Street Artists

Speaking with Matthew Denton Burrows

November 6, 2014

A wonderfully talented fine artist and illustrator, Matthew Denton Burrows began sharing his distinct vision with us on public spaces in January 2013. We recently had the opportunity to interview Matthew whose first solo exhibit opens tomorrow at 8pm at Greenpoint Gallery.

We first discovered you over at East First Street when you were painting for the Centre-fuge Public Art Project. Can you tell us something about that? How did it come about?

When I was in grad school at SVA, I was the only one in my program who was into street art. I loved the concept of sharing one’s art in a public space. And one of my professors who knew about Centre-fuge suggested I contact the folks running it. And so I applied, and in February 2013, I painted my first public piece on a huge trailer off First Street.

What was that experience like?

It was nerve-wracking! I generally work with pen and ink and colored pencils on paper in my studio. It was a new experience, and strangers were observing me at work over the course of five days. But I was instantly hooked! The interaction with the community was addictive!

We’ve since seen your artwork elsewhere.

Yes, I’ve painted in Bushwick, at the Northside Festival in Williamsburg and in Miami.

Your artworks on paper are quite different from what we’ve seen on the streets. They’re intricately detailed and extraordinarily complex, both visually and conceptually. When did you first begin drawing?

I’ve always been drawing! When I was in elementary school, I used to get into trouble for drawing so many people with guns!

You work just about full-time as an artist these days. At what point did you decide that you wanted art as a profession? And are you happy with that decision?

At the end of my sophomore year at Lehigh University, I decided to major in art. And, yes, I’m definitely happy with that decision. I love what I do, and I’ve sold a substantial amount of work.

You’ve had a formal art education. Can you tell us something about it? And was it worthwhile?

I received a BFA from Lehigh University, where I had the school’s first-ever solo art show just a year into my degree. Back in New York City, I earned an MFA in Illustration at the School of Visual Arts. My formal education is worthwhile only because I was first self-taught.

How do your parents feel about what you are doing these days?

They’re very supportive. My mom is an artist and she loves street art!

What percentage of your time is devoted to art?

All of it! When I’m not creating my own art, I work as project manager and assistant curator of the Centre-fuge Public Art Project. And I am also the CEO and co-founder of the recently launched company, Dripped on Productions.

Has your aesthetic been influenced by any particular cultures?

A multitude of cultures, particularly marginal ones.

What inspires you these days – both in the studio and on the streets?

I’m always inspired by the energy of my native city, NYC! But current events, my experiences, my travels, and alternative cultures also fuel my creativity. And I’m an avid reader. When I read that Rio had won the bid for the Olympics, and the World Cup, for example, I did extensive research that evolved into a body of artwork.

What are some of the particular issues that concern you?

I’m especially interested in matters related to the environment, social inequality and the impact of technology.

How, then, do you feel about the increased link between art, particularly street art, and corporate or for-profit enterprises?

I think the link, which seems to be growing stronger, is a positive thing. I think it will help enhance the movement in terms of fans, but there is always a danger when a pure artistic expression — such as street art — binds with the corporate world. The corporate world has the ability to suck the creative purity out of things. But artists need to be paid like anyone else, and if an artist can find a link where they still feel integrity and creative freedom, I would support it.

How has your work evolved in the past few years?

I feel that I’m influenced more and more by street art.

Have you ever collaborated with another artist?

No! But I’d really like to.

Do you work with a sketch in hand?

No. I have a general idea of what I want to do and my work evolves organically.

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

To expose others to a more interesting world. To remind people that something exists beyond their everyday lives.

What’s ahead?

My first solo exhibit, Are You Aware of The Ongoing Experiment will be held tomorrow, Friday, November 7, at Greenpoint Gallery from 8 -12 pm. I am headed to Art Basel next month. And in January I am participating in a group show in Aspen, Colorado.

