Iranian artists Icy and Sot have been busy. In addition to gracing the exterior of the First Street trailer last weekend for the Centre-Fuge Art Project, they have been leaving their mark on the streets of Manhattan’s fashionable SoHo neighborhood and transforming walls at Brooklyn’s Nu Hotel into vibrant canvasses.
In SoHo
John Lennon
And opening tonight — NUANCE presented by the Couch Sessions and the Nu Hotel, 85 Smith Street in Brooklyn
Photos by Lenny Collado
{ 0 comments }
Artists from across the globe, along with some of our favorite local artists, have been busy this past month gracing Brooklyn’s most elegant, evolving canvas – Bushwick Five Points. Here are some pieces that have recently surfaced:
Brooklyn-based artists See One and Hellbent
Hellbent, close-up
Italian artist Pixel Pancho
Italian artist Never2501
Cuban artist Shie Moreno
Australian artist Reka
Photos by Tara Murray and Lois Stavsky
{ 0 comments }
The once-abandoned trailer on East First Street off First Avenue in Manhattan has been transformed once again. With assistance from the young members of Cre8tive YouTH*ink, a creative arts youth development organization, it currently showcases a vibrant mix of styles from over 20 artists who had participated in the Centre-Fuge Public Art Project‘s first five cycles. The following images were captured these past four days:
Iranian artists Icy and Sot at work
Beau, Icy and Sot and Samuel Ashford
Icy and Sot, close-up
Brooklyn-based artist Samuel Ashford, close-up
Jerry Otero aka Mista Oh, founder of cre8tive YouTH*ink, Moise Joseph of cre8tive YouTH*ink and Cram Concepts
See One and Yuri Valez at work
Baltimore-based Billy Mode, Jose Aurelio-Baez, See-One, Yuri Valez & photographers Kenny Rodriguez & Osvaldo Jimenez
Billy Mode and Jose Aurelio-Baez, close-up
The Muffin Man, Zera at work, DMZL and Dr. Whom
Danielle Mastrion, Michael DeNicola, Lexi Bella and Fumero
Centre-Fuge Public Art Project founders and First Street residents Pebbles Russell and Jonathan Neville have announced that Cycle 7 submissions are due by 12/31. They may be sent to centrefuge@gmail.com. We are looking forward to another year of energetic public art on East 1st Street, dedicated to the memory of former East Village resident Mike Hamm.
Top image: NOIDone, Veng RWK, Cram Concepts, Chris RWK, Mastro, Never, Samuel Ashford, Icy and Sot, BEAU and Adam Kidder; photos by Lenny Collado, Tara Murray and Lois Stavsky
{ 2 comments }
With their universal concepts, playful imagery and distinct visual rhythms, Keith Haring’s works continue to seduce folks of all ages from across the globe. Opening this Sunday, December 2, from 1-5pm at Mana Contemporary’s huge first-floor gallery, Keith Haring showcases a collection of seldom-seen Haring pieces on a range of surfaces. Here is a brief preview:
Untitled, 1983, Acrylic on leather
Dog, 1986, painted plywood with silkscreen
Close-up
Untitled, 1982, marker on wood
And of particular interest to us New York City street art lovers are oversized metal panels originally spray-painted in 1984 on the FDR Drive
Organized by 99 Cents Fine Art, New York, the exhibit also features several of Keith Haring’s subway drawings. Mana Contemporary is located at 888 Newark Avenue, in Jersey City — just a short ride from Manhattan.
Photos by Lenny Collado and Lois Stavsky
{ 1 comment }
Our beloved stikman has been part of New York City’s visual landscape for as long as we can remember. We’ve seen him in an amazing array of styles on countless surfaces. We’ve always wondered about the artist behind one of our favorite street art characters. StreetArtNYC recently had the opportunity to ask him a few questions.
When was stikman born?
This year marks his 20th anniversary.
What inspired you to create him?
