This is the eighth in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:
Italian artist Alice Pasquini at the Bushwick Collective
Jordan Betten in Chelsea
Alice Mizrachi at Welling Court in Astoria, Queens
Lady Pink at Welling Court in Astoria, Queens
Mor in Chelsea
Photos by Lois Stavsky
{ 0 comments }
Approaching his 80th birthday, Allan Ludwig, aka Elisha Cook, Jr., can be found just about every day in downtown Manhattan photographing the writings on the walls. With a BFA Degree in Painting and a PhD in Art History from Yale University, he explains his passion for graffiti and street art.
How did the name Allan Ludwig become Elisha Cook, Jr.?
When I first started posting photos of graffiti on Flickr, I was advised not to use my real name. I chose to identify myself as Elisha Cook, Jr. because he is my favorite actor. The name stuck!
So that’s it! When did you begin working as a photographer?
Almost 60 years ago. I was in my 20’s.
What attracted you to the field?
I started drawing in my room as a child. But I had difficulty drawing faces. I never liked the way my noses looked. And when I tried to erase them, I’d end up making holes in the paper. It drove me crazy! I decided that it would be easier for me to capture a face with a camera.
Had you any influences back then?
When I was about 13, my neighbor Max Coplan, an accomplished photographer, taught me how to use a camera.
When did the writings and images that surface on public spaces begin to engage you?
In the early 80’s, I walked into a school playground on Grand and Baxter and discovered that its walls were filled with graffiti. I was intrigued. But as I only used black and white film at the time, my earliest photos of graffiti are in black in white, and I wasn’t documenting it regularly.
What spurred you to photograph the streets so methodically since 2000?
My neighborhood had begun to gentrify. Changes were happening rapidly. Overnight the rent on a local restaurant soared from $4,000 a month to $16,000. I wanted to document these changes. And as soon as I switched from black and white film to color, I began noticing street art.
Have you had any particularly memorable experiences while photographing graffiti and street art?
I once came upon a love letter written by a woman from England to Faile that was posted onto the building at 11 Spring Street. She had assumed, incorrectly, that Faile was one person and single. I photographed her love letter and posted it onto my Flickr photostream. When the woman discovered her letter online, she asked me to remove it – which I didn’t. But the story doesn’t end there. She had just returned from Zambia with a love potion. She decided that the time was right for her to visit NYC to meet Faile. She would set up a meeting to buy a print from him. Surely, the love potion would work!
Did it? What happened? Did she ever meet Faile?
She did, but she encountered an unanticipated problem. When she inserted the love potion into her mouth, it distorted her speech and facial expression. She did meet the object of her love, but she decided against using the love potion. And that’s the end of the story.
Wow! What is it about street art and graffiti that has so captivated you?
It’s the thrill of discovery. There is something magical about it. I also love its inclusiveness and democratic nature.
Have you any thoughts about the street art/graffiti divide?
Most of the street artists I’ve met were trained in art schools, while the original graffiti writers didn’t have any kind of formal art education. And when the street artists started making their mark on the legendary building at 11 Spring Street off the Bowery, the writers felt that they were not getting enough space or respect. I remember walking by one day to discover the entire building sprayed all over with silver paint. There definitely is a divide.
What about your perception of the divide? What differences do you see?
Graffiti is a highly refined art. It is beautiful. The first generation of writers created an entirely new aesthetic. They invented a whole new language. Yet few people can understand it and appreciate it. Street art is far more accessible.
There are many folks out there who consider the illegal writings that you photograph vandalism. Have you any thoughts about that?
It’s a non-issue. It’s meaningless. It’s a political fiction invented by politicians and lawyers and the police who enforce it. It has no validity.
How do you feel about the move of street art and graffiti into museums and galleries?
The commercial world sucks the credibility out of graffiti and street art. It takes it out of its natural setting.
How do you feel about the role of the Internet in all this?
I think it’s wonderful. It makes everything even more accessible. I have Flickr contacts all over the world.