Interview by Lois Stavsky with City As School intern Tyler Dean Flores; photos: 1 and 4, courtesy of the artist; 2, Tara Murray; 3, 5, and 6, Lois Stavsky

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Joel Bergner on Art and Life in the Za’atari Syrian Refugee Camp

November 4, 2014

We first met Joel Bergner aka Joel Artista two years ago when he was painting in Bushwick. We fell in love at once with his intensely vibrant images, reflecting a distinct global aesthetic. Since then, Joel — who refers to himself as a “nomadic artist, educator and advocate for social change” — has led community projects across the globe, including in the Za’atari Syrian refugee camp in Jordan. We recently had the chance to speak to him about his experience there.

Since we last saw you in NYC, you’ve worked with youth throughout the globe, including in a Syrian refugee camp in Jordan. What took you to this particular setting?

I like to work where I can do the most good. I’m interested in using public art projects to engage young people in marginalized communities in exploring issues that are important to their lives — and in sharing their messages and visions with others. I had partnered with the organizations aptART and ACTED. And when a program funded by UNICEF offered me the opportunity to work with youngsters in the Za’atari refugee camp, I took it.

Can you tell us something about the circumstances of the folks in this refugee camp?

The 100,000 Syrians in Za’atari were among the millions escaping the government forces of Assad’s regime. When they fled their homes in Syria, they left everything behind. When they arrived in Jordan, the Jordanian government allowed them to take refuge. But it also put many in sprawling camps in remote, harsh deserts where their lives have been on hold ever since. While they are legally prohibited from working or doing business, the informal market is booming. It’s inspiring to witness just how resilient the people are.

What is daily life like inside the camp?

It is a tense atmosphere. Many of the folks have been traumatized — both emotionally and physically. Almost all have witnessed or experienced violence and the death of loved ones. One 11-year-old boy, for example, rolled back his long sleeve to show us his severely disfigured arm. He told us that government agents had electrocuted him because his father had been a soldier who had switched allegiances to the Free Syrian Army. In Za’atari, people are kept separate from Jordanian society. People are frustrated due to restrictions on their water, food and movement, and there are protests and violent incidents fairly often.

How did the youngsters respond to your workshops?

The kids loved it. They loved mixing colors, learning artistic techniques, painting and simply creating. They painted public murals, their wheelbarrows and they made kites. They also learned about hygiene, water conservation, and conflict resolution, which are important issues in the camp. My co-workers were Syrian refugee educators and artists who led the workshops with me. The goals of this project are: to give voice to refugee children through the arts; to connect them to positive role models, and to engage them in educational and creative activities so that they can play a role in rebuilding their communities. The art features positive messages and uplifting imagery intended to liven up their environment. Also, the project provides opportunities to local artists and educators, as some of them have been hired for similar projects after this one ended.

What — would you say — was the greatest challenge facing you?

Maintaining order. The kids, most of whom went to school in Syria, now roam the refugee camp with few rules or structured activities. They are very rough and frequently get into fights. Yet, at the same time, they are also really sweet and friendly. So while working with them is challenging, it is also very enjoyable!

What were some of the highlights of your residency in Za’atari?

There were many. Among them: forming relationships with the Syrian refugee adult workers; getting to know the kids; learning basic Arabic and bringing color to a place so desperately in need of it.

Interview by Lois Stavsky with Dani Reyes Mozeson

All photos courtesy of Joel.

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Boundless Brooklyn & myplasticheart Present Water Towers Designed by: NoseGo, the Drif, Toofly, Rob Plater, Darkcloud, Stencil1 & more

November 2, 2014

Over two dozen talented toy designers and graphic artists — many of whom also work on the streets — customized water tower models using Boundless Brooklyn’s Water Tower kits. The results are on exhibit through November 21 at myplasticheart at 210 Forsyth Street on Manhattan’s Lower East Side. Here are a few more images by those artists who also use the streets as their canvas:

And Stencil1 — as seen from the outside looking in

For those of you who would like to try designing your own water tower, kits are available here.

Photos by Dani Reyes Mozeson; the first image is of NoseGo

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Banksy in New York: Writer and Photographer Ray Mock Chronicles Banksy’s New York Residency

October 30, 2014

The following guest post is by Houda Lazrak, a graduate student in Museum Studies at New York University.