I was flea market – hunting when I came upon an old plaster plaque depicting a man made of sticks who had, somehow, fled the hold of the plaster. I was intrigued. His escape and the many forms and shapes he could take on his journey gripped my imagination. And that was the beginning of this artistic journey.
Where did your first stikman surface?
In 1992 in the East Village. I constructed about 50 that first year – all from unpainted basswood. About four years later, I started painting 3-D stikmen and also designing stickers.
Had you a presence on the streets before stikman?
I started getting my name up when I was 14 years old, and later on I was into writing anti-war statements in public spaces. I’ve been building brick and stick towers since then as well.
We’ve seen our beloved stikman in a variety of media. Can you tell us something about them?
I’ve fashioned stikman from a range of materials including: metal, wood, cloth and plastic objects. Among the objects I’ve painted over are: LP record covers, prints, playing cards and book pages.
Have you any favorite surfaces?
I like flat metal as well as walls covered in paste-ups and stencils. But I especially love old, deteriorated urban elements that have been altered by time.
Have you any message to convey with stikman?
No. I like my art to speak for itself. There is no hidden message or meaning in the traditional sense, but it is possible to analyze the work on many levels if one is so inclined. I do hope that the viewers develop a keen sense of the visual environment that is all around them.
Stikman has been quite ephemeral in certain locations. How do you feel about folks removing your art?
It’s disappointing, but I don’t view my art as “precious.” When it vanishes, the space eventually returns to its previous state.
As evidenced by what we’ve encountered on the streets this past year and seen at Williamsburg’s Pandemic and Philly’s Stupid Easy galleries, stikman continues to evolve – in quite ingenious ways. What percentage of your time is devoted to him?
Most of it. And I spend lots of time in flea markets and wandering the streets, which are constant sources of inspiration.
How does your family feel about all this?
My wife and kids love what I do. They’re all big stikman fans.
In addition to Pandemic and Stupid Easy, your work has been featured in exhibits at Factory Fresh and at Woodward Gallery. How do you feel about the movement of street art and graffiti into galleries?
Conscientious galleries can help the public understand art that is new and challenging. I encourage anyone who’s making a living by producing and exhibiting art.
Any thoughts about the graffiti/street art divide?
At its core we all work in that vibrant zone where art meets real life in the space we all share. There are so many art movements, and they all inspire one another.
Have you found inspiration in any particular public art projects?
Christo’s “Wall of Oil Barrels-Iron Curtain, Rue Visconti, Paris” circa 1962. When I was young, I saw photos of it I realized I was also an artist.
Have you had any particularly frightening or disturbing experiences while out on the streets with stikman?
Almost getting run over while stenciling him onto the pavement at a busy intersection was somewhat scary. And I’ve been in some areas I shouldn’t have been in though I believe in taking my art into troubled neighborhoods.
How do you feel about the role of the Internet in all this?
I embrace it. It has allowed artists and art enthusiasts from many places and cultures to have an awareness of art projects they were unlikely to experience any other way. My personal experience, however, is that encountering this art in its natural location has the most visual satisfaction and transcendent possibilities.
What’s ahead?
Nothing is planned. Stikman will continue to evolve. It’s all serendipity. I am working on the 7th edition of the ten year cycle tribal/insect stikman. Look for him on the streets starting in January.
‘sounds great. We are looking forward!
Photos by Dani Mozeson and Lois Stavsky
{ 17 comments }
The walls in the industrial neighborhood of Hunts Point up in the Bronx are among NYC’s most vibrant. Within the past few weeks, over a dozen diverse pieces have surfaced. While some are rooted in traditional graffiti and others cross genres, they all exude distinct charm and energy. Here is a sampling captured this past week:
Swedish artist Rubin415 and Chilean artists Dasic Fernandez and Zewok
Zewok close-up
Bristol legend Inkie in from London
The legendary Bronx native John Matos aka Crash
Bristol’s famed Nick Walker and West coast artist Mark Bode
New York City’s Yes2
Photos by Lenny Collado, Tara Murray and Lois Stavsky
{ 1 comment }
A number of years back, Judith Supine’s distinct aesthetic language was an integral part of New York City’s visual landscape. His intriguing, surreal collages — fusing a motley range of found images — surfaced regularly on New York City walls. But then they, largely, weathered away and eventually vanished. We did get to see Supine’s work in various gallery spaces, including the Jonathan LeVine Gallery, but we missed his presence on the streets.