What do you see as the future of graffiti and street art?
I see it as the most important international movement in world art since American pop art. It’s here to stay.
All photos by Elisha Cook, Jr. Except for first two BilliKid paste-ups of Elisha, images capture NYC’s legendary building at 11 Spring Street, 2006-7
{ 3 comments }
We love having LNY back in our borough. We’ve missed him. And thanks to Keith Schweitzer and FAB, he’s back! Here are a few images captured form the wondrous wall that he recently fashioned on East Second Street.
LNY in action
The morning after
Close-up with recycled trash bags!
And this past weekend was a special treat for us LNY fans, as his artwork could be seen at the Fountain Art Fair, as well. Here’s a sampling of images — all fashioned on recycled materials:
Photos by Tara Murray
{ 0 comments }
Even during the winter months, artists from across the globe make their way to Long Island City’s 5Pointz. Here’s a small sampling of what can be seen on the walls of the world’s Mecca of aerosol art:
Italian artist Mr. Blob
French artist Monsieur Plume
From Hamburg, Germany
Moscow-based Zmogk
And this past weekend, the 5Pointz indoor gallery featured “From Bricks to Blades” as part of Armory Art Week. Here’s a sampling from the exhibit that is set to travel to Europe.
5Pointz founder, curator and artist Meres One
Spud from Toronto
And Zimad of the TD4 crew — on a more subtle note
Photos by Tara Murray and Lois Stavsky
{ 1 comment }
Joe Iurato‘s splendid stencil art graces the streets and galleries of New York City and beyond. We recently had the opportunity to visit Joe’s studio and find out more about him.
When and where did you start getting up?
Around 2006. I was working over in SoHo for a magazine, and I started by going out and putting up small works on my lunch breaks. I’m a bit of late bloomer when it comes to getting up in the streets, but I guess better late than never.
What inspired you?
My earliest inspirations came from graff, which heavily influenced the b-boy culture I was part of as a kid. Then, in my mid-teens, I started skateboarding and the lines began to blur among the styles of art that surrounded me. Wasn’t so much letterform as it was snakes poppin’ from the eyesockets of toxic green skulls and less refined scrawlings addressing social issues. I liked it all, and I was actively drawing and painting in all styles. I’d always secluded myself with my art, though. Never really liked to show anyone. But something was appealing about being able to share it publicly, without having to tell someone, “That’s mine. I did that.” Just leave it there, and let people take what they may from it. Eventually, the inspiration outweighed the hesitation, and I gave it a shot.
What was your most memorable “street art” experience?
In New Brunswick, I did a large piece of a kid praying on a trestle. When I went back to paint again a few months later, a homeless man approached me, pointed to that first piece I did and said, “I don’t care what you do, but if you touch that piece, I’ll kill you.” That made me realize just how important public art is.
Have you collaborated with others?
I work mostly on my own, but I’ve done a few collaborations. Some of the most memorable being with SNOW, SUE WORKS, and Chris Stain.
Have you ever been arrested?
No, I haven’t. I think largely because the risks I’ve taken were fairly calculated. I’m a father trying to support and raise a family, and we just can’t afford fines or worse. These days, most of my work’s done on legal walls.
What is the attitude of your family?
My wife is really supportive, and my older son loves that I encourage him to paint the walls in my studio. So, for now, I’m good!
Have you exhibited your work?
Yes, I do. Currently, I’m showing a number of new pieces at Signal Gallery in London.
How do you feel about the movement of graffiti and street art into galleries?
I have no objections to it. Artists and their families deserve to eat, too.
What about festivals? Have you participated in any street art festivals or special events?
Yes. I’ve painted at Welling Court in Queens, at the Living Walls Conference in Albany, at Willoughby Windows in downtown Brooklyn, the G40 Summits in DC, Electric Windows in Beacon, NY, the Art of Basketball in Miami, and regularly at Fountain Art Fair to name a few.
Do you have any favorite surfaces?
