It’s been busy up on Boone Avenue near the Sheridan Expressway in the Bronx these past few days. Here are a few images captured yesterday during its current transformation:
Cern and Lady Fever at work
Fernando Romero aka Ski at work
Skeme, Reme at work and Chris RWK
All photos by Tara Murray. Part II to follow.
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Based in Argentina where he shares a studio with artists Jaz and Ever, Pastel recently participated in the urban arts festival, Los Muros Hablan, here in NYC. His splendid mural in the South Bronx is representative of his distinct aesthetic, which fuses his passions and talents for architecture, painting and muralism. I had the opportunity to speak to him briefly last month before he returned to his native Buenos Aires.
When did you first get up in a public space?
When I was 14 or 15, I began tagging in my Buenos Aires neighborhood with markers that I made from tampons and tar. But then when I broke my knee playing soccer and I could no longer dream of playing professionally, I began painting walls. That was in 2002.
Have you a formal art education?
I studied architecture at the University of Buenos Aires.
But you aren’t working primarily as an architect these days; are you?
No, I don’t like the structure of business, and I don’t see the need for more construction in cities. There are too many buildings already.
What percentage of your time is devoted to art?
Almost all of my time. About 20% is devoted to architecture, but I would like to devote 100% of it to my own art.
What is the riskiest thing you ever did?
Living my life as an artist. In Argentina, it’s way expensive and uncertain.
I suppose that’s the life of an artist anywhere! How does your family feel about what you’re doing now?
At the beginning they didn’t understand it; now they love it.
Do you prefer working alone or collaborating with others?
I like both, and they’re both different experiences. I especially love collaborating with Elian. We just look at each other, and we know! A real symbiosis. Our styles are different, but we can fuse them to create one image. Two paintings become one.
What is your ideal working environment?
I grew up in the city, and I love it, but I probably prefer being away from the city. Maybe in a tropical space.
Do you work with a sketch, or do you just let it flow?
I begin with a sketch and progress to a watercolor. I then paint on a canvas and finally on a wall. I try to use the wall as the final stage of a study.
Are you generally satisfied with your finished piece?
I try to be, but I’m never quite. There are always things to improve.
How has your work evolved through the years?
It’s changed radically. It’s far more conceptual these days with a philosophical mix. I need to have a concept behind the painting. I don’t paint just to paint. I need the work to tell something
How do you feel about the role of the Internet in all this?
It’s the new Jesus. You need to trust in somebody or something.
What about the photographers and bloggers?
I love them. They’re essential. We need them.
Is there much of a graffiti/street art divide in Buenos Aires?
They are two different worlds, but we all get along.
What’s ahead?
More painting, more new projects and loving more and more what I do.
Interview by Lois Stavsky; first photo of Pastel in the South Bronx by Lois Stavsky; following two photos of Pastel in Buenos Aires and final two of Pastel in Atlanta, Georgia, courtesy of the artist.
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COCO144 is a pioneer New York City-based graffiti/street artist. He started tagging in 1969, co-founded United Graffiti Artists and introduced the stencil into the graffiti movement in NYC. This interview was conducted and edited by Yoav Litvin. Yoav is a writer, photographer and author of a forthcoming book on NYC graffiti/street art.
You were there at the beginning of it all. How did graffiti start?
Graffiti is what the media called it. What I call the writing movement started in NYC back when I was in junior high in 1968. It began in the Inwood section of Manhattan with Julio204. Then in 1969, it took off in Washington Heights, with writers like Phil T. Greek and TAKI 183.
Why did writing start?
Writing was a reflection of the times — the socio-political and economic realities back then. It was a combination of the spirit of the anti-war movement, frustration with economical and social inequality, and racial and political tensions.
How do you feel about the evolution of it all? Where’s it heading? What’s the difference between today and back when graffiti just started out?