At Jonathan LeVine
And so it was a delightful surprise to see his seductive work back on the streets, some in collaboration with West Coast artist Jesse Hazelip:
Photos by Lois Stavsky
{ 0 comments }
In 2002, Mario Rosales left his native Guatemala to pursue an MFA in Media Arts Production at The City College of New York. In fall 2008, Mario began production on his first feature film “El Regreso de Lencho.” Presenting a poignant portrait of his country’s searing suppression of street art and hip-hop culture, “The Return of Lencho” begins a one-week run at Manhattan’s Quad Cinema, starting tomorrow.
You seem to blur the boundaries between artist/filmmaker and activist. What was your intent in this film?
My intent – as an artist — is to create awareness and, ultimately, bring about social and political change. The focus of The Return of Lencho is the state’s persecution of youth and street art culture.
Who is the inspiration for Lencho?
My younger brother. He was shot and tormented by the police in Guatemala for no reason. He was assumed to be a gang member simply because he has tattoos on his legs. My brother is an anthropologist. In the course of the film – ironically and tragically – one of the main actors, Carlos Chacon, aka El Chino, a graffiti and hip-hop artist, intent on passing his skills onto others, was assassinated. The movie is dedicated to his memory.
In The Return of Lencho graffiti is presented as a people’s movement that reclaims the streets from advertisements and desolation. What do you see as the role of graffiti in society?
The role of all art should be to give a voice to the people. In the 1980’s all of Guatemala’s expressive voices were silenced. An entire generation of artists, photographers and painters was annihilated. Graffiti represents the voice of the suppressed.
What do you see as the future of graffiti in your country?
It has begun to explode and I’m certain it will continue to do so.
The scene with the curator comes off as metaphorically rich. Is this particular curator modeled after someone in particular or is she simply a symbol of imperialism and warped values? The sex between Lencho and her seems quite hostile – with a reversal of roles, with her as the victim, almost as though she’s taking on the guilt of her entire race. Can you tell us something about what’s going on here and the kind of response it has elicited?
Yes, she is a symbol of an exploitive Western imperialism. I’ve had many responses to that scene. I’ve been asked, in fact, to remove it. That is how I know just how effective it is.
Was it difficult to get permission from the government to produce this film? Was it possible to get funding?
I promoted it as a film about muralism. We spoke to the ministry of culture, and we never talked about the film’s political content. The Guatemalan government does not provide any support at all for the arts unless you have a connection.
Who is the intended audience?
It is wide — from Guatemalans and Latin Americans and immigrants to a general audience in the U.S., particularly those people who are not aware of the impact of this country’s international policies.
You seem to imply a counter relationship between graffiti and globalization. Can you elaborate?
Globalization has become synonymous with colonization. Graffiti is a means to reclaim our spaces from global corporations. Yet at the same time — quite ironically — graffiti has become a world-wide movement as a result of globalization.
What’s next?
The U.S. theatrical premiere of The Return of Lencho will begin tomorrow, Friday, November 9th at the Quad Cinema and continue through the 15th. There will be Q&A’s after the 7:50pm show tomorrow and Saturday and after the 5pm show on Sunday. We plan to continue touring college campuses with the film and bring all the artists featured – Stinkfish, Bastardilla, Aeon and Soft – back to Guatemala early next year.
Photos of film stills featuring Stinkfish’s art courtesy of Mario Rosales and Occularis Films; photo of Lorenzo Masnah’s art on East Village shutter by Lois Stavsky.