I love weathered surfaces and texture, but it can sometimes be difficult to work with when I’m applying stencils. For what I do, the smoother, the better. Cinder block, steel, etc…
What percentage of you time is devoted to art?
I’d say 30-40%.
What is the main source of your income?
There is no one source. I sell art, but I also work in a restaurant and write a weekly wine column for a North Jersey newspaper group.
How do you feel about the graffiti street art divide?
To me, that argument doesn’t make much sense. We’re more or less doing the same thing. Maybe some of the ideology is different and the methods and materials, but we’re expressing ourselves creatively and publicly. Regardless, if you work in the streets, you have to respect your roots. It all started with the graffiti writers.
And what about the Internet? How do you feel about the role of the Internet in all of this?
Like everything else, there are pros and cons. It’s a great way to share your work and network with the community, but it can also make anyone a superstar. Some great artists can get lost in the madness of the Internet.
Do you have a formal arts education?
I studied for three years at Montclair State University, but then I quit to study wine.
Did your art education benefit you?
It helped me understand color theory and composition. I also loved art history. But I can’t say any of it directly affected my aesthetic or technique.
What inspires you these days?
I’m inspired by what I’m doing and how I’m living, which is why the subject matter and even the mood of my work is constantly changing. At the moment, I’m influenced by a place I’ve been frequenting. It’s an abandoned space near my home with a long, complex history. I’ve been relatively obsessed with documenting it for a few years, and now it’s showing in my work
How has your work evolved throughout the years?
I think I have a deeper understanding of my own stencil art. I’ve explored everything from single layer to 15 layer pieces, and its taken years to develop some sort of continuity and fluidity. I feel I’ve finally arrived at a comfortable and consistent method of cutting. That said, I’ve begun challenging myself elsewhere, experimenting with new applications in addition to the stencils.
Are there any artists who particularly inspire you?
There are so many, I’ll kick myself later for forgetting anyone. But on a personal note, the one person I’d like to mention is Logan Hicks. While I don’t have to say anything about how dope his stencil art is, he’s become a close friend and mentor through the years. His work ethic has always inspired me. The dude never rests. He never sits in a pocket just complacent with what he’s done, and it’s not a day or two after a successful opening that he’s back at the grind exploring something new. There are plenty artists out there who’ll also vouch for him being this central figure that’s brought so many of us together. That, and he’s a family man. I admire and respect him.
What do you see as the role of the artist in society?
Public art, especially, in the here and now is a powerful tool that can spark healthy conversation, debate, and even change. But I think that “art” collectively always makes more sense in the future. It helps put a time stamp on our culture, and will in some way define us when there’s little left of our fleeting existence on this planet.
What do you see yourself doing in the next five years?
Hopefully continuing along this path. Evolving my work, sharing more of it inside and out, still doing the wine thing, and being able to give my family all they need and deserve through doing what I love.
Wow! Good luck and, of course, we’re thrilled that you are doing what you are doing!
Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky
{ 1 comment }
Born in Harlem and raised in the Bronx, the Royal Kingbee UW is best known for his stylishly striking bee that shapes the urban landscape of the Bronx and beyond. Commissioned by a range of businesses from Rite Aid to Bacardi, Kingbee continues to dazzle us with his talents on an array of surfaces both on and off the streets.
When did it all begin? When did you first discover your artistic talents?
When I was in the third grade, I began drawing cars, clouds, trees – the usual things kids draw. And I started winning art contests for my skills. I haven’t stopped drawing since!
When did you start getting up? When did you first hit public surfaces?
I started getting up some time in the late-80’s back in my high school days. I went to school with Sak from MBT crew and Stin1.
What inspired you at the time?
What I saw on the trains and what writers like Kyle 156, JonOne, Koze and Poke were doing at the time really inspired me.
What is your first graffiti memory?
The first time I went bombing I was all dressed up! My parents were very strict, and I was expected to present myself at all times in – what they considered – a respectable way. And so the first time I hit the streets, I went straight from a party and was wearing a suit. We looked awesome!
What is the riskiest thing you ever did?
