Bronx

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With his outstanding sense of color, style and design, Tracy 168 achieved legendary status early on in the most significant art movement of our time. The personification of wild style and the first writer to hit the subways with cartoon characters, the prolific artist wielded tremendous influence. On reviewing Tracy 168‘s work on exhibit back in 1999, the Pulitzer Prize-winning New York Times art critic Holland Cotter had the following to say: “Tracy offers an astounding variety of styles, from 3-D to space-age spiky to Cubistic. He floats out words on cushions of colors, and ties them up in unreadable knots, festooned with tendril-like flourishes.”

When did you first get up?

I first got up with a crayon on a wall in my house when I was four years old. I remember drawing a tortoise and a hare. I lived across from the Bronx Zoo, and I always heard the sounds of animals from my window.

What about the streets? When did you first hit the streets? And the trains? When did you first hit them?

In 1969 when the Mets won the World Series, I first hit the streets. And I tagged my first train the same year. I was 11.

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What inspired you to do so?

I loved the sense of adventure…the adrenalin rush. I envisioned myself as a Tom Sawyer or Huckleberry Finn. And I loved seeing my name on the trains.

Had you any favorite spots?

I was all-city, and I loved painting anywhere with people whom I loved. But my favorite spots were New Lots Avenue and Utica Avenue on the IRT line in Brooklyn. Any train I painted there would run right away, and so I didn’t have to hang around too long to see my piece pass by.

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What about crews? Did you get up with any crews?

I founded the Wanted crew. It was one of the largest crews ever, and just about anybody who was anybody of worth was in that crew. It represented Wild Style.

Had you any early role models or inspirations?

My mother, my grandfather, Jack StewartMichael Stewart… Michael Stewart gave his life so that others would live. After his death in 1983 — and the trials and investigations that ensued — the police were somewhat afraid of treating writers so brutally.  We are the true prophets…

Any particular risky ventures stand out?

I was always wild, always doing dangerous things.

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How did you support yourself back in the day? What was your source of income?

In the late 70’s, I began to create all kinds of art-related jobs for myself — painting storefronts, memorial walls, murals… I was the first writer to do that kind of thing. I also worked in an advertising agency. Jack Stewart taught me about copyrights and trademarks. He was a true mentor. He told me real stories — not the ones from Fantasy Island.

Your work has been shown in all kinds of settings across the globe!

Yes!  I’ve been in museums and galleries all over the world. I was always breaking boundaries, Here in NYC my work has been exhibited in dozens of spaces including the New York Historical Society, the Brooklyn Museum and NYU.

I remember seeing your work at the Brooklyn Museum back in 2006.

Yeah! When I came by, I made some adjustments to my canvas with a paintbrush. That didn’t go over well with the security guards. They got the curator of the exhibit involved, who insisted that I couldn’t change anything, since it had already been photographed for their catalog.

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Did you have a formal art education?

My education is hands-on.

How do you feel about the role of the Internet in this scene?

It can be used as a tool — if you know how to read the truth.

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What’s your ideal working environment?

Anywhere outdoors. Even when I paint canvases, I like to paint outside.

What inspires you these days?

My main inspiration is to express myself and grow as an artist in a world that is reluctant to see me as one.

Are there any particular cultures that have influenced your aesthetic?

Every culture. NYC is a melting pot, and I’m in the center of it painting.

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Are you generally satisfied with your finished piece?

I’m not done until I’m happy. As long as I’m alive, I can improve on it. But it must have meaning and exude positivity. Otherwise, why bother?

A few years back you were reported dead. What was that all about?

If I hadn’t died then, I wouldn’t be alive now. It had to happen.  When I vanished, I saw the world going in the wrong direction. This art form can save it.

How has your work evolved in the last few years?

It’s constantly evolving.  This movement is to art like jazz is to music. It’s a fusion of styles and cultures that knows no boundaries. It is a universal language. And the message of Wild Style is “Be yourself. Find out what your talent is and get good at it.” I love everyone, but I will not surrender the truth and lose my integrity.

Photos: 1, 6-8 Lois Stavsky; 2, 4 & 5 courtesy of the artist; 3 Flint Gennariinterview conducted and edited by Lois Stavsky

Note: Photos 7 & 8 were captured from Tracy’s current black book; special thanks to Flint for the introduction!

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rigoberto-toress-sculpture-Daze-graffiti

Among the thoroughly engaging exhibits currently on view at the Bronx Museum of the Arts are two with special appeal to us street art and graffiti aficionados. Spotlight: John Ahearn and Rigoberto Torres showcases a series of sculptures by the two artists, whose works continue to delight us on the streets of the Bronx.  And Bronx Focus: Paintings by Valeri Larko features stunningly realistic renditions of Bronx graffiti, including some of our favorite walls that no longer exist. While visiting the Museum last week, we had the opportunity to speak to Lauren Click, the Director of Community and Public Programs.

Thank you for reaching out to us. Can you tell us something about your role here?

As director of community and public programs, I organize public programs related to Museum exhibits and events. I also work with the Community Advisory Council (CAC) a volunteer group of local residents with the goal of raising awareness of the Museum and organizing programming in response to community needs.

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What are some of the successful means that have been used to accomplish this?

I like to introduce folks to new experiences while mixing them with familiar ones. For example, on senior Thursdays we combine tea services with multimedia collaborative activities. We also have a weekly newsletter we send to subscribers informing them of all the events that take place. This is part of our effort to establish a large presence on social media. Our twitter page has over 38,000 followers. And since admission has become free, we have had four times as many visitors than we used to.

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What are some of the challenges that you face?