{ 0 comments }
Recently selected by RJ Rushmore of Vandalog for Complex Magazine as one of the “fifty greatest street artists right now,” LNY has shared his visions with us in NYC on walls in Chelsea, Williamsburg and Bushwick. We recently had a chance to speak with him before he left for the streets of Korea.
When and where did you begin getting up?
I began in high school – doing some toy crap, here and there, in Jersey City and West New York, NJ. What I really liked about it was the freedom to try and also to fail. It was just play. But things got serious four or five years ago, when I started drawing again – making portraits of friends. I was living in Seoul and visiting Japan, and I found myself making life-size drawings of people and pasting them onto walls. That was a turning point.
Why did you begin writing on public spaces? What made you continue?
At the beginning it was just something fun to do. But now it’s a way for me to share my vision with others, as I like telling people’s stories through my eyes. Also, it’s my way of giving back to the people. And it all makes so much sense. I wouldn’t do anything else.
Do have any preferred surfaces?
Anything really, the more textures, the merrier. I see the work on the streets as just another layer added to the city’s history, architecture and community. I consider street art successful when all these layers come together.
Do you have any preferred spots?
I enjoy the travel aspect of making art. I’m in a sense nomadic. My favorite spots in a city are those that seem to scream for interaction, for care or for a second look.
Who or what inspires you?
Anybody who is going hard and doing his or her thing… either art-wise or not. This game is not about limits or rules so you’ve got to make your own. I try to surround myself with people that inspire me and they range from friends to family members to public figures like Newark’s Mayor Cory Booker.
Have you any memorable moments from your work on the streets that stand out?
Most memorable are people’s reactions — either acceptance or rejection of a piece — by a particular community. Kids coming by and giving you props is the best. But any reactions – even criticisms – are good.
With whom have you worked?
I have worked with a range of people including fashion bloggers, scientists, painters, architects and writers. I love collaborating with people like ND’A because of the bold rhythms in his brush strokes or OverUnder because of his way with lines and his productivity. I enjoy working with anybody who is passionate, and I like to be as open as possible because the mix of mediums and people can only push the work forward.
Have you been arrested?
Yes. I was arrested yesterday. I opened my mouth when it should have stayed shut.
Well, I’m glad you’re here today. Where else – besides here in Bushwick — have you gotten up?
I’ve gotten up in Korea, Japan, China, Berlin, Paris, Ecuador, Mexico, Philadelphia, New Jersey, Atlanta, Mexico and other spots. I will get up anywhere life takes me.
How does your family feel about what you are doing?
They love it and are very supportive. As long as they see me safe and happy, they are happy.
Have you made money from your art?
Yes, and I thank all the people who have supported my vices and adventures by buying work directly from me or from galleries. I’m grateful to all those institutions, festivals, foundations and individuals who have facilitated grants and invited me to work with them. I appreciate everyone who’s given me materials or just a helping hand. Much, much, much love and keep it up.
What are some of your other interests?
I love shooting videos and editing them because I have no idea what I’m doing — same with taking pictures. I am an avid amateur at a lot of things. As an artist, I am open to all cultures, as we artists impact our immediate surroundings and help create them. So I eat up books, watch an insane amount of movies and TV shows, read blogs, look at fashion, watch season games, try all types of foods and drugs and listen to all kinds of music. I was about to try the cinnamon challenge last week, but I’m glad I didn’t.
What do think about the street-art/graffiti divide?
I don’t see a divide, but I can feel one. In New York it is more of a personality or ego-driven divide. Graffiti and street art cannot exist without each other. They owe a lot to each other as modes of expression and they’ve developed a symbiotic relationship in the market place. Graffiti is an act of assertion and ownership that comes out of a feeling of disfranchisement. It’s a free form of expression that started back in the day in Philly and the Bronx and has traveled across the globe. Passed from one generation to the next, it has translated into an act that reclaims public space and builds upon that freedom to be active in a society that would rather keep you passive. This is precisely what street-artists are doing, and you can see the different directions the movement is taking with activist work and masterful muralists around the world. Most of the beef I see is ego-driven and I hate that noise, because it denies the greater possibilities of both.
