Walls

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

All images © Karin du Maire

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

With Art Is Trash‘s newly published book to its right

The artist at work

Segments of MATAÚRA

Castle Fitzjohns Gallery, exterior

And the artist with noted photographer Donna Feratto

The exhibit remains on view until November 3oth at Castle Fitzjohns Gallery, 95 Orchard Street, on Manhattan’s Lower East Side.

Photo credits: 1, 4 & 5 Audrey Connolly aka Bytegirl; 2, 6 – 8 Karin du Maire and 9 Lois Stavsky

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Baltimore Rising at Maryland Institute College of Art with Logan Hicks, Tony Shore, Nether 410 and more

November 21, 2016

On exhibit through Wednesday at MICA — the Maryland Institute College of Art — is Baltimore Rising, a powerful and poignant exhibition featuring the works of 15 artists who address the issues that led to the uprising following the death of Freddy Gray. Featured above is a close-up from Logan Hicks’s Freddy Gray’s Day. What follows are a few more images from this timely exhibit:

Logan Hicks, Hot Spot, aerosol on linen

Tony Shore, Hands Up, Don’t Shoot, acrylic on velvet

Tony Shore, Confrontation, acrylic on velvet

Also by Tony Shore, The Vigil, acrylic on velvet

Nether 410, Satyagraha, outdoor mural for Baltimore Rising

Photo credits: 1-5 Lois Stavsky; 6 Tara Murray

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From São Paulo to New York City: SALMOS Brings FRACTURED FAIRY TALES to the Martinez Gallery in Harlem

November 15, 2016

Born in Brazil in 1982, SALMOS first made his mark in São Paulo’s public spaces and freight trains as ISHI. In 2004, he opened his own tattoo store, and ten years later, he emerged as SALMOS, Sou Artista Livre Mais Ouseda de São Paulo, “the most daring free artist in Sao Paulo.” His current work — both indoors and outdoors — is largely a delightful fusion of graffiti writing and classic comic characters. This past Saturday, SALMOS‘s first NYC solo exhibit, FRACTURED FAIRY TALES opened at the Martinez Gallery. While visiting, I had the opportunity to speak to the artist.

When did you first hit the streets?

Back in 1996-97. I was 14 at the time.

What motivated you to do so?

I was drawn to the streets. Pixação — in particular — inspired me. And I came up with the idea of integrating comical characters into my writing.

Can you tell us something about these characters? What is their appeal to you?

They are magical! They fuse the nostalgia that adults feel with the mystification children experience.

And how do you choose your characters? Why — for example — Garfield?

I love the ones that make me feel like I am a kid again! Garfield enchants me!

And what brought you here to NYC?

The amazing opportunity to paint here. New York City is where it all started. The history of graffiti is here in NYC.

And we here in NYC love how writers from places like São Paulo are taking it to another level. We’re so glad you made it here! Have a safe trip home!

Curated by Octavio Zaya, FRACTURED FAIRY TALES can be seen Mon- Sat, 11AM to 5PM, at the Martinez Gallery on 135th Street and Broadway.

Note: Standing to the left of SALMOS is Martinez Gallery‘s noted director, Hugo Martinez.

Photos by Lois Stavsky

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Bisco Smith, MANIFEST, at Okay Space in Williamsburg, Brooklyn

November 14, 2016

Back in NYC, in the place he calls “home,” Bisco Smith — the first artist in residency at Okay Space — has been busy! At work during one of the most tumultuous weeks in the history of our country, the artist proposed that creating his newest body of work, MANIFEST, helped “center” him, as he strives to find “the goodness amidst the chaos.” This past Friday, MANIFEST was unveiled at Okay Space at 281 North 7th Street. Here are several images captured shortly before it officially opened to the public:

Bisco Smith adding info to Methods, serigraph on paper, edition of 111

Manifest Moments #9, acrylic & spray paint on canvas

Manifest Moments, the series — each, 18 x 18 — acrylic & spray paint on canvas

Gratitude for all things past, service for all things present, responsibility for all things future

And as seen at night from the outside, shortly before it opened

Okay Space is open Monday through Friday, 11-6, and on Saturday 12-5. For further info, you can contact the space at 929-250-2388.

Photos by Lois Stavsky

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Faces in NYC Open Spaces, Part XII: Werc, Vexta with Askew, Joel Artista, LMNOPI, Cern, Thiago Valdi and Leticia Mandragora

November 12, 2016

This is the twelfth in a series of posts featuring the range of faces have surfaced in NYC open spaces:

Werc in Bedford-Stuyvesant with the Open Society Foundations

Vexta and Askew in Williamsburg for the Greenest Point, one fragment of huge mural

Joel Bergner aka Joel Artista in Bellerose, Queens with the DOT

LMNOPI in Long Island City with Arts Org

Cern in Williamsburg, close-up

Thiago Valdi in Staten Island with the NYC Arts Cypher

Leticia Mandragora, Bushwick

Photo credits: 1, 3 & 7 Tara Murray: 2, 4-6 Lois Stavsky

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 Pilsen, Chicago: Stinkfish, Victor Reyes, Lady Lucx, Jon Burgerman, RAE, Overunder and Gaia

