Some of NYC’s most exuberant graffiti walls can be found right off the MTA Broadway-Junction station in East New York, Brooklyn. This is Part I of a two-part post of what greets us there:
Rezor
Owns
Slom
Slash and Jerms
Jerms aka DJ JS-1
Photos by Lois Stavsky
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Brooklyn-based RAE — whose folksy sculptures, stickers, paste-ups and paintings on NYC streets always delight us — recently returned from Ethiopia. And we had some questions for him:
What took you to Ethiopia?
I had connected with the non-profit organization H2 Empower Inc that had recently completed construction of the first community library in the town of Hosanna.
What was your role there?
I worked with kids building sculptures out of found objects and painting the walls outside.
Those of us who follow you on Instagram had the opportunity to witness an exhibit, as well – with goats in attendance!
Yes, we staged an exhibit in the living room of the home of a local family we met in town.
How did it all culminate?
We successfully raised funds to furnish an empty, unused wing of the Alemu Woldehanna Community Library with tables, chairs and a computer station. That financial goal has been met, and the furniture making will soon be in production.
Who will be involved in the next step?
The students at the nearby School For The Deaf in Hosanna, Ethiopia will be making the furniture.
It all sounds great! Welcome home!
Photos courtesy of the artist
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With its vibrant colors and swooping shapes, Chor Boogie’s art is charged with a sumptuous intensity. Earlier this year he shared his visions with us New Yorkers at 5 Bryant Park. It was a great opportunity to speak to him and find out a bit about this talented artist.
When and where did you first get up?
I began tagging in Oceanside in San Diego, California in 1993.
Who or what inspired you at the time?
I liked the illegal aspect of it. I had no particular inspiration. But I looked up to Phase2, Riff 170 and Vulcan.
Do any early memories stand out?
Getting arrested. It happened when my father was moving from one house to another. He trusted me to hold down the house. But one night I decided to invite a bunch of graffiti kids over. By the end of the night, six or seven of us got together and started tagging down this huge highway. We were wasted, drinking OEs and doing all sorts of stupid things. I got the idea to hit the wall closest to the freeway, so I climbed down. All of a sudden, police came racing down the highway for us.
What was the outcome?
I was arrested along with Bash, a writer who ratted me out giving the police my name and everything. I was faced with a judge that was ready to put me away for some time. Luckily, I had my grandma. She hooked me up with a criminal lawyer who managed to get the judge switched. And he managed to get a judge for my case who loved art. This judge requested that I bring my portfolio to court. When she saw it, that’s all she could speak about. While the prosecuting lawyer was badmouthing me, all she could do was look at my art. She ended up giving me three years’ probation, a $500 fine and no community service. She also said that I had to paint a mural for the holidays — that I had to paint it and show her a picture of it when I returned to court. I returned with a picture of Santa Claus.
How did your family and friends feel about what you were doing?
My friends were writers so it was cool. My mom was cool about it too. She had my back. But I had to keep it a secret from my father. He found out eventually. He was not thrilled.
Any thoughts about the graffiti/street art divide?
I don’t use the word “graffiti.” I call it Modern Hieroglyphics or Street Romantic Voodoo. Graffiti sounds dirty. Graffiti is a government term that had nothing and has nothing to do with our art form.
What about the movement of street art into galleries?
It’s already been there. People just want to act as if it’s a new thing.
Where would you like to paint?
I’d like to paint anywhere. But if it was the end of the world, I’d have to say Australia. It’s all the way out there in the middle of nowhere. It’s the land down under.
Do you prefer working alone or in collaborating with others?
Alone mainly. Collaborating can be interesting. Sometimes it’s fun. Sometimes it’s b.s. It can be a hassle. But I’ve had good collaborations.
With whom would you like to collaborate?
I’ve painted with Phase2 and that was a dream. I’d like to paint with Vulcan. I would have gotten down with painters like Gustav Klimt, Salvador Dali, Michael Angelo and Caravaggio, if they were still with us.
