Walls

DAIN Solo Exhibit Continues at Fat Free Art on the Lower East Side

December 14, 2016

Showcasing established artists, as well as emerging ones, Fat Free Art recently opened in an elegantly gritty space on the corner of Allen and Delancey on Manhattan’s Lower East Side. A dazzling solo exhibit presenting new works by the ever-ingenious Dain has inaugurated the space. Here is a sampling:

Several more of Dain‘s distinctly beguiling women

And on the street — Allen and Delancey — with Cost & more

Closer-up

The exhibit — produced in partnership with Street Art Direct — remains on view at 102 Allen Street through January 9.

All photos by Tara Murray

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Ulrich Blanché on Banksy: Urban Art in a Material World

December 9, 2016

Penned by Ulrich Blanché, Banksy: Urban Art in a Material World focuses primarily on Banksy’s relationship with consumer culture. With its thoroughly-researched appendix documenting everything from Banksy record album covers to his exhibition catalogs, it is the first comprehensive academic study of Banksy’s art. An interview with the author follows:

Your book, Banksy: Urban Art in a Material World, began as a dissertational thesis. Why did you choose to focus your studies on Banksy? What is it specifically about him that so intrigued you?

I was first introduced to street art and stencils in 2006 on a trip to Melbourne, Australia. And while visiting a museum bookshop there, I discovered Banksy’s book Wall and Piece. I was instantly fascinated and found myself going through it page by page. I liked the way each of his pieces has a distinct message or lesson that is transmitted in a humorous way. I knew then that I would like to research and write about his work.

You draw parallels between Banksy and the contemporary British artist Damien Hirst. You discuss their collaborations, as well. Can you tell us something about that? What are some of the essential similarities between the two? What did each have to gain by collaborating?

It might still shock some people that Hirst, the personification of capitalism, and Banksy, the art guerilla, collaborated. They knew each other since about 2000, and Hirst supported Banksy early on. It was kind of like Warhol and Basquiat. The established artist gains coolness and the newer artist gains credibility. The two artists admired each other’s works – and both Banksy and Hirst shared a morbid and humorous sensibility.

Among Banksy’s subjects are both capitalism and religion – often merged in a particular image. Do any particular images stand out to you? And why do they?

Banksy does not really focus on religion except in relation to consumption. Shopping/ Money is the god of today. No particular work stands out for me. Some are weaker; some are better.

To what do you attribute Banksy’s extraordinary commercial success?

I suspect that Banksy actually earns much less than people think he does. His income comes from the sale of prints, books, DVDs… The people who bought a Banksy for 50 quid 15 years ago or received a Banksy as a present have profited tremendously.

As Banksy rails against consumerism, he — himself — is a master at manipulating consumers. Why might we have become such a society of consumers? Any thoughts?

We are easily manipulated, even when we know we are being manipulated.

How essential are the streets to Banksy’s success?

The street is his canvas – it is the means he uses to communicate. To remove the street from Banksy’s work is like removing a figure from a Rembrandt. If you manage to keep the context with photos, videos, background info, the work may survive indoors – once it’s no longer on the street. In Banksy’s words: “’I don’t know if street art ever really works indoors. If you domesticate an animal, it goes from being wild and free to sterile, fat and sleepy. So maybe the art should stay outside. Then again, some old people get a lot of comfort from having a pet around the house.”

Where is it all going? Will Banksy’s popularity and commercial success continue to rise? Will Banksy continue to use the streets as a canvas? Or will he become less dependent on them? What are your thoughts?

Street Art is over. Most works on the street today are authorized murals or pieces in areas where the artist wants to be seen and photographed by the “right” people — whoever that might be. Street art has become urban art for Instagram. Banksy will last. He will put a few works on the street every year and pull off a big event every few years. I hope he will publish another huge book of his works or lead a little revolution somewhere. That would be fun.

Originally written in German and published by Tectum, Banksy: Urban Art in a Material World has been translated into English and is available here.

Interview conducted and edited by Lois Stavsky; images 2, 4 & 5 Creative Commons & 3 captured by Lenny Collado in NYC

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East Coast Flavor Meets Chicago Flair with Cornbread, Booey, Fritos, Gear One, Nic 707, Boar1, Dtel & more

December 8, 2016

Earlier this fall, several Old School East Coast writers — including the legendary Cornbread — made their way to Chicago for a one-night exhibit and a day of painting alongside local Chicago artists. We recently spoke to Brian M Convery aka Booey who curated the exhibit that took place on October 15 at Loft Zero Gallery.

