Walls

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Penned by photographer, writer, neuroscientist and street art aficionado, Yoav Litvin, 2Create: Art Collaborations in New York City is a distinctly elegant ode to the art of collaboration. Recently released by Schiffer Publishing, it was formally launched last month at the Bronx Museum of the Arts alongside a collaborative photography exhibit, 2gether: Portraits of Duos in Harlem and the South Bronx by Litvin and Tau Battice. A textual and visual documentation of the creative and collaborative process among nine pairs of artists, 2Create also presents first-hand accounts of each one’s early life and work.

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Featuring such duos from NYC-based Al Diaz and Jilly Ballistic to the Iranian brothers Icy and Sot, 2Create: Art Collaborations in New York City showcases a broad range of styles, sensibilities and processes. It also introduces us to the specific locale — from Manhattan’s Union Square Subway Station to a Greenpoint, Brooklyn rooftop — of each of the collaborative works featured. With its astute insights and superb design, it stands out among the dozens of street art-related books published last year.

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After reading the book, I posed a few questions to Yoav:

Your first book, the highly acclaimed Outdoor Gallery: New York City, focused largely on individual artists. Why did you decide to focus on duos in this book? 

In contrast to other art forms, such as music or dance, the visual arts involve a more solitary practice. Painters are famous for being hermits: closing themselves off from the world in their studios where they paint their masterpieces. At least, that’s the popular narrative. I feel that because the visual arts are easily commodified and objectified, they have evolved in such a way.  While I was working on Outdoor Gallery, which focuses on 46 individual artists, I noticed several duos of street and graffiti artists who produced incredible works, and I was fascinated by their practices. In 2Create I seek to investigate the art and practice of collaboration in different mediums — collage work, screen printing, stenciling, graffiti and mural making. My goal with 2Create is twofold: to present the behind-the-scenes processes of these artists and to investigate the secrets of collaboration, with the ultimate aim of encouraging others to create together. Just like any skill, collaboration needs to be practiced!

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How did you decide which duos to feature in 2Create?

My process with 2Create was mostly democratic. I was looking to present a diversity of styles, messages, mediums and locales. I am cognizant and weary of the politics involved in the arts and attempted to focus on artists that I felt were doing radical, innovative work and were constantly challenging themselves. Throughout my research on collaborations, I discovered there were two major categories that lie on a continuum — from complementary collaborations – individual works presented side by side – to integrative, a single piece that seamlessly integrates the work of two artists. I chose nine duos that present the full spectrum.

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What insights did you, yourself, gain into the collaborative process, particularly among visual artists?

Collaboration is a skill that should be practiced by any visual artist as part of his/her development. Collaboration is an exciting and stimulating process that can produce immense growth if approached correctly, but can be very challenging at times. An artist needs to respect and trust his or her collaborator and be willing to be adaptable and open to critique. The collaborative process can open new doors for an artist  — in techniques, messages, ideas and human connections that can be useful moving forward.

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The book, itself, is masterfully designed. Can you tell us something about that? 

For the design I worked with the designer Dan Michman, who is also an excellent childhood friend. It was important for me that every aspect of this project be collaborative. Dan is the best designer I know, plus I like him a lot and knew from experience that we’d collaborate well. Our process was incredible. Dan took my materials — images and texts — along with my notions on the artistic process and on collaboration, and created a stunning design “language” for the book. It was a truly integrative collaborative process. I could not be happier with the way it turned out. Plus, the cover design is simply stunning. Lastly, Schiffer Publishing did a great job in the book’s production.

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How has the response been to 2Create?  Is there any particular readership you’d like to reach?

The response has been overwhelmingly positive. In addition to appealing to the street art and graffiti fan crowd, my hope is that 2Create will integrate as a text book for art schools, colleges and universities. I believe the behind-the-scenes process shots, the revealing interviews and the insight into the art of collaboration make it a unique resource for artists in general, and visual artists in particular. But 2Create is more than a book on art. It is a document that presents the collaborative duo as the basic unit of a collective humanity in which empathy and collaboration trump disregard and domination. In an era of the cult of celebrity, war and climate change, collective action is not only beneficial, it is necessary. 2Create expresses these radical notions and I hope it will serve to inspire activists fighting for the greater good.

For more listen to Yoav speak on Counterpunch Radio here.

Images

1 & 2 Rubin and Dasic 

3 & 4 Bunny M and Square 

5  Stikki Peaches and Dain

6 & 7 Icy & Sot

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All images © Yoav Litvin

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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Back in 2014, the RAW Project transformed Wynwood’s Jose De Diego Middle School’s stark walls into a vibrant, sumptious outdoor gallery. During last month’s Art Basel, a team of artists — from across the globe — brought beauty and intrigue to the walls of Wynwood’s Eneida M. Hartner Elementary School. Pictured above is Jules Muck at work. Here are several more images captured on site by travel and street photographer Karin du Maire.