What inspires you these days?
Music.
Are there any particular cultures that have influenced your aesthetics?
The hip-hop culture.
Do you work with a sketch in hand, or do you just let it flow?
No. I stopped using sketches ten or twelve years ago.
Are you generally satisfied with your work?
Yes! I don’t leave it until I am.
When you look back at what you did in the last few years, how do you feel?
How can I not feel good? I feel grateful about everything coming my way.
What do you think of the role of the Internet in all of this?
The Internet is one more tool of communication. I have nothing against it.
Do you have a formal arts education?
No. The street was my sketchpad.
What’s the riskiest thing you’ve done?
If I tell you, somebody’s going to jail.
What do you think is the role of the artist in society?
He’s the rat in the rat race trying to get the cheese.
What percentage of the time do you devote to your art?
One hundred percent.
Interview with Chor Boogie conducted by Lenny Collado aka BK Lenny and edited by Lois Stavsky; photos 1-3 at 5 Bryant Park by Dani Reyes Mozeson; 4. Wynwood, Miami; 5. Beacon, NY and 6. Washington DC by Lois Stavsky
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The following guest post is by Rachel Fawn Alban, a NYC-based photographer, arts educator and regular contributor to untapped cities.
Yesterday afternoon, Jonathan “Meres” Cohen and Zimad — whose talents graced the walls of 5Pointz for over a decade — were busy at work near the J Train’s Halsey stop painting a mural for 3rd Eye Sol. Founded by artist Jose Castillo, 3rd Eye Sol hosts exhibits and events and offers free workshops and children’s arts programming. Here are a few images of the artists and their wonderful work:
Meres at work
Zimad at work
Meres and Zimad together
Completed piece
All photos by Rachel Fawn Alban
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This past weekend, the walls of Graffiti Universe — located at 2995 Boston Road in the Bronx — were transformed into an all-girls’ canvas. While up there on Sunday, I had the opportunity to speak to Scratch, who — along with Lady K Fever — organized the event.
This is a first for Graffiti Universe. How did it happen?
Lady K Fever and I had painted together earlier this year. We were eager to involve more female writers. I spoke to Dennis Stumpo, who manages Graffiti Universe, and he offered us nine walls!
Had you girls ever painted together before? How did you decide whom to invite?
Many of us had met and painted together at 5Pointz and a few of us recently did the wall on 207th Street in Inwood. We wanted to include girls who were serious about graff and who could have fun together. I’m from Sweden; Lady K is from Canada; Vic is from Poland; Erica is from Mexico. And graffiti brought us together. We’re all at different levels, but we respect one another and we each want to get better and better. It’s not about who’s the best.
And this seems like the perfect way to hone your skills! Are there any particular challenges that you, as female writers, face?
We have this sense that we always have to prove ourselves. We are often not taken seriously enough.
Have you any messages to the male writers out there?
We can do it without you! We can do it ourselves!
What’s ahead?
More graff And we’d like to do some production walls with characters and backgrounds. That’s the plan!
Good luck! We look forward to seeing them!
Photos: 1. From left to right — Scratch, Anji, Lady K Fever, Erica, Chare and Vik — shutter by Topaz who had to “beg the girls to paint.” 2. Scratch 3. Lady K Fever 4. Mrs 5. Vik
Photos by Lois Stavsky
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This is the third in a three-part series featuring first-rate graffiti walls that have recently surfaced in the vicinity of the Morgan stop on the L train:
Per One FX
Veo
Cuba
Seter
Photos of Vizie, Owns and Cuba by Lois Stavsky; of Rath, Per One, Mast, Staer, Seter, Veo and Sye by Dani Reyes Mozeson; keep posted to our Facebook page for more!
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Brooklyn-based Argentinian artist Sonni Adrian has been delighting us New Yorkers with his brightly hued, delightfully playful aesthetic for the past two years. He recently had the opportunity to share his vision with the folks in Seoul, Korea.