Painting along the tunnels with the Amtrak trains whizzing by. It was a risk we chose to take at the time.
Why?
We did it for the fame, but also for the adrenaline rush. I miss those adrenaline-induced days!
Have you ever been arrested?
I’ve never been caught. We always did our homework.
With whom have you collaborated?
Back in the 90’s, I ran with my crew: VASE One, Nev, Bomb5, Cine, Lady-Di, Jew, Kerz and Pose2. I’ve since collaborated with a range of artists from Shiro — from Japan — to the 4Burners. This past year VASE and I painted down in Baton Rouge, Louisiana. I’m looking forward to traveling and exposing my art more in 2013.
What about festivals? Have you participated in any?
I’ve painted in Meeting of Styles and at the Hall of Fame.
Is there anyone – in particular – with whom you would like to collaborate?
I’d love to paint with Daim – a master of 3-D graffiti — and a number of other European artists who are taking it to the next level.
How do you feel about the current graff scene in New York City?
Graffiti hasn’t evolved enough in New York City. Too many writers keep on doing the same thing over and over. They need to get out of their comfort zone and push the boundaries.
Your bee can be seen about everywhere up here in the Bronx. Tell us about the birth of the bee.
I was working as an artist on a range of commissions – mostly signs – and I wanted a logo that would be easily recognizable. And so the BEE was born in 1989.
We met you at Gallery 69 down in Tribeca where you were exhibiting your artwork. How do you feel about the movement of graffiti into galleries?
It’s cool. I’ve participated in a few shows and look forward to exhibiting my artwork in more galleries in 2013.
Any favorite artists?
Basquiat and Salvador Dali come to mind.
Do you have a formal arts education?
Yes. I studied commercial art in New York City Tech College.
Was it worthwhile?
Definitely. It helped me establish a career as a commercial artist.
What are some of your other interests?
I love music. I’m a big fan of Pink Floyd, Guns-n-Roses and Depeche Mode.
What’s ahead?
More canvases. More traveling. It would be fun, too, to do art workshops with kids, who – whenever they see me paint – ask me to teach them how to draw a bee! And I’m working on developing a toy line.
Good luck! It all sounds great!
Photos by Lenny Collado, Tara Murray and Lois Stavsky
{ 2 comments }
This past weekend — on one of winter’s chilliest days — we hit Bushwick, where we caught some new images and revisited others.
New from Brooklyn-based Elbow Toe with Veng‘s signature birds
Belgian artist Roa
4Burners‘ Dasic and Rubin with Madrid-based Okuda
Berst tribute to NEKST, RIP
Brooklyn-based Never
Brooklyn-based Bast
Bast, close-up
Photos by Lenny Collado
{ 1 comment }
With his hauntingly elegant wheatpastes of everyday folks, Baltimore-based Nether has transformed the visual landscape of his city’s bleakest blocks. Within the past few months, his vision has also made its way to NYC. And opening tomorrow, January 24, at Weldon Arts is Crumbling Cities, a solo exhibit of Nether’s works.
When and why did you first get up?
It all started – sadly – as a rebellious middle schooler trying to be cool.
Did any particular artists inspire you to move in your current direction?
The two artists who really got me going were Gaia and Tefcon. I was living and sharing a studio space with Tefcon, and just watching his relentless hustle and work inspired me. And around that time, I got to be friends with Gaia and filmed him at work with Nanook. I soon became super interested in wheatpaste. It was like a bomb went off in my head. It seemed like the perfect bridge between my politics and my art. And Gaia was super helpful showing me the ropes and sharing his print and other connections with me.
When did you begin getting your wheatpastes up?
Started really going hard about three – four years ago.
And what about the risks? What inspired you to take the legal risks?
Seeing what other artists like Cedar, Dume, Ways, and a lot of KSW/NSF writers were doing at the time inspired me. And I see my work on the streets as a way to empower other Baltimoreans.