Last October, the British stencil artist Banksy paid an unexpected visit to New York City. And fervently chronicling the elusive artist’s daily workings — during his month-long residency — was writer and photographer Ray Mock. The founder of Carnage NYC, Mock presents — in Banksy in New York — a comprehensive and insightful account of the month that captivated us street art aficionados, along with so many other New Yorkers.

For each of Banksy’s pieces, Mock offers a short narrative, providing insights into the various sites and neighborhoods, as well as into the artworks and the reactions they elicited. Each account is complemented with a range of photographs — from selected close-ups to shots of strangers’ poses with the pieces.

In addition to chronicling the pieces that surface throughout the month, Mock shares first-hand insider anecdotes. We follow him on his adventurous rides to the designated locations and we meet some of the others out there — who, too, are obsessed with locating and photographing every Banksy piece that appears. Mock also offers us intriguing background information. He recounts, for example, how a half-joke by a local resident to charge for photographs of the East New York beaver stencil resulted in a price tag of $20 for each photograph shot that day.

As Banksy’s pieces — particularly those that are politically-motivated — are contingent on location, the local viewers’ reactions and interpretations are part of the process. Banksy’s piece, Ghetto 4 Life, in the Melrose section of the Bronx, for example, did not go over well with Bronx Borough President Ruben Diaz, who had loved Banksy’s previous Ronald McDonald installation.

Despite all the attention Banksy’s residency received in the media, Mock provides us with something that was lacking — an overarching personal account of Banksy’s legacy on this city’s urban and social landscape. We speculate, along with Mock, on Banksy’s possible intentions and we embrace the artist’s uncensored creative expression.

In addition to the limited edition of the book — with a screen printed cover — which can now be purchased via Ray’s site, a new hardcover edition will be available for pre-order on his site starting on November 3. It will also be in bookstores by Thanksgiving.

All photos by Ray Mock

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In East New York, Brooklyn: Nicole Palapoli, Bugn, Rez, Meres, Sek3, Topaz, Lites, Jerms and Adam Fu

October 29, 2014

Just one block off the MTA Broadway-Junction station in East New York, Brooklyn are some of NYC’s most intriguing walls. Here’s a sampling of what I captured earlier this week in the bright sun:

Nicole Palapoli and Bugn

Adam Fu

Note: The image of Lites’s piece features the fashion model Tabitha Annette Miller, whom I met along with her stylist Sheryl Roberts during a photoshoot by RedHanded Imagery.

Photos by Lois Stavsky; keep posted to the Street Art NYC Facebook page for more images of recent walls in that location.

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Stencil Art Pioneer Blek Le Rat at the Quin and on NYC Streets

October 28, 2014

New works by the legendary French stencil artist Blek Le Rat – whose rats first surfaced on the streets of Paris in 1981 – can now be seen at the Quin on West 57^th Street and on the streets of our city.

Here are two more works from the exhibit Escaping Paris, curated by DK Johnston, at the Quin:

The Violinist

Obama

And the artist — captured — signing a spray can at a reception held earlier this month at the Quin

We, also, discovered the following two new pieces on the streets of Manhattan:

In Little Italy for the LISA Project

And the artist’s iconic portrait of Andy Warhol on West 57^th Street

The first image is a close-up from The Tango Dancers.

Photos by Dani Reyes Mozeson

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STREET MURALS at Bushwick’s Be Electric with Chris & Veng RWK, Nicole Salgar & Chuck Berrett, Fumero, Raquel Echanique, Magda Love, Sonni, Joseph Meloy, Cern, Esteban del Valle and more

October 25, 2014

With new murals outside and an array of artworks inside, Be Electric Studios on 1298 Willoughby Avenue is the site of a new exhibit featuring over 20 street muralists. Here are a few images captured hours before it opened last night.

Chris & Veng RWK and Nicole Salgar & Chuck Berrett

Nicholai Khan at work, Fumero, Raquel Echanique, Chris & Veng RWK and Nicole Salgar & Chuck Berrett

Magda Love at work

Sonni

Joseph Meloy

Cernesto

And Esteban del Valle adding some finishing touches to his indoor mural

Curated by Kevin Michael, the exhibit continues through Monday, 12 – 11pm.