How did you guys end up in Chicago? What brought you there?

Skeme had told me about an opportunity to exhibit my artwork in a solo show at Chicago’s Loft Zero Gallery. I decided that I would prefer showing in a group exhibit — that I would curate — as it would be more inclusive.

How did you decide which artists to include?

I was particularly interested in showcasing the work of classic East Coast writers. And so I largely reached out to folks I know who were painting back in the day. It was my way of giving back to the community.

What were some of the challenges you faced in curating an exhibit of this nature?

The greatest challenge was collecting all of the art I’d wanted to feature before heading out to Chicago. There were some kinks along the way. And then after twenty minutes of waiting in Newark in a rented van to drive five of us out to Chicago, Gear One called to tell me that Nic 707 was no where to be found! But, eventually, it all came together.

What about the night of the exhibit? Any challenges?

Having to compete with the Cubs who had a home game the same night! We had to work on getting the info about our show out on Cubs’ message boards.

Any particular highlights of the trip?

Having the opportunity to paint alongside several first-rate Chicago-based artists in Logan Square the following day. The interaction was awesome!

Can you tell us something more about that? How did it happen?

Constantine Ashford, the owner of Loft Zero Gallery, reached out to several local artists and made it happen.

What’s next?

I’ve been working on another show — Gold Standard — that will place this Saturday evening — December 10th at Lovecraft Bar NYC, 50 Avenue B. It will feature a range of artists from the legendary Taki 183 to such contemporaries as Tomas Manon and Gem 13.

Good luck!

Images

1. Constantine Ashford, Booey and Cornbread

2. Fritos and Gear One at work; also featured on mural are Booey and Nic 707

3. Chicago-based Boar1

4. Chicago-based Dtel

Photo credits: 1 & 2; courtesy Brian M Convery; 3 & 4 Tara Murray

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London-Based Stik on: Magpie, the Sale of Street Art Pieces, the Upcoming Phillips Auction and Fundraising for the Community

December 5, 2016

London-based Stik — one of our favorite street artists — recently announced that he had signed, dated and authenticated an original street art work to be auctioned at Phillips this coming Thursday, December 8. We spoke to him about it:

Can you tell us something about this particular piece? Where was it first painted? And when?

This piece was painted in 2009 on the former Magpie Social Centre in Bristol, England.

What was the significance of the particular space to you at the time?

Bristol was the capital of street art at the time, and Magpie had always opened their doors to me when I took the four-hour coach trip down from London. Earlier this year, Magpie contacted me and asked me to help them raise funds to relocate after they were suddenly evicted from a building where they’d been for about a decade.

Selling artwork that had once been in a public space is quite controversial. Have you any thoughts about that?

By working directly with communities in order to manage their artworks, we are trying to preserve the true social nature of street art in a creative way that benefits that community without negatively impacting the artist. All proceeds go back to the community the artworks were painted for.

Have you authenticated other works? If so, can you tell us a bit about them?

Most of my murals have a strong social meaning and that is represented by where the proceeds are allocated. There have been two others — a satellite dish and a garage door from 2012 — that raised money for local organizations in Hackney, East London. This wooden panel from the old Magpie building will help build a new Magpie Project Space to support a new generation of artists.

Whom can folks contact if they are interested in acquiring the work?

This piece is going through Phillips London who have been very generous in their support for the sale. Lot 90, New Now Sale, Phillips London 8th Dec 2016. A log of all authenticated street pieces can be seen here

Interview by Lois Stavsky; images courtesy of the artist

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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Speaking with Graphic Artist and Music Enthusiast CHema Skandal!

December 3, 2016

On our recent visit to Chicago, we discovered the delightfully playful aesthetic of the hugely talented and prolific graphic artist and music enthusiast CHema Skandal! An interview with the artist follows:

I love your artwork’s playful, spirited – often-irreverent – sensibility. What is your main inspiration? The roots of your aesthetic?

I grew up in Mexico City, and its distinct culture has inspired my aesthetic. I was influenced by everything I saw around me – hand-painted street signs, eye-catching graphic designs, everyday visual communication… Popular culture, in general, – and particularly music – is a constant inspiration. And since coming to Chicago, my work has been influenced by what I see here.