In the past few years, you’ve made quite a mark. Your work can be seen not only in Baltimore, but in NYC, Philly, DC, Berlin, Shanghai, Paris and London. You seem to be on a mission. Could you tell us something about it?
I see public art as a vehicle for social change. And the artist — by transforming the landscape – is the facilitator of this change. By getting up on the streets, I can reach masses of people at the same time that I am beautifying the environment.
Are there any issues that particularly concern you?
My main focus is the issue of slumlords neglecting their vacant properties in Baltimore. People just deem these areas hopeless and don’t think to address the issue or find out who is responsible. I am trying to put it in their faces.
Any favorite spots?
Anything vacant. I love vacant doors, electrical boxes and glass.
How do the cops respond to your current ventures?
Generally, if the cops come by, it’s in a non-threatening way. They always have way more pressing issues on their plates. I just tell them that I’m trying to beautify the neighborhood, and they are usually just curious and confused. A few times they’ve actually watched my back! Most of the more intense run-ins with the police have been out-of-town.
What about your parents?
When I first started going hard with it, they were worried. I remember getting a call from my mom after she drove by one of my pieces on i-83. But now they are totally down and both really dig it.
What was the riskiest thing you ever did?
The riskiest thing I ever did was the dumbest. I was with my buddy Tony trying to put up a piece in daylight on the Amtrak Line. Two trains passed by, and then one came by super slow and stopped. Three transit cops jumped off and chased me. I ran off the track clearing, slid off this embankment and fell like 20 feet into the Jones Falls. Then I swam across and hid under a rock for like 45 minutes till they gave up looking for me. I got a really nasty cough after that.
What about the role of the Internet in all this? How do you feel about it?
I have mixed feelings about it. On one hand, it kills the experience of simply stumbling upon a piece. On the other hand, it allows folks all over the world to see the work I’ve created for a specific small community.
Are there any artists who particularly intrigue you these days?
I am really digging Pixel’s recent work and Ludo in Paris. Swoon has always been my favorite artist, and her new stuff continues to stun me. On the graf side of things, it’s Kuma and Goal.
Have you collaborated with any artists?
I’ve installed work with a bunch of artists from different places. Shouts to Mata Ruda, Harlequinade, Sorta, Gaia, Tefcon — and many others.
How do you feel about the branding of street art and graffiti? Are you open to it?
I think it’s sad, but often necessary. It’s all about who you get the money from and what you do with the money. On one hand, all this focus on money changes the nature of the underground. But, at the same time, the money allows us to pump funds into the street game.
What’s ahead?
I’m super-psyched about this new project with the Baltimore Slumlord Watch. We are going to wheatpaste artwork onto all of Baltimore’s neglected vacant properties. We will post large QR codes – next to the artwork – directing passersby to the Slumlord Watch website. On the doorways we will list the specific property violations and the contact info to report them. This project is intended to create awareness and pressure absentee slumlords into fulfilling their responsibilities. I am also working on a mural project with the Muhammad Ali Center.
It all sounds wonderful! And good luck with your exhibit at Weldon Arts.
Interview by Lois Stavsky; photos by Tara Murray, Lois Stavsky and courtesy of the artist
{ 2 comments }
Rubin’s exquisite murals surface here regularly in NYC on the streets of Brooklyn and the Bronx. Each one is a cause for celebration. We recently had the opportunity to speak with the talented artist.
When and where did you start getting up?
I started tagging in 1985 – age 10. I was living in Gothenburg, Sweden. I grew up there among the concrete projects. Their walls were my first canvas.
What inspired you?
I watched the movie Beat Street at my friend’s house. That started everything. The movie had a huge impact on me, as did growing up in the projects.
How did your family feel about what you were doing back then?
My mother worried a lot. But she was supportive.
Do you have a formal art education?
No. I never wanted to go to art school. I studied music and played in several bands in my native Gothenburg.
Back in Sweden, did you work alone or with a crew?
I painted with NTA (Night Time Artists) back in Sweden. But I also painted alone.
What about here – in NYC?