It has changed from a social scream of the inner city to a large-format, graphic design-like urban beautification movement. Go out right now and try to write your name on a wall, you’ll get arrested! Try to paint anything else and you’re more likely to get away with it. Back then, we wanted to be known within our circle of writers for destroying the system; you hit, do your thing and were cool to be incognito rather than celebrating who you are. That’s changed today.
Why do you think this movement has spread throughout the world?
Making your mark is a contagious virus with no known vaccination or cure.
Who do you consider are the pioneers?
My contemporaries, far too many to name, but I also feel that folks who are really interested in knowing the history of the movement should do their research.
How did you get your name – COCO144?
COCO was a term of endearment given to me by my parents when I was 3 months old. I grew up on 144th St. in Harlem.
What are some of your preferred mediums?
Markers, spray paint and later I developed the stencil for obvious tactical reasons.
What were some of the concerns and dangers you had to consider?
Going into the yards you always had to consider the third rail. Other than that, there wasn’t much security to worry about at that time.
How have you evolved as an artist?
My name has developed and evolved in a calligraphic sense. I’m still working with my name. I see it as a process of constant rediscovery of myself; my name is a big part of who I am. Today I am influenced by my workplace, a Science Research Institute in Manhattan. I integrate the sciences into my name. I find it fascinating that both art and science utilize and emphasize the process of experimentation/trial and error. Both also greatly value and rely on curiosity and modesty as driving forces. Lastly, both accentuate the importance of the process as much as that of the final product.
1) Photo, 1970
2) Photo, 1972
3) Photo, 1974
4) Photo, 1984
5) Photo, 1995
6) Photo, 2009
7) Photo, 2010
All photos ©COCO144
For a slideshow by COCO click the following link: COCO
For an interview with Yoav on Street Art NYC see here.
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This is the third in an occasional series featuring images of males who surface on NYC public spaces:
Stik across from Dorian Grey Gallery in the East Village
Blek le Rat at the Bushwick Collective
Icy and Sot and Gilf!, close-up from huge mural for First Street Green and Centre-fuge Public Art Project
LNY, Cost and Enx in Williamsburg, Brooklyn
Vexta in Bushwick
Manny Vega in East Harlem
Photos by Dani Mozeson, Tara Murray and Lois Stavsky
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In his signature illustrative style, Sheffield-based Phlegm was busy these past two days gracing a huge wall in Sheepshead Bay, Brooklyn with his mesmerizing characters, books-in-hand. These images were captured yesterday.
And here’s a close-up:
Photos by Tara Murray
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Prolific on the streets of his native Tel-Aviv, Dede aka Dede Bandaid has spent the last two weeks leaving his mark here in NYC — in Brooklyn, in downtown Manhattan and at 5Pointz in Long Island City, Queens.
When did you first get up?
When I was 13, I found a spray can as I was wandering around my neighborhood. I’d always been drawing on just about every surface, but I’d never used a spray can. I was curious. And so I went to my schoolyard to try it out!
What was that like?
It was amazing. I looked up to the sky, and I began to paint a galaxy with stars and more. But it was years before I got up again in any public space. The walls in my house and in my friends’ houses became my canvases.
And when did that change? When did you first hit the walls of Tel Aviv?
It changed when I was in the army. Army service in my country is compulsory, and I hated it. And so during one of my vacations from the army, I sprayed a pro-peace stencil on a public space. That was around 2000.
Do you paint alone? Or do you get up with any crews?
I’m almost always on my own. On occasion I’ve collaborated with Latzi. I feel that I’m more influenced by Israeli culture, politics and aesthetics than many of the other writers here. I’m, also, not involved in “the scene.” I’m more intent in getting a message across and – at this point – developing my own distinct style.
What other aspects of Israeli culture – besides its fraught politics — have influenced your aesthetic?
I infuse iconic Israeli symbols into my artworks– such as the white pigeon for peace and various plants that have Biblical references. But my main inspiration comes from everyday Israeli life – all the discussions that Israelis engage in daily regarding the army, the government, the economy…
Do you prefer to work legally or illegally?