On visiting Pilsen, we came upon a mural that you painted. When did you first paint on the streets?

Yes, that was precisely the first time I painted on the streets. The first mural I ever did is here in Chicago.

What inspired you to paint a mural in a public space?

That mural in Pilsen was commissioned by a city cultural program. It coincided with me wanting to explore and try a different medium like this. At the same time I met Oscar Arriola and Brooks Golden (RIP) who brought me into street art and exposed me to many graffiti and mural artists. Reflecting on it, I had done some wheat pasting before while promoting concerts or sociopolitical topics.

How does Chicago’s street art and underground art scene differ from Mexico City’s?

A decade ago it was easy to find stickers and wheatpastings within Mexico City. But there have been mural and graffiti artists for longer, and really good ones…mainly in the outskirts. I don’t have this background, so I can not tell you much about this, but I think in many ways they are very similar. Mexico City is one of the biggest cities in the world, so you can find practically any type of art, whether independent or more affiliated to cultural organizations or brands. I feel that the scene here in Chicago is more open. Here I was embraced and welcomed by individuals and galleries alike.

Where else have you shown your work – besides here in Chicago and back in Mexico City?

I’ve shown in different places, from alternative spaces and libraries to galleries and museums. Among the cities I’ve exhibited in are: Toulouse, Lyon, Berlin, Madrid, Barcelona, Addis Ababa, Kingston, Puebla, Oaxaca, Tokyo and here in the U.S.

Do you have a formal art education?

Yes. I studied Visual Communication & Illustration at U.N.A.M.’s National School of Art.

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

I was the last one to use it! I think it can be overwhelming, but it has become a helpful platform for us artists to share our work and promote ourselves.

And is your artwork the main source of your income?

Yes, as of right now I am lucky my illustration work is steady. My projects range from publicity — like flyers, magazine illustrations and printed posters — to commissioned art.

Can you tell us something about your process?

Almost everything I create is by hand. I work with inks, acrylics and oils. I usually start a project like that and then transfer it to the computer to finish it off. I especially enjoy the painting process. I like the organic texture of what I can produce that way. I’ve also studied traditional printing techniques. Lately I’ve been getting back into block printing, one of the first mediums I learned. I find it interesting how you can reproduce prints and also the history of it.

Any favorite artists? Artists who’ve influenced you?

I like and admire many, mainly for their unique way they represent their visions. Among my favorites are: the late Mexican artist Jose Guadalupe Posada; the American comic artist Charles Burns and the satirical street artist Banksy.. I also like American and Cuban poster makers from the 60’s.

How has your work evolved through the years?

I think as an artist you are always learning from others. I’ve discovered work that inspires me and makes me want to emulate a technique and try it. Most of the time during this experience you find something that fits your work, like with street Aart in my case. I am still exploring it. My work has changed, and I hope it keeps evolving.

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

I think an artist is an amplifier of society. Artists should stimulate the feelings and ideas that are hard to digest. This can be very subjective, of course, but in the end that is where the individual’s sensitivity should focus on. An artist should reflect on the social movements of our time.

What’s ahead?

I would like to learn old painting techniques that are not in use anymore. And to find a residency in a far deserted island.

Sounds good!

All photos courtesy of the artist; interview by Lois Stavsky with Tara Murray

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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In Baltimore: Gaia & Pablo Machioli, Decertor, Ernest Shaw, Jessie & Katey, LNY, Betsy Casanas, Nanook, Billy Mode and Michael Owen

December 1, 2016

On our recent visit to Baltimore, we revisited several older murals, discovered some newer ones and came upon some of our favorite artists at work. Pictured above is Gaia with Pablo Machioli to his left, taking a break from working on their now-completed mural for Open Works. Here are several more images that we captured:

Peruvian artist Daniel Cortez aka Decertor for Open Walls Baltimore

Baltimore-based Ernest Shaw, Jr for Open Walls Baltimore

Baltimore-based Jessie Unterhalter & Katey Truhn, close-up from huge mural for Open Walls Baltimore

Newark-based LNY / Layqa Nuna Yawar, close-up for Open Walls Baltimore

Philadelphia native Betsy Casanas for Open Walls Baltimore

Baltimore-based Nanook for Open Walls Baltimore

Baltimore-based Billy Mode at work

Baltimore-based Michael Owen, close-up

Photo credits: 1, 2 & 7 Tara Murray; 3-6, 8 & 9 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 for Android devices here.