I’ve collaborated mostly with 4Burner members: Sen2, Dasic, Owns, Deem, Gusto and Logek.
Would you rather paint alone or with others?
I like painting alone, but painting with others is important for artistic growth.
Is there anyone in particular with whom you would like to collaborate?
I would love to collaborate with Futura. That would be something.
Have you any preferred spots and/or surfaces?
I love the concrete walls up in Hunts Point in the South Bronx.
What is the riskiest thing you ever did?
I climbed five or six stories on a drain pipe to get to the top of a building.
Why?
Because it was an impossible spot that no-one had reached before.
Your artwork seems to blur the lines between graffiti and street art. How do you feel about the graffiti/street art divide?
We should be on the same side, but we’re not. There is definitely a beef between street art and graffiti. I have always tried to bring these two opposites together in my art. It’s very challenging. There is so much ego in graffiti and street art trends seem to come and go.
How do you feel about the movement of street art and graffiti into galleries?
It’s exciting and interesting. I see it as a natural progression.
Have you exhibited in galleries?
Mostly in Sweden, but I exhibited along with Cope2 two years ago in Nolita.
What is your main source of income these days?
My main source of income is photography. I’m also involved with the production of a Swedish/Finnish arts and culture magazine.
How do you feel about the role of the Internet in all this? And do you follow any sites?
I think it’s great. I follow 12ozProphet and StreetArtNYC.
What inspires you these days?
Craftsmanship, Kraftwerk’s minimal electronic music and the contrasts between my two homes: Bushwick, Brooklyn and the gorgeous woods of Lapland, where I spend the summers with my wife.
Are you generally satisfied with your finished pieces?
Never.
When you look back to what you did two years ago, how do you feel about it?
Two years ago feels like an eternity, especially when living in NYC. I tend to look forward instead of looking back.
How has your artwork evolved through the years?
In the nineties, I was one of the most active writers in Sweden. In the mid-nineties my graffiti took a turn to the geometric. From 1999 to 2008, I took a break and focused on my band, Kingston Air Force. I can’t really describe my usual style. Someone once called it abstract geometry; that’s a pretty good description, but my style is still evolving.
Of all the cities in which you painted, which is your favorite?
New York City. I love the energy and the mix of people. Nothing beats New York.
Who are some of your favorite artists?
The Swedish artist Gouge. He’s amazing! Bates from Denmark, Dondi and Riff 170 from NYC, C215 and Nelio from France, Boaone from Germany and Sofles and Fecks from Australia.
What advice would you offer young writers and younger artists?
Work hard. Learn the craftsmanship. Perfect your technique. Practice. Be a good role model to younger writers. Be nice.
What do you see as the role of the artist in society?
Every artist is an egoist, and I’m no exception to the rule. I interpret what I see and how I feel through my art. I create for myself, but I’m very humbled every time someone appreciates my pieces. It means that they appreciate my take on what’s going on around us. That’s very flattering.
Where do you see yourself in five years?
I don’t even know where I’ll be next week. NYC has taught me how to live right here and now, and I’m really enjoying taking a day at a time.
Interview by Lois Stavsky with Lenny Collado and Tara Murray; photos by Lenny Collado, Dani Mozeson. Tara Murray and Lois Stavsky
{ 2 comments }
Just a short drive from NYC, a seemingly abandoned warehouse is home to a treasure trove of urban images — from sundry tags to stylish graffiti to wondrous murals. Based in Jersey City, the Green Villain serves as a gallery, a studio space for artists and musicians, a lounge, a showroom and more. Mesmerizing images — by both local and international artists — grace its interior and outdoor walls. Here are a few captured on our recent visit:
Newark-based Mr. Mustart, close-up from huge murals on interior walls
Then One, Mr. Mustart and Nasko artwork — for sale
Tags, tags and more tags!
Sqew
And among the dozens of images gracing the outside —
French writer Ezor
And currently underway are plans for the Green Villain’s first NYC event.
Photos by Lois Stavsky
{ 0 comments }