Photos by Dani Reyes Mozeson

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Bogotá Native Praxis Brings His Vision to NYC

October 24, 2014

Known for his socially conscious, often satirical, stencils that have surfaced throughout his native Bogotá and beyond, Praxis has lately been sharing his vision and talents with us here in NYC.

What inspires you to get your work out there on public space?

I love to paint anywhere, on any surface – but especially in places where I know that folks will appreciate it. I also like to paint in neighborhoods where there isn’t much art. Those are the spaces that need it. I like bringing cheer to others!

Have you any messages that you wish to convey in your artwork?

There is always some concept or message behind what I do. I’m especially concerned with animal rights and human injustice.

Are there any specific cultures that have influenced your aesthetic?

Certainly the culture in which I grew up in Bogotá. I’ve also been influenced by African culture and from what I read. I read a lot!

You’ve been in NYC for a few months now. Any particularly striking differences between painting here and back home in Bogotá?

Back home, there is more of an appreciation for artists who paint on the streets. The people love it. They bring us drinks and food, and they always make us feel welcome.

Any thoughts on the graffiti/ street art divide?

I don’t feel it. Many of the writers I know work with or alongside street artists.

How do you feel about the movement of graffiti and street art into galleries?

It’s a great opportunity for us to make money some money, although I often don’t like the attitude of some of the folks who run the galleries. And graffiti and street art really do belong on the streets!

Do you prefer working alone or collaborating with others?

Both; I enjoy the mix of different styles.

Is there any one artist with whom you would especially like to collaborate?

C215.

Any thoughts about the role of the Internet in this scene?

It’s useful.

Do you have a formal arts education?

I did study art formally – but just about everything I learned was by painting with other artists.

What’s the riskiest thing you’ve done?

Bombing in cities far from home – like Berlin.

Were you ever arrested?

Twice back home in Bogota. I ended up each time spending over 12 hours with drunks and thieves – but they all liked graffiti.

How would you describe your ideal working environment?

Painting in La Candeleria in downtown Bogotá.

What percentage of your day is devoted to your art?

All of it! When I’m not painting on the streets, I work as an illustrator.

Are you generally satisfied with your finished piece?

Of course!

How do you feel when you look back at the work you did a number of years back?

I feel that my skills have improved.

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

To bring happiness to others.

What’s ahead?

I will be showing in STREET MURALS: An Exhibition, curated by Kevin Michael, opening this evening, October 24^th 6pm-11pm at Be Electric on 1298 Willoughby Avenue in Bushwick, BK.

What do you see yourself doing in five years from now?

I would just like to paint all day every day!

Interview conducted and edited by Lois Stavsky; images 1 and 5 courtesy of the artist; photo 2 by Lois Stavsky; photos 3 and 4 by Dani Reyes Mozeson

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WK Interact Pop-Up Exhibit Celebrates Book Release of WK/ACT4 and 25 Years of Art

October 23, 2014

A pop-up exhibit — celebrating the release of WK‘s fourth book WK/ACT4 (DRAGO) and the launch of his partnership with KLINIK — opened on Tuesday evening at The Garage in Manhattan’s Meatpacking District. A huge range of work — from mixed-media installations to huge murals — is featured. Here’s a sampling:

Close-up from huge mural featuring locations and images of WK‘s works in NYC public spaces

And the book

The exhibit continues until Wednesday at 22 Little West 12th Street. It remains open from 12 – 6pm.

Photos by Dani Reyes Mozeson

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Team LowBrow vs Team Supreme in Secret Walls Battle for the LISA Project’s Second Anniversary Party

October 21, 2014

This past Saturday, the LISA Project celebrated its second anniversary party with a spirited Secret Walls battle in the now-famous parking lot on Little Italy’s Mulberry Street. Team Lowbrow’s Bishop 203, Mastro, Zimad, and Steiner competed against Team Supreme’s Lamour Supreme, Jeremyville, Boy Kong, and Nick Gazin. Here are a few images:

Bishop 203 and Zimad (R)