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Jeffrey Ian Ross on The Routledge Handbook of Graffiti and Street Art

November 30, 2016

An in-depth analysis of graffiti and street art, the Routledge Handbook of Graffiti and Street Art presents a strong sampling of the current scholarship in the field. Edited by University of Baltimore Professor Jeffrey Ian Ross, it is appended by a glossary of graffiti terms and a chronology of graffiti beginning with early cave paintings.

Published earlier this year by Routledge — the world’s leading academic publisher in the Humanities and Social Sciences — it is divided into four sections, offering a range of theories by thirty-seven contributors on the:

History, Types, and Writers/Artists of Graffiti and Street Art
Theoretical Explanations of Graffiti and Street Art/Causes of Graffiti and Street Art
Regional/Municipal Variations/Differences of Graffiti and Street Art, and
Effects of Graffiti and Street Art.

With its mix of aesthetic, cultural, sociological and political perspectives across a richly diverse spectrum of topics – from the history of freight train graffiti in North America to the value of street and graffiti in the current art market – it is a fascinating foray into one of the most significant global movements of our time. Among the many essays of particular interest to those of us immersed in the current scene are: Rafael Schacter‘s thesis of graffiti and street art as “ornamental forms;” Jessica N. Pabon‘s examination of gender in contemporary street art; Jeffrey Ian Ross‘s discussion of London’s contemporary graffiti and street art scene; Mona Abaza‘s analysis of the graffiti and street art that surfaced in post-January 11 Egypt, and Peter Bengtsen‘s discussion of the value of street art removed from the street.

An interview with Professor Jeffrey Ian Ross follows:

What initially spurred your interest in graffiti?

Beginning in childhood and continuing during my high school years, I spent a considerable amount of time creating visual art – graphic design, painting, photography and sculpture. Frustrated and/or disappointed with the quality of instruction in my public high schools, I enrolled in and completed courses at the Ontario College of Art–now Ontario College of Art and Design — in Toronto. Later, I was accepted to the Central Technical School Commercial Art program, as well as the Photographic Arts program at Ryerson College — now University–, but I chose not to attend. In many respects, my study of graffiti and street art, and the content of this book represent a way of coming full circle. The scholarly study of graffiti and street art deals with many subjects close to my personal interest areas, including codes, control, crime, criminal justice, deviance, gentrification, harms, illegalities, identity, state responses, power imbalances, protest, punishment, resistance, subjectivity, subterranean processes and networks, surveillance, urban incivility and vandalism.

What inspired you to edit a book of this nature?

In 2012 I decided to teach an undergraduate class on “Graffiti and Street Art” at the University of Baltimore. Over time, as I started to read the body of work on graffiti and street art, I noticed that it was short on empirical scholarly analysis, was of uneven quality, and was distributed through a diverse number of scholarly venues. What was missing was a reference book that presented and analyzed the important research, theories, and ideas related to the field of graffiti and street art. I was determined to assemble a collection of original, well researched and written pieces created by experts on this subject under one literary roof. This handbook is the result of this effort.

How do you account for the increased interest among academics in graffiti and street art?

Graffiti and street art are pervasive in cities around the world. You cannot ignore it. Because the amount of graffiti and street art has increased since the 1960s and has changed in form and content, it is something to be examined by an interdisciplinary cadre of scholars.

How did you decide what topics to include?

Through an intense reading of the scholarship of graffiti and street art, and by consulting with some of my contributors, I was able to disentangle what are/were the most important topics to include in the book.

And how did you decide which academics/scholars/authors to include?

Again through a careful read of the scholarship and by engaging with my contributors with respect to who might be the most appropriate scholar/author to write on a particular topic, I was able to narrow down which academic to invite to write a chapter.

Are there any particular theories presented here that particularly surprised or enlightened you?

I am a big fan of subcultural theories of crime, but recognize that there are numerous other theories embedded in other social sciences and the humanities that are relevant here, including different kinds of literature that play into the study of graffiti and street crime, like gentrification, space, etc.

Who is the audience for your book?