Mr. June at work

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Paolo Delfin

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Kevin Ledo — on left — with Shepard Fairey (w/assistants) and Paolo Delfin at work earlier on

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Case Maclaim at work

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RAW Project curator Robert Skran posing with Miami Dolphins’ Jarvis Landry aka Juice and Kai Aspire in front Kai’s and Jarvis’s collaborative artwork

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All photos by Karin du Maire

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While in Mexico City several weeks ago, I had the chance to visit GAMA, a distinctly impressive artists’ space and gallery in Colonia Hipódromo, and speak to its founder, Daniel Martinez and his partner, Kas Chudleigh.

This is such a wonderful space with so much positive energy. Can you tell us a bit about GAMA? There are quite a few people here. Who are you?

We are a group of artists that seek to nurture each other and others by collaborating, offering workshops, showcasing our work and providing opportunities for creatives.

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How long have you been in this particular space? It is ideal.

We’ve been here on the ground floor of Comitán 10, Hipódromo since June 30th.

How would you describe GAMA‘s mission?

With a particular focus on street art and urban art, we work with a diverse group of graphic designers, illustrators, photographers and muralists. We perceive the GAMA space as an education and resource center that offers a wide range of events, talks and exhibits, along with opportunities to collaborate with brands.

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Can you give us some examples of the workshops offered here?

Upcoming workshops include: watercolor painting with Diego Andrad; working with 3-D in the gif format with Chacalall, and designing illustrations with Yolka Mx.

You’ve also curated outdoor murals. I visited the one painted by Werc and Gera Luz earlier today. When did you first become interested in street art? 

In 2005 — over 10 years ago — I started creating stickers and wheatpastes. I also began following online what was happening throughout the globe, and then I spent time in Berlin and Barcelona, where I saw so much amazing art on public spaces.

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What would you say is your greatest challenge at this point?

The major one is attaining the support we need to maintain the space.

What’s ahead? Any particular projects — besides all the wonderful things happening here?

We’d like to produce a series of documentaries about some of the artists we work with. We are especially interested in the creative process. What motivates and inspires artists? We’re also interested in establishing alliances with different cultural projects in Mexico and connecting to more emerging artists.

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It all sounds great! How can folks contact you if they would like to visit or become involved?

They can contact us at contacto@gamacrea.com. They can also follow us on Instagram and on Facebook.

Images

1. Toxicómano

2. Root Rises

3. Yolka Mx

4. Werc and Gera Luz

5. Gleo

Photos and 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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While visiting CCCADI’s inaugural exhibit in its new East Harlem home, I had the opportunity to speak to one of its curators, Regina Bultron-Bengoa

Just what is CCCADI?

The Caribbean Cultural Center African Diaspora Institute is a multi-disciplinary arts center that showcases and promotes the distinct contributions of African Diaspora cultures.

How would you define its mission?

Through arts, education and activism it strives to advance change by uniting the various cultures of the African Diaspora, while promoting their value.

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When was it originally established?

Dr. Marta Moreno Vega founded it in 1966 as a center where African and Native cultures of Caribbean and Latin American countries could be recognized and honored. Its first home was on East 87th Street and its last home was in a brownstone in Hell’s Kitchen.

Can you tell us something about its present locale here in this landmark space on East 125 Street in East Harlem?

A few years back, several shuttered landmark firehouses were offered to cultural institutions. With city and state support, nine million dollars were raised to renovate this particular historic one for CCCADI, and on September 16, 2004, we broke ground.

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Who is its audience?

We have a wide audience from students and educators to arts professionals to families. We offer a huge range of free or low-cost exhibits, workshops and activities.

Your inaugural exhibit, Home, Memory, and Future is quite impressive. It is divided into three distinct parts.

Yes. Part I: Harlem: East and West features the works of three acclaimed photographers who have been documenting Harlem since the 70’s. Part II: Harlem and Home in the Global Context showcases artworks that suggest how cultural traditions are used to establish “home” in distant places. And Part III: Mi Quirido Barrio (My Beloved Community) – focusing on the social history of El Barrio — takes place outdoors and in cyberspace, using augmented reality. Among its themes are: migration, nostalgia for the past. gentrification and looking to the future.

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Can you tell us some more about the outdoor element of the exhibit?

Yes. It features locations of importance within the social history of El Barrio. Among these are memorial walls painted on the streets — whose history is documented on a free mobile app, Blippar. Through augmented reality, the app allows us to bring the past to life.