I definitely prefer working in unauthorized spaces. That’s what street art is about. I can do whatever I want, without having to show sketches to anybody. The beauty of getting up on the streets is the freedom it gives you. And there’s the adrenaline rush – that only comes with working illegally.
Tell us something about the band aid. You sign your work Dede with an image of a band aid alongside it. How did that come about?
About five years ago, I was seeking a way to express and heal my wounds. The band aid then became a symbol for all kinds of difficulties – personal and societal — seeking remedies.
And what about the houses? I’ve been noticing lots of houses – in different shapes and positions – in your work. What do these houses represent?
When I first started including houses in my works, they represented the notion of “home” – and not feeling at home anywhere. But then they came to represent so much more – a search for home, the high cost of housing, the political situation…
Have you exhibited your art in gallery spaces?
Yes. Back in Israel, I’ve exhibited in Tel Aviv and in Jerusalem. I’ve also exhibited my stencil work in Berlin. And here in NYC at New York University’s Bronfman Center.
Any thoughts about the movement of street art into galleries?
Well, when it’s in a gallery, it’s no longer street art. And when my work is in a gallery, it is judged more harshly than anything I do on the streets.
What percentage of your time is devoted to art?
All of it. I’m either painting or sleeping.
Is art, then, the main source of your income?
Yes. I sell paintings and I do commissions.
How does your family feel about what you do?
They love it. My mom loves seeing my work in the streets, and she always photographs it.
What is the riskiest thing you did and why were you willing to take that risk?
I’ve taken lots of risks. But the riskiest was probably navigating a lengthy, unruly river in the rain to install a yellow submarine.
Was it worth it?
Definitely!
Any thoughts about the graffiti/street art divide?
I don’t feel it in Israel.
Have you a formal art education?
Yes. I graduated from Bezalel in 2009. I learned a lot, and it was lots of fun. But I’ve learned far more from the streets.
Do you work from a sketch or do you just let it flow?
I usually just let it flow.
Are you generally satisfied with your finished piece?
Never.
Your work seems quite different from when I first saw it on the streets of Tel Aviv a number of years ago. How has it evolved through the years? And why has it changed so radically?
I began by stenciling and found myself too easily influenced by other stencil artists. And when I began to make my stencils more detailed, I developed an infection from cutting them. And so I began painting more free hand. And now it’s evolving into a fusion of painting and collage. I am working more and more on developing my own voice.
How do you feel about the role of Internet in all this?
It’s definitely more positive than negative. It seems that most people first discover street art on the Internet. And online I get to see work from lots of artists I haven’t met. But the Internet can also strip you somewhat of the ability to develop a distinct, personal style.
What about the role of the photographer?
The photographer’s role is very vital to the movement. Many artists either don’t document their work or document it poorly. And since the Internet does have so much power these days, the photographer’s role is increasingly important.
What’s ahead?
Evolution and advancement.
Photo at 5Pointz by Dani Mozeson; all others courtesy of the artist
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This is the tenth in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:
Dasic — with Rubin in the background — at Hunts Point in the Bronx
Community mural in Bedford-Stuyvesant Brooklyn, When Women Pursue Justice, since 2005
LMNOP at Welling Court in Astoria, Queens
Alice Mizrachi aka AM in East Harlem
FKDL at the Bushwick Collective
Gore at 5Pointz in Long Island City, Queens
How and Nosm in Williamsburg, Brooklyn
Photos by Dani Mozeson, Tara Murray and Lois Stavsky
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Dozens of new artworks, representing a wide range of cultures, styles and approaches, have surfaced this summer at 5Pointz. Here are a few from NYC’s ever-evolving open-air gallery:
Veteran graff artists Bis and Vor
Austrian artist Roofie
Japanese artist Shiro with Part, Yes1 and Meres
The Mexican Har crew, close-up
Har Crew, complete mural
French artist Zeso
Brooklyn-based international muralist Joel Bergner
Barcelona-based artist Dase
Photos by Dani Mozeson, Tara Murray and Lois Stavsky
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Based in Granada, Spain, the wonderfully talented and passionate artist Raúl Ruiz, aka El Niño de las Pinturas, visited NYC earlier this summer. I met up with him at the Bushwick Collective – where he was painting with Rimx – and then caught up with him at 5Pointz, where we spoke briefly.