How do you feel about the movement of street-art and graffiti into galleries? Have you exhibited your work in galleries? If so, where and which ones?
Graffiti and street art can never exist in galleries. The intention is different. The audience is different. But both graffiti and street artists can create work for galleries and for the people who visit galleries. I appreciate both arenas. I have shown in tons of galleries all over, but I don’t really keep track or add them to a CV. But some of my favorites were in Korea and Berlin and now in Brooklyn – where I will have a solo show early next year at LowBrow Artique.
What do you think of the role of the Internet in all this?
The internet is a double-edged sword, as it allow anyone to be famous for 15 minutes. But fame on the Internet does not equate with talent, so be safe out there.
Do you keep up with the current street art scene?
I have never felt like I belonged to any scene, so now being part of one that is international and multifaceted is perfect! With the Internet it is super easy to have eyes all over the world. I keep up with the local scene with blogs like Brooklyn Street Art, 12OzProphet, Arrested Motion, Vandalog, Animal New York and yours. But I also check out what’s happening on the streets of South America and Europe with Buenos Aires Street Art or Graffitimundo. And even though I don’t even read French, I follow these French stencil blogs. And Instagram keeps me up with both street art photographers and artists. I have met a lot of people through Instagram, so hit me up @lunarnewyear.
How do you feel about the evolution of graffiti and street-art?
Both are getting institutionalized and being tamed as they become accepted by the mainstream, so what interests me is how these art forms are going to stay culturally relevant. I’m interested in seeing who keeps them alive in a time when their explosion and exposure have added a lot of voices to the conversation. And let’s face it — a lot of these voices are not saying anything new or worthwhile.
Have you received formal art training?
I studied at the university level, but I saw studio work as limiting, although at the time I didn’t know why. What I was missing was the immediacy of communication that you get from working in public and everything else that this brings. But I’m not going to front. I learned so much from the artists I met in school and all the friends I made. Plus you can’t destroy an idea before you understand it.
Can you tell us something about this current mural at Bushwick Five Points?
I’m never sure what a wall will look like or say until I paint it. And even then, I am not sure. I love this ignorance. I like not knowing, as it keeps me fresh and honest. So this mural is — at one level — a portrait of Malik, a young man I met through developing workshops with Young New Yorkers, a Brooklyn-based restorative justice program that works with underage kids who are tried as adults in the city. My experiences led me to view the entire American justice system as a corruption which strips minorities of freedom and turns doing this into a lucrative business. We used to call this slavery. I think it’s called cost-effective business now. This portrait is a celebration of one of our system’s victims — who represents hope for change. I see my mural as a form of public prayer.
What do you see yourself doing five years from now?
It’s hard to say. It might be another city, or maybe even another continent. But I know it will be a natural progression from the work I’m now doing. I am also very conscious of where I don’t want to be or what I don’t want to do with my art so this will also guide me. I will be adding to the conversation, moving things forward and giving back all the love I receive.
Interview by Lenny Collado; photos by Tara Murray, Dani Mozeson and courtesy of the artist
{ 1 comment }
This past weekend, Sofia Maldonado, one of our favorite artists, collaborated with the Bronx Museum’s Teen Council alumni and Jerry Otero’s Cre8tive YouTH*ink to fashion a mural celebrating the Bronx Museum’s 40th anniversary and its free admission policy. The elegant mural can be seen on the exterior of the Andrew Freedman Home at 1125 Grand Concourse. Here are some more images:
Photos by Lenny Collado with special thanks to Sofia Maldonado, Jerry Otero aka Mista OH, Robin Cembalest of ARTnews and Miriam D. Tabb & Hannie Chia of the Bronx Museum.
{ 2 comments }
