 12th Street — on Saturday afternoon, June 1, and I will be signing copies of the book. You can also order the book through the publisher.

What’s ahead?

I’ve begun sorting through photos for my next book, and I have already interviewed six artists.

Good luck with it all! And Saturday’s book signing at 212 Arts is certainly a cause for celebration!

Interview conducted and edited by Lois Stavsky; photos courtesy of Serge Louis

Cover of book featuring stencil art by those artists interviewed for STENCILISTS POCHOIRISTES: Ben Spizz, Billi Kid, Crisp, Dave Lowell, Dipo, Docteur Bergman, ENX, Jaune, Jinks Kunst, Logan Hicks, Nice Art, Niz, Praxis, Raf Urban, Spencer, Stew and Tripel
Austin, Texas-based Peruvian native Niz
Brooklyn-based Colombian native Praxis
New York-based Colombian native Billi Kid
Austin, Texas-based Dave Lowell
Brooklyn-based, Baltimore-raised Logan Hicks

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“Studio in the Street: Symbols – Totems – Ciphers” Continues at the National Arts Club on Gramercy Park Through June 14

May 27, 2019

Late last year — when I was out of the country — the Painting Center presented Symbols, Totems and Ciphers. Curated by acclaimed artist Scot Borofsky, who had been active on the streets of the East Village back in the 80’s, the exhibit featured works in a range of media by those artists who had pioneered the street art movement. As I had missed that historical exhibit, I was delighted to discover that a variation of it is now on view at the National Arts Club on Gramercy Park South. Featured above is one of the legendary Keith Haring‘s subway drawings, photographed by Fernando Natalici. It was Keith Haring, noted Borofsky, who brought “the idea of street-art into the consciousness of every New Yorker.” What follows are several more images I captured while visiting Studio in the Street: Symbols – Totems – Ciphers at the National Arts Club.

The noted Italian multi-media artist Paolo Buggiani, Street Hanging Sculpture, Mixed media

The late Chicano stencil artist Michael Roman — captured by Scot Borofsky

Multi-media artist and writer Bob Dombrowski, Thirteen, Silkscreen on paper

The prolific Florida-based artist R.V. (Robin Van Arsdol), RV’s Images, Acrylic on canvas, 1985

Artist and curator Scot Borofsky, whose site specific works on local ruins often referenced Pre-Columbian patterns

Other pioneering street artists featured in Studio in the Street: Symbols – Totems – Ciphers include: AVANT, Richard Hambleton, Ken Hiratsuka, SAMO and Kevin Wendall. The exhibition continues at the National Arts Club, 15 Gramercy Park South, through June 14 and is open to the public Monday to Friday, 10am – 5pm. Admission is free.

Photos of artworks (and photos) by Lois Stavsky

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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“Jean-Michel Basquiat: Xerox” Continues Through May 31 at Nahmad Contemporary on Manhattan’s Upper East Side

May 26, 2019

The first exhibition ever dedicated to the legendary Basquiat‘s Xerox’s works, Jean-Michel Basquiat: Xerox, continues through this coming Friday, May 31, at Nahmad Contemporary on the Upper East Side. Curated by Basquiat scholar Dieter Buchhart, who had also curated Basquiat’s recent exhibition at the Brant Foundation, Xerox presents over 20 of Basquiat’s key Xerox works from 1981 to 1987, many shown publicly here for the first time. Featured above is King of the Zulus, fashioned with acrylic, oilstick and Xerox collage on paper mounted on canvas. Several more images from this significant exhibition follow:

Untitled, Acrylic and Xerox collage on wood, 1981

Peter and the Wolf, Acrylic, oilstick and Xerox collage on canvas, 1985

Brother’s Sausage, Acrylic, oilstick and Xerox collage on canvas, 1983

Natchez, Acrylic, oil, wood and Xerox collage, 1985

Red Joy, Acrylic, oilstick and Xerox, 1984

Wide view, segment of installation

Nahmad Contemporar y is located at 980 Madison Avenue, off 76th Street, on the Upper East Side and is open Monday – Saturday, 10AM – 6PM.