What took you to Seoul?
While attending a conference at Parsons last year, I met a young woman who was establishing a new gallery, Everyday Mooonday, in Seoul. When she saw my artwork, she thought I’d be a great fit for the gallery. She, immediately, invited me to exhibit there and to paint on the streets of Seoul. I was thrilled that the opportunity came my way.
What was the experience like
It was wonderful. I loved everything about Seoul – its kind people, its fantastic food and the enthusiastic response I got to my artwork.
Can you tell us something about that?
My exhibit was super successful. And I had over three weeks to paint in public spaces. I am already looking forward to returning next year.
Was it difficult to find walls?
No. The government made them available to me. This was arranged through the gallery.
Was there much of a language barrier between you and the folks in Seoul?
Most of the younger people speak English. And folks who don’t speak English often responded to my artwork with friendly smiles!
Since your return to NYC, you’ve exhibited with the new collective, Ñewmerica over at Exit Room NY and at Outdoor Gallery NYC over at 17 Frost. Can you tell us something about that?
It’s basically a group of friends who love to work together. It includes LNY, Icy and Sot, Mata Ruda, NDA and me. We feed off each other’s energy and inspire one another. We have a show coming up in June over at MECKA Gallery here in Bushwick.
That sounds great? Anything else coming up?
Right now I’m finishing up my first collaborative mural with Cruz here on Waterbury Street. I will be showing in a group exhibit up in Boston at Liquid Art House, a new space opening on May 6. I will be painting soon in Mexico and I am planning to return to Seoul in 2015.
It all sounds wonderful. Good luck!
Sonni interviewed by Lois Stavsky; first three photos courtesy of the artist; photo from Ñewmerica mural at 17 Frost by Lois Stavsky
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The rooftop of the 407 Bushwick, located at 407 Johnson Avenue, elevates the wonder and energy of street art. I recently had the chance to visit it and speak to its curator, Fumero.
You’ve transformed this rooftop into a vibrant canvas drenched with dazzling colors in an array of styles. How did this come about?
A friend of mine, dj and producer Onda Skillet, lives at the 407 Bushwick. He was looking to bring some color to the rooftop that was covered mostly with old throw-ups. And I saw this as a great opportunity to bring the energy of the streets up to the roof.
You invited such a wonderfully diverse group of artists to paint here. Can you tell us something about how that came about?
In curating this rooftop, I chose artists whom I’ve met — and often worked with — throughout the years in different settings. I asked them to bring their distinct iconography with them. Some had never painted on walls before.
You are consistently active on the streets. What is the appeal of the roof to you? I remember catching glimpses of your pieces up here from street level and feeling frustrated that I couldn’t see more of them!
That’s part of the appeal. It incites interest. The roof is kind of a secret society. We are free to invite whom we want and no haters are allowed!
Where would you rather paint – on the streets or on a rooftop?
I like them both. They are different experiences. When I paint on the streets, I can engage people. But the roof has a distinct energy that I love.
Your recent event Art in the Air, Music Underground, hosted by Aphotic, featured music, as well as art. Can you tell us something about that? How integral is music to what you are doing at the 407 Bushwick?
Its role is essential. The audio creations, performed by Onda Skillet with his Aerotropic label, were the perfect complement to the art. Opening rooftops to music and art is the next big thing! What’s happening here is a landmark. It is the future.
What about the location of the 407 Bushwick? Any thoughts about that?
The location couldn’t be more perfect. Bushwick is what the Lower East Side was 30 years ago. It’s the hub of cutting-edge art and music. The 407 Bushwick is the new CBGB.
What’s ahead?
More great energy, art and music! The second Art in the Air, Music Underground will take place this summer. The artists are already lined up, and we are now seeking sponsorship.
It all sounds wonderful! What a great outdoor gallery NYC is!