That is quite amazing! How has the response been to CCCADI‘s new home and inaugural exhibit?

The response has been great. There were long lines for the fall opening, and folks who see it love the art and identify with it.

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How can folks contact CCCADI if they would like to visit or become involved?

They can email: info@cccadi.org

Images 

1 & 2 Adrian “Viajero” Roman, Mixed media, 2016

3  Scherezade Garcia, Sea of Wonder, Mixed media, 2016

4 & 5 Oliver Rios & Luis Martinez, Memorial Walls, as seen on the Blippar app while on site

Photo credits: 1-3 Lois Stavsky; 4-5 Courtesy CCCADI

Interview conducted and edited by Lois Stavsky

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While in Mexico City last month, I had the opportunity to meet up with Jenaro de Rosenzweig and Alejandro Revilla, founders of the hugely popular Street Art Chilango.

Just what is Street Art Chilango?

It is a company dedicated to promoting street art. Three divisions have evolved: 1. Social networking on Instagram, Facebook and Snapchat; 2. Private and group tours that focus on street art in the city’s center and 3. Securing mural commissions for artists, many of whom are our friends, in both public and private spaces.

When was Street Art Chilango launched?

We launched it on March 7, 2013.

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How did you and Alex meet? And how did you end up collaborating?

We met in Barcelona several years ago, and discovered — almost at once — that we shared a love for street art.  I then went on my own to Berlin where I hung out with street artists and often ended up starting to paint at 3am in the morning! When I returned to Mexico, my ex- girlfriend suggested that I learn about the street art here in my own city. And so after taking photos, I decided to start a Facebook fan page and Alex — who had returned earlier to Mexico City —  installed an API to search for the hashtag #streetartchilango on Instagram. That’s how it all began!

And what about the tours? What spurred you to start offering tours?

Since so few people seemed to know about the amazing street art here in Mexico City, sharing it with others seemed like the logical next step. And once we began offering tours, we then set up our office here in the center of town.

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What about commissions? When and how did that start?

In October of that year, we were approached by a book publishing company, and so our first joint project was launched.

And since that first year? Who have some of your clients been?

We’ve done murals and live painting for restaurants, hotels, businesses and a range of companies from Starbucks to Facebook.

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What would you say are some of your challenges?

Continually striving to be the best we can be despite distractions and staying true to the spirit of street art when dealing with commercial enterprises.

You two have worked together now for over three years. What would you say is the key to your successful collaboration?

We are both passionate about street art, but our experiences and backgrounds are different. I studied Electrical Engineering and Finance, and Alex has a strong background in Social Media. And so we bring different strengths to Street Art Chilango.

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How can folks best contact you?

They can drop us an email at contacto@streetartchilango.com

Images 

1. Jenaro‘s famed colorful dog

2. One of Jenaro‘s signature Star Wars works

3. & 4. Commissioned murals painted by Street Art Chilango artists

5. A rotating outdoor canvas curated by Street Art Chilango, this one painted by IOU

Photos and interview by Lois Stavsky

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Among the most exuberant walls in Mexico City are those painted by both local and international artists during the city’s Meeting of Styles festival. I first discovered them on a tour with Street Art Chilangoand then I kept on returning to them. Above is the work of Ecuadorian artist Apitatan. Here are several more:

Mexican painter Diego Zelaya

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Barcelona-based writer Musa 71

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Tucson-based Cyfione

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Main Rodriguez

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Mexican artist YuzuRabia

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French artists Astro and Shane Hello

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Photos by Lois Stavsky; special thanks to Caro for identifying so many of the artists as I was posting Mexico City’s street art on Instagram earlier this month.

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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Shortly after I arrived in Mexico City earlier this month, I met up with the wonderfully knowledgeable Soylo. Passionate about the art that surfaces in public spaces — and always eager to explore and share insights into the minds that inspire it — he has been photographing graffiti and street art in his city since 2007. Among the artworks he introduced me to are a series of murals painted by Mexican artists for the project Memoria. Curated by Colectivo C, they surfaced last year in Azcapotzalco, an industrial district in the northwestern part of Mexico City. The mural pictured above is  by Tellaeche, who had painted here in NYC at the Bushwick Collective. Here are several more murals inspired by the notion of Memory:

Diana Bama

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To be identified

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Pyska

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Simply signed 7z00, a reference to the 43 missing Mexican students

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And Sego who had painted earlier in East Harlem

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Special thanks, again, to Soylo for introducing me to artworks I never would have found on my own!