Photo credits: 1 Courtesy Nahmad Contemporary 2-6 Lois Stavsky

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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Jason Mamarella on: His Iconic Character, the Street Art “Scene,” His New Print Release & His Upcoming Exhibit at the Living Gallery Outpost

May 22, 2019

I recently had the opportunity to catch up with Jason Mamarella, as he readies for today’s print release and his upcoming exhibition at the Liv ing Gallery Outpost.

When I first started exploring NYC’s streets in pursuit of street art — well over a decade ago — I saw your now-iconic character, dint wooer krsna , everywhere! He was one of the most prolific images around town. He has since been featured in over two dozen books and has made his way onto a range of media including the opening scene of Exit Through the Gift Shop. You’d once told me that dint wooer krsna was conceived as your online identity at about the same time that MySpace was born.

Yes! It was online before it was on the streets. I did not want to reveal who I was. It was critical that my identity remain hidden at that time. Someone had threatened to shoot me over a woman, and I had reason to believe he was quite serious.

What about the name krsna? I’ve always wondered about it.

It’s a reference to Hare Krishna. I used to hang out in Hare Krishna temples. The Hindu God Krishna was a vegetarian — as I am. He was a friend of the cow.

What motivated you to hit the streets with dint wooer krsna?

I was newly divorced, and I needed to get out of the house. I’d been tagging for years — since I was a teen — but I wanted my character to stand out. krsna was my first wheatpaste.

Have you ever been arrested?

I’ve been arrested three times for vandalism. The first was in 1993 at an after-party at Ferry Point Park. Together with Aones WTO, Kech & James “V.E.” Conte, R.I.P, I was caught tagging the Bronx Whitestone Bridge. The penalty was community service and five years ACD. Then in 2008, I was caught and identified online for getting stencils up in Hoboken. After nine summonses, a judge yelled at me for 20 minutes. Nothing more. But I had to pay $3,000 to have a lawyer stand next to me in court. And in 2010, an undercover grabbed me on 2nd Avenue in the East Village for two stickers I’d put up. The cop told me that I was responsible for bringing kids into this “degenerate lifestyle,” and he called the Vandal Squad.

Had you any particular influences?

James “V.E.” Conte, R.I.P. He got up everywhere. He was obsessive compulsive. I modeled myself on him — trying to get up as much and as often as I possibly could.

For several years you were largely absent from the streets.

Yes, in 2013, I began focusing, almost exclusively, on my studio work.

So what brought you back?

I guess it was always in me. It was just dormant for awhile.

How has the street art scene changed since you first hit the streets with dint wooer krsna?

Just about everything after 2010 is irrelevant; it’s all about legal permission spots. Much of it is devoid of any originality or intellectual merit.

What — do you suppose — is responsible for this change?

Projects like The Bowery Wall and the film Exit Through the Gift Shop have pushed street art so much into the mainstream that it has become trendy. People just want to hop onto the bandwagon.

Yes. It’s certainly lost its subversive appeal to those of us who were initially drawn to that aspect of it. How has your art evolved over time?

I’m leaning more towards abstraction.

You have a new hand-embellished print, Jibb Wibbles, about to be released. I know that your first three prints sold out quickly. How can folks get hold of this new one?

It’s available from House of Roulx at this link. All proceeds will go to benefit Little Wanderers, a non-profit that rescues needy cats.

And can you tell us something about your upcoming exhibit at the Living Gallery Outpost?

I will be showing my new paintings from noon to 9pm on the weekend of June 15th and 16th. They’re dark.

That should be interesting! I’m looking forward to seeing them all!

Interview conducted and edited by Lois Stavsky

Photo credits: 1 Katherine Zavartkay; 2 Lois Stavsky, 2011, East Village; 3-5 courtesy of the artist

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On the Streets of Madrid With: Bordalo, Okuda, Pro176, ZetGraff, Antonyo Marest and Ruina R64

May 18, 2019

Rich with intrigue, the streets of Madrid showcase a tantalizing array of public artworks. The image featured above was fashioned from discarded matter by the wildly imaginative Portuguese artist Bordalo, Several more images I came upon on my recent visit to Madrid follow:

With Spanish artist Okuda to his left