Photos: 1. Fumero; 2. Nicole Salgar & Chuck Berrett with Raquel Echanique on right; 3. Gumshoe and Whisbe; 4. Cruz; 5. CAM and segment of Cruz; 6. John Paul O’Grodnick; 7. Elle, and 8. Fumero
Interview with Fumero and photos by Lois Stavsky; also featured on the roof of the 407 Bushwick are new works by Joseph Meloy, AOM, NS/CB, The Cupcake Guy, Rafal Pisarczyk and Robyn Henderson.
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The following guest post is by Houda Lazrak, a graduate student in Museum Studies at New York University.
As street art continues to gain legitimacy as a contemporary art movement throughout the world, New York City remains its cradle of birth and continues to attract artists from around the globe. Gingko Press’s recently published Outdoor Gallery — New York City by author and photographer Yoav Litvin bears witness to the unmediated and diverse creative expression of New York City’s street art. Thought provoking, comprehensive and aesthetically pleasing, Outdoor Gallery presents hundreds of street art photographs, accompanied by interviews, featuring more than forty artists.
For two years Yoav immersed himself in the world of street artists, learning their visual language, engaging in their community and observing their habitus. Outdoor Gallery justly frames street art as a platform for disrupting society’s notion of the use of public space. As the author states, street art is “a creative and non-violent form of rebellion.”
The author provides us with a rare opportunity to view the artists’ actual process. Yoav photographs artist Adam Dare’s steps as he installs his signature bunny paste-up on scaffolding in the dark of the night. Jilly Ballistic, known for subway site-specific images, also agrees to guide us through a 9-step process of pasting an image of a city officer in the Astor Place metro station.
Although most of the photographs are taken soon after the images have surfaced, Yoav eloquently emphasizes the ephemeral nature of the art form in his opening commentary and throughout the interviews he conducted. He also reminds us that street art is continuously at the mercy of many factors, such as neighborhood gentrification, weather conditions, vandalism and police intervention. Photography serves as an ally in keeping the art works alive after they have faded or disappeared.
The book’s narrative also acknowledges and insists on the diversity of mediums, surfaces and messages embedded in the art pieces. The interviews inform us of the range of intention behind the pieces. For some artists, such as gilf!, Enzo & Nio, and Icy & Sot, political commentary is the rationale behind their work. Alice Mizrachi, on the other hand, uses her large-scale murals to encourage community engagement. Finally, street art serves as a creative outlet and as a form of self-expression. Shiro describes her signature character as her “alternative self, reflecting [her] experiences and emotions as [she] goes through life.”
This book provides remarkable insight into the motivations and the creative process of dozens of street artists whose works have surfaced in NYC. More than shedding light on the extraordinary talent of these artists, Outdoor Gallery inspires readers to discover for themselves the treasure trove of outdoor art New York City has to offer.
Outdoor Gallery — New York City can be ordered online at Amazon and is available from retailers worldwide including Low Brow Artique and Zakka in Brooklyn and Strand Books, the MoMA and Guggenheim Museum shops in Manhattan.
Images © Yoav Litvin 1. Icy & Sot in Williamsburg, Brooklyn; 2. Toofly in Bushwick, Brooklyn and in Astoria, Queens; 3. Jilly Ballistic process in underground metro; 4. Hellbent in Astoria, Queens & 5. Never Satisfied in Williamsburg, Brooklyn
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Currently based in Montreal, Canada, lilyluciole has been sharing her distinct vision and luscious aesthetic throughout the globe. We met up when she was in New York City.
When did you first begin to share your artwork in public spaces?
I began three years ago. I was living in Paris at the time and recovering from a painful operation. Creating art was a way for me to express my feelings and, at the same time, heal my psychic and physical wounds.
What inspired you to hit the streets?
I wanted to share my vision with others, while transforming public space in a positive way. I feel that I have a unique way of seeing the world. The first image that I pasted after I arrived Montreal in 2011 was a portrait of an African woman who represented survival amidst difficulties. She was a woman who remained faithful to her dreams despite adversity.