November 10, 2016

Located on the West Side of Chicago, Pilsen hosts some of the city’s most alluring street art works alongside its train tracks. Featured above is by Bogota-based artist Stinkfish. Here are several more that we revisited on our recent trip to Chicago:

West Coast-based Victor Reyes

Chicago-based Lady Lucx, close-up

UK native Jon Burgerman, close-up

Brooklyn-based RAE

Nevada-based Erik Burke aka Overunder, close-up

Baltimore-based Gaia, close-up

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

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Internationally Acclaimed Brazilian Artist Eduardo Kobra Paints Massive David Bowie Tribute Mural in Jersey City

November 7, 2016

Recently in the news for setting the Guiness Book of World Records for the “latest spray paint mural by a team” with his Rio Olympic-inspired Ethnicities, self-taught Brzailian artist Eduardo Kobra has brought his extraordinary talents to Jersey City. Kobra’s rendition of pop icon David Bowie is the most recent addition to Jersey City’s more than 86 other public art works as part of the city’s Mural Arts Program launched in 2013 by Mayor Steven Fulop. This past Friday, a dedication ceremony was held at Jersey City’s Cast Iron Lofts where I had the opportunity to pose a few questions to the artist.

When did you first paint in an outdoor venue?

Ten years ago.

What inspired you to do so?

Everything I had seen and read about what was happening in New York City.

Can you tell us something about the first huge mural that you painted?

It was in Lyon, France. It was a tribute piece to immigrants in a building that was about to be dismantled.

Approximately how many huge murals have you painted since?

Over 30 in more than 20 countries.

The figures you’ve painted range from pop icons like John Lennon and Bob Dylan to historical figures inlcuding Ghandi and Nelson Mandela. What inspired you to paint David Bowie here in Jersey City?

Bowie’s creativity and vision had always inspired me. I’d actually painted this portrait six years ago on a canvas, and I was delighted to have the opportunity to paint it here in Jersey City on such a tall building. It is my way of keeping his memory alive among people who embrace him.

What was the greatest challenge that you’ve faced these past two weeks since you began painting here?

The height of the building is intimidating! And the mural, itself, is 180 feet tall.

How have folks responded to the mural?

They love it. The response has been overwhelming.

Congratulations! It is wonderful!

Interview conducted and edited by Lois Stavsky; photos by Sara Ching Mozeson

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 the Original MSK — Manhattan Subway Kings — in Inwood

November 5, 2016

I met up with several members of the East Coast – and original – MSK crew while they were painting up in Inwood earlier this year. Among the writers I spoke to were: Kister, its current president; Dia One, MSK’s president back in the 80’s and its legendary former vice president, 2 New. (Note: pictured above is 2 New to the left of Dia One).

When was MSK first founded? And by whom?

It was founded in 1982 by MADE and WASE, along with a few other writers who attended IS 52 — right here in Inwood.

Which trains was MSK hitting back in the day?

Any one nearby – the 1 train, the A, the AA, the C, the CC, the RR and sometimes the D and B.

How were the original MSK crew members regarded back then?

All of us growing up in the Heights and here in Inwood had enormous respect for them. Everyone knew them and looked up to them.

Can you give us a sense of what it was like hitting the trains back then?

We followed a routine. Five or six of us would gather in a friend’s house. We’d design an outline. Then we’d rack the paint from a local hardware store. And once we had the paint, we’d pick a yard and sneak in.

And once you got into the yard?

We had to worry about gangs, dogs, cops and stepping on the 3^rd rail. Success was getting out alive and taking a photo.

Do any particular memories stand out?

When three young MSK guys went to the 145^th Street lay-ups and had their cans taken away by members of Jon One’s crew. We had to retaliate, and we ended up eventually beating the crap out of two of them. The drama only continued, and eventually Jon One left NYC for Paris.

As the train era ended in the late 80’s, what surfaces were MSK’s second and third generation hitting?

Mostly highways, rooftops and handball courts. And because we had to be fast, we mostly did bombs and throw-ups. We didn’t have time for pieces – except for occasional ones on handball courts.

Here you have members of all three generations of MSK working together – painting on a legal wall.

Yes, we do it because it’s fun. It’s our way of celebrating our culture.

And how does painting on a legal spot like this one differ from working illegally?

On a legal space like this, we can take our time and make as many changes as we want as we work. But when we paint on walls like these, we can’t get the adrenalin rush that comes with working illegally. It’s not the same — nowhere close! And we miss it!

Images

1. Dia One and 2 New against mural by Frankizm

2. Frankizm at work on tribute mural to 2 New

3. Dia One at work at night

4. Kron

5. Dia One — memorial wall first painted in 1992 and redone, at the family’s request, in 2013 — with Flite, Frankizm, Kister, Cel & Nest

Interview & photos by Lois Stavsky

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