Photos by Lois Stavsky

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An urban neighborhood in Arlington, Virginia, Crystal City is less than three miles away from DC’s Smithsonian Museums. Thanks to its active BID, it boasts a thriving public art scene, featuring a wide variety of works in a range of styles — many painted by local DC artists. And for us street art aficionados, there is much to love. What follows is a sampling:

DC-based artists Mas Paz and Juan Pineda

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Annapolis, MD-based Jeff Huntington aka Jahru

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DC-based Cita Sadeli aka Miss Chelove

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DC-based Kelly Towles

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San Francisco-based metal artist Ethan Kerber

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Munich, Germany-based SatOne

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Photo credits: 1, 5 & 6 Lois Stavsky; 2-4 & 7 Tara Murray

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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In early fall, Blind Whino x Art Whino brought 10 internationally acclaimed street artists to Washington DC. A melding of abstraction, fine art, graffiti and street art, their murals further enhance DC’s thriving visual landscape. Pictured above is a huge segment of a mural painted by the Polish artist, Robert Proch. Here are several more captured on our recent visit to DC:

Berlin-based Australian artist Reka, segment of huge mural

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 Ukranian artist Waone of Interesni Kazki

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Baltimore-based Jessie and Katey

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UK-based Remi Rough

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Berlin-based Above, close-up

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NYC-based Jason Woodside

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Photo credits: 1 & 7 Lois Stavsky; 2-6 Tara Murray

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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While visiting Baltimore, we met up with Richard Best aka Xxist over at the Creative Labs — a DIY incubator for artists and creative entrepreneurs housed in a huge warehouse designed from up-cycled materials. There we had the opportunity to find out a bit about the city’s SectionI Project that he had founded.

Can you tell us something about the SectionI Project? Just what is it?

It is a non-profit dedicated to utilizing urban art to enrich our lives.  Among its missions is to provide artists with opportunities to produce and promote vibrant, progressive and creative forms of urban art, while serving and enriching their communities. 

How do you go about accomplishing this?

To do this, we seek vacant, underutilized and derelict sites and we work on transforming them into vibrant venues and cultural centers.  Among the key projects we are working on is the development of a huge urban art park in the heart of Baltimore, between Station North Arts and Entertainment District. This Section1 Urban Art Park will not only provide nearby communities with a much-needed recreational park, but also serve as a cultural center for the entire city of Baltimore.

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When and how did this project first begin?

It began in September 2012, while I was enrolled in Design Leadership — a dual masters program between Johns Hopkins Carey Business School and Maryland Institute College of Art. Upon graduation, I was provided with $10,000 in seed funding from Maryland Institute College of Art’s LAB Award. This seed funding was utilized to establish Section1 Inc.

This huge space we are visiting now — the Creative Labs — is a wonderful showcase for urban art — both outdoors and indoors — and provides space for artists to work, as well.

Yes. There are a range of work spaces, including those for woodworking and photography. One of our missions is to provide artists with studio space. Space of this kind is essential in meeting the growing needs of today’s multidisciplinary artists. Upon completion, the Labs will feature a wide variety of resources including a green screen, cyclorama, fab-lab, art gallery, design studios, conference room, paint booth, dark room, washout booth, art storage and over 5,000 sq. ft. of communal space.

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That’s quite impressive! How do you get the word out on what you have to offer artists?

It’s largely organic. Artists speak to one another and let each other know. We also advertise on Craigslist.

What you’ve done here is quite amazing. What are some of your biggest challenges?

One of our greatest challenges has been identifying the property owners of potential spaces. It is often quite difficult to track down who owns a space.

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And what about funding all of this? How do you do it?

We are always looking to expand our team by engaging talented volunteers.

On the grounds here there is work not only by local artists such as Nether and Pablo Machioli, but by international artists, as well.

Yes! And through a partnership with Urban Walls Brazil, several Brazilian artists — including Mateu Velasco and Mateus Bailon — have painted here.

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How can folks contact you? To obtain more information? To visit? To become engaged in Baltimore’s SectionI Project?

They can reach me at Richard@section-1.org. They can also check us out on Instagram and visit our site online.

It’s looking great! Good luck with it all!

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Note: The Creative Labs is located at 1786 Union Ave in Baltimore, MD.

Images

1. & 2. Baltimore-based Nether, close-up from huge mural on the grounds of the Creative Labs

3. South Africa-based Corban Lundborg painted inside the Creative Labs

4. Baltimore-based Pablo Machioli and Buenos Aires-based Alfredo Segatori, close-up from mural on the grounds of the Creative Labs

5. Brazilian artist Mateu Velasco on the grounds of the Creative Labs

6. Brazilian artist Mateus Bailon on the grounds of the Creative Labs

Photo credits: 1-4 & 6 Lois Stavsky; 5 Tara Murray; interview conducted and edited by Lois Stavsky with Tara Murray

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