The Handbook is easy to read and designed to answer common questions asked by undergraduate and graduate students, as well as by experts on graffiti and street art. This book is also accessible to practitioners — individuals working, or aspiring to work, in the fields of criminal justice, law enforcement, art history, museum studies, tourism studies, urban studies, etc., as well as policy- makers in these fields. In addition, it is of interest to members of the news media covering stories on graffiti and street art. The analysis and writing are accessible to upper-level university students — typically referred to as juniors and seniors at American universities — and graduate students. This volume will also be useful for scholars and libraries, and can easily be utilized in the classroom context. A reference book of this nature will be of interest not only in the previously mentioned scholarly fields, but it will also be specifically relevant to those institutions that have programs in cultural studies, visual arts, tourism, and museum studies. Last but certainly not least, the Handbook will appeal to a wide international audience.

Photos for this post by Jeffrey Ian Ross: 1. Baltimore (Graffiti Alley); 2 NYC & 3. Santiago, Chile; interview by 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 for Android devices here.

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

November 28, 2016

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

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

How did we get here?

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

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

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

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

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

I will always cherish the experience.

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

Images

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

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

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

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

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

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

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

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Speaking With Travel and Street Photographer Karin du Maire

November 24, 2016

Since we first discovered Karin du Maire‘s Instagram account, we’ve been fans of her hugely impressive documentation of street art and graffiti. We recently had the opportunity to sit down with her.

We love your documentation of the current street art and graffiti scene – in NYC and in your travels. When did you first turn your lens to urban culture, particularly street art?

As a travel photographer, I developed a strong interest in urban culture in 2006 while in Rio de Janeiro photographing Passinho dancers in the city’s favelas. At about that time, I started paying more attention to the background, and I began using abandoned buildings as settings. And back here in NYC, I often combined my visits to MoMA PS1 in Long Island City with 5Pointz, where I particularly loved photographing B-boy battles.

Are you formally trained as a photographer?

No, I studied Business, and I earned an MBA degree from the Vrije Universiteit in Amsterdam. But I’ve taken courses in photography at SVA and I’ve participated in B&H’s Event Space workshops. I also ran a Twitter chat focusing on photography.

When did you first become interested in photography?

It was a passion of mine in the late 80’s and early 90’s. And then in the late 90’s, I began getting paid assignments as a travel photographer.

You’ve photographed dozens of artists at work. How have they responded to you?

In general, they’ve been very welcoming. They appreciate my photography skills and the exposure that I offer them. I always ask for permission first, and I share my photos with them. Many artists have become my friends, and it is fun to chat and watch them paint.

What are some of the challenges that you face in the work you are now doing?

Keeping up with all that is happening on the streets; wanting to capture an image when the light is wrong or when there are cars in the way, and trying to help artists by arranging walls for them.

What — would you say — is your current mission?

There is an intrinsic reward in what I am doing – documenting creativity and helping artists grow. And coming from a travel photography background, I would like to get sponsored to photograph street art in different places.

Do you have any particularly memorable experiences from your work here in NYC?

Watching Nychos paint at Coney Art Walls – his amazing raw energy as he sketched freehand.

Any favorite cities?

Rio de Janeiro and London are among my favorites.

Any proud accomplishments from documenting art on the streets?

My proudest accomplishments generally involve capturing someone in the right place at the right time. It’s the split second that makes the difference! I was so happy, for example, to meet and photograph Sebas Rivas from Córdoba in Argentina while he was sitting aside, off on his own — selling his delightful artwork – amidst all the activity at Art Basel in Miami last year.

We’ve noticed that you use your iPhone as opposed to a standard camera to capture images.

Yes. I use the iPhone to photograph just about everything that is not an assignment. Most cameras these days are good. What matters is not the camera – but the eye of the photographer… the composition, the light, the moment. In addition, iPhones are less intimidating than huge cameras. And the entire process is shorter, as I have very little editing to do.

What’s ahead for you?

I’m now off to Art Basel in Miami and I am planning to return soon to Cuba, where there is a burgeoning street art scene.

Where do you think street art and graffiti are headed?

Street art will continue to beautify our cities. It will continue to become more mainstream, and there will be more opportunities for artists. I also suspect that there will be more art activism.

Thank you! And do keep on doing what you are doing! We love it!

Images

1. Beyond on LIC rooftop

2. Meres mural in background with b-boys at 5Pointz in LIC

3. Icy and Sot in Astoria with the Welling Court Mural Project

4. Nychos at work for Coney Art Walls with Martha Cooper with camera

5. Sebas Rivas in Miami

6. Ces photographing his mural at Broadway Junction

Interview conducted by Lois Stavsky with Tara Murray

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

November 23, 2016

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

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