When did you first get up?
Back in the 90’s. I was 11 when I brought graffiti to my neighborhood in Granada, Spain. I began the usual way — by tagging and bombing.
What inspired you?
The movie Style Wars introduced the culture to me.
What is the attitude of the authorities in Granada to graffiti?
The government makes it tough. The fines for doing illegal works are excessive. It’s difficult to paint anywhere without the owner’s permission. And even when I had the owner’s permission and he loved what I did, I was forced to whitewash the wall.
How does your family feel about what you do?
At first, they didn’t like it. They told me to paint only canvases. But now they take pride in what I do.
Any thoughts about the movement of graffiti and street art into galleries?
It’s okay. We artists need money to live. But when our art is in a gallery, it’s no longer graffiti. Graffiti is made in the streets for all people to experience. And we we must always remember to respect our masters — the streets. The streets are the inspiration and source of it all. If we lose the streets, we lose the way.
What percentage of your time is devoted to art?
Everything I do is art.
Have you a formal art education?
I studied fine arts for a year and a half. But I didn’t need teachers. I have masters — the streets.
Are there any particular cultures that influence your aesthetic?
Granada is a fusion of cultures, so my primary influence is the human culture. But there are definite Moslem influences to my aesthetic.
What inspires you these days?
Everybody I meet. And the natural world inspires me, as well. I love animals.
Are you generally satisfied with your final piece?
I am, but when I look at it, I feel like I didn’t create it.
Where have you painted?
Here in the US, I’ve painted in San Francisco, Santa Fe and NYC. I’ve also painted in many other countries. Among them are: Argentina, Venezuela, Mexico, the Dominican Republic, Morocco, Germany, Hungary, Belgium and France.
Any favorite place?
I love them all.
What do you see as the role of the artist in society?
Whatever role society has imposed on the artist — the artist needs to break away from it.
Any thoughts about street art bloggers?
They need to know the artists. Many don’t.
What about the graffiti/street art divide?
It’s not important. We use the same gallery — the streets. But in some way street art gave legitimacy to graffiti.
What’s ahead?
My art will evolve as I experience more. And I will continue to develop my own distinct style.
Interview by Lois Stavsky; photos 1. El Niño de las Pinturas at 5Pointz by Tara Murray; 2. with Rimx at the Bushwick Collective by Lois Stavsky; 3. with Rimx in Bedford-Stuyvesant, courtesy Rimx and 4. with Danielle Mastrion in Bushwick by Tara Murray
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From August 19 – August 25, Los Muros Hablan, an international urban arts festival, gave a voice to silent, empty walls in East Harlem and the South Bronx. Presented by La Repuesta, a leading Puerto Rican cultural space, Los Muros Hablan NYC, featured a wonderfully eclectic group of global artists.
Axel Void, 201 East 103rd Street in East Harlem
Pastel, 138 Street & Grand Concourse in the South Bronx — close-up from huge mural captured via instagram
Celso Gonzalez and Roberto Biaggi, 54 East 116th Street in East Harlem
Viajero, 2022 Third Avenue in East Harlem
Rimx,154 East 100th Street, as seen in progress last week
Betsy Casañas, 1664 Park Avenue in East Harlem
LNY, 195 East 100th Street in East Harlem
Jufe, 2018 Third Avenue in East Harlem
Elian, 138 Street & Grand Concourse in the South Bronx
Photos by Dani Mozeson & Lois Stavsky; keep posted to our Facebook page for more images of the completed murals from this week-long Los Muros Hablan NYC event presented in collaboration with Councilwoman Melissa Mark-Viverito and El Museo del Barrio.
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