Which cities have you hit since?
I’ve gotten my artwork up in Montreal, Paris, Berlin and New York City. And Eric Marechal has pasted for me in China, Brazil, Argentina and Mexico for Street Art without Borders and the ArtFabric. I was also involved in JR’s Inside Out Project in Sao Paulo, thanks to Eric and Fabi Futata.
What is the riskiest thing you ever did in the public art sphere?
I never think about it, so there are no risks. What I’m doing is too important. Any “risks” that I take only enhance my viewpoint.
Do you belong to any crews?
I belong to Collective Offmurales, a Montreal-based collective made up largely of women. It includes a range of artists from yarn bombers to street artists –like Zola, Stela, Wall of Femmes, Camille Larrivée and Harpy. I also work independently of this crew on an informal basis with a gamut of artists including street artists, photographers and dancers.
Have you any favorite artists? Artists who’ve inspired you?
I’ve been in love with Swoon since I first discovered her. But there are many others I really appreciate. I have a great respect for artists who are passionate, who seek their own truth, who view the world critically and who connect to others’ realities – those whose lives and art are one.
Have any particular cultures influenced you?
Not consciously. But I suppose I’ve been influenced by African and European ones. My inspiration is rooted in my travels, in dance and in life, itself.
Are you generally satisfied with your finished piece?
Sometimes. But as soon as I’m finished creating one, I’m already thinking about the next one.
Do you have a formal art education? Was it worthwhile?
I began studying for a BFA in 2002, and I completed it in 2008. Yes, I’d say it was worthwhile, as it helped open me to many things, including the interdisciplinary fusion of techniques and genres, such as photography, fine arts and video.
Have you shown your work in galleries?
Yes, mainly in Paris, because in Montreal galleries tend to focus on a select group of artists.
Any thoughts about the graffiti/street art divide?
I don’t understand it. I want to bridge the so-called divide.
How has your work evolved in the past few years?
It’s gotten lighter in tone.
How does the street art scene in Montreal differ from the one here in NYC?
The street art scene in Montreal is new compared to the one here in NYC. It is still emerging, and it does not yet have the energy of NYC, Paris or Berlin. It has yet to open itself to the world. But it will.
How do you feel about the role of the Internet in all this?
The streets are what matter in this movement. But I’m not against the Internet as a tool to promote what’s on the streets. And I am grateful to all the photographers who document and share my work — the artfabric, Sylvain Borsatti, Alex Tassot, Street Art Shooteurs and everyone else who has captured my work.
Have you any feelings about the bloggers in the scene?
I’d like to see more discussion beyond a superficial level. Bloggers need to question the artists and listen to them.
What do you see as the role of the artist in society?
To provide society with an alternate voice, an individual one. I see my particular role as blurring the boundaries among cultures.
What do you see as the future of street art?
It will become bigger and bigger and more socially conscious at the same time.
What about you? What’s ahead for you?
I don’t know, but I will continue to explore my identity, my sense of truth and my position as a woman and as an artist. Women have a particular wisdom and perception of the world that come from their intuition. I hope to continue to broaden my distinct insights and express them through my art.
Interview conducted and edited by Lois Stavsky. Photos: 1. lilyluciole & Baubô in Paris by Alex Tassot; 2. lilyluciole in NYC by Lois Stavsky; 3. lilyluciole & Herard for ArtFabric in Buenos Aires with photography & Choice of collaboration by Fabi & Eric Marechal; 4. lilyluciole & Ismaera in Paris by Alex Tassot; 5. lilyluciole in NYC by Sara Mozeson; 6. lilyluciole in abandoned space by Street Art Shooteurs; 7. ilyluciole in NYC by Lois Stavsky and 8. lilyluciole and Keith QbNyc in NYC by Rachel Fawn Alban
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