The greatest challenge is fighting the stereotype of being located in the Bronx. People are not aware of how rich and varied the cultural opportunities are in this borough.

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What would you like to see happen here at the Bronx Museum?

I would like to see it continue to evolve and engage increasingly diverse audiences.

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How can people stay informed as to all that is happening here at the Bronx Museum of the Arts?

They can follow our Calendar of Events on the Museum’s website. They can also keep up with us on Twitter, on Facebook and on Instagram.

Note: This Saturday — May 14, 2:00pm to 3:30pm — Valeri Larko will offer a free guided tour of her exhibit Bronx Focus: Paintings by Valeri Larko. The Museum is located at 1040 Grand Concourse, Bronx and is easily accessible by public transportation.

Images

1 Rigoberto Torres, Daze

2 John Ahearn and Rigoberto Torres

3 Valeri Larko, Zerega Avenue

4 Valeri Larko, Ferris Stahl Meyer Shipping

Valeri Larko, Power Ball

Photo credits: 1 Tara Murray; 2-5 City-as-School intern Sol Raxlen; interview Lois Stavsky, Sol Raxlen and Tara Murray

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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Kenny-Scharf-paints-NYC

For the past week, Kenny Scharf has been at work on a massive mural along Third Avenue in the Bathgate section of the Bronx.  Replete with the artist’s colorful, fanciful characters, the artwork brings vibrancy and intrigue to this central Bronx neighborhood. Here are a few more images we captured yesterday:

A small segment of huge, block-long mural

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Another segment

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Yet another fragment

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And eleven-year old Jadeden — who has been mesmerized daily by Kenny’s work — sharing one of his artworks

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Visible from the Cross Bronx Expressway, this mural was produced in collaboration with Krinos Foods and coordinated by KM Fine Arts.

An exhibit of Kenny Scharf‘s works remains on view at the Nassau County Museum of Art, where he will be painting live on Sunday, June 19, 12-4 p.m.

Photo credits: 1 Lois Stavsky; 2-5 City-as-School intern Sol Raxlen

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 down in Miami, I met up with Bronx native Mastro whose masterful graffiti designs and styles can be found on walls, hats and a range of surfaces throughout NYC, Miami and beyond. 

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Can you recall any early graffiti memories?

My earliest memory is riding the 6 train to Pre-K. Everything around me was bombed. I remember thinking, “What is this magic?” Growing up in the Bronx, I saw classic NYC graffiti everywhere. Seen, Mad and Pjay were among the writers I saw on my day-to-day commute.

When and where did you first hit the streets?

When I was in 5th grade, I started with stupid, little tags – like Shadow and Ace – all along Zerega Avenue. I was also getting up in my school. I thought I was “King!” But I was a toy.

What inspired you to get up?

Graffiti was everywhere. How could I not?

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When and how did you come up with the name Mastro?

I was in my mid-teens. It was actually part of my name, and none of the aliases made any sense.

Did you paint with a crew back then or were you largely alone?

I generally liked to keep it solo and quiet.

And thse days?

I paint both solo and with others. But I don’t think the crew should define the writer. Rather, the writer should define the crew.

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Do you have a formal art education?

Yes. I have a BA in Architecture from Pratt.

Did you go on to work as an architect?

After I graduated, I worked as an architect for a while. But at the same time I began customizing hats. And that business took off almost immediately – and was a lot more fun!  I thought, “Why should I work for someone else when I can do better on my own?”

And just how are you doing on your own?

I’m doing great. I never expected my business to go this far. Besides customizing hats, I get paid to do body painting and lettering. And I’m also commissioned to produce graffiti murals and installations.

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What would you say is the key to your success?

It’s a matter of my being in the right place at the right time. And that is something I work on doing.

Although you are based in NYC, you seem to spend more time on the road then you do back home.

Yes, I’ve been traveling just about full-time across the U.S. I try to cover as many music/art festivals and fairs that I possibly can. I tend to hang out where there are lots of people all the time.

What are some of the challenges of leading such a nomadic life?

The biggest challenge is having to do my own laundry.

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As you didn’t forge a career as an architect, would you say that your Pratt education was worthwhile?

Yes! It definitely taught me how to become a better artist. But it did not teach me how to sell my technique.

How does your family feel about what you are doing?

My parents get a kick out of it!

What percentage of your time is devoted to art?

Technically – all of it. I create non-stop both on and off the wall.  My art is my “work.” The only aspect of it that actually feels like work is when I’m moving and lifting materials.

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What advice would you offer young artists who would like to build a successful art business?

Always have access to your presentation portfolio. Be prepared to share it with anyone at any time. Know how to write a proposal, a contract and a rider sheet. And be ready to easily accept all types of payment from credit cards to PayPal.

How do you feel about the role of the Internet and social media in this scene?

I don’t like the Internet. I don’t like having to use technology to promote myself. But I can’t deny that it does increase recognition, awareness and sales.

That would seem to be a good thing.

But social media can easily turn you into a techno-slut. Too many people seem to depend on social media to increase their value. It’s your work that should be valued, not your number of “likes” or followers. Back when I first started, we did it for the love of it; now folks do it for the “likes.” And back in the day, you had no idea what a writer in Australia was doing unless you saw it in a magazine. These days, it is just far too easy to borrow and regurgitate styles from half way around the world.

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Are there any particular cultures – or artists — that have influenced your aesthetic?

Growing up in the Morris Park section of the Bronx, I was influenced, of course, by everything that was happening around me – graffiti, hip-hop, breakdancing. The artist who had the hugest influence on my aesthetic was Wane COD, a master of intricate simplicity.

What are your favorite places to paint?

Abandoned places that are withering away, and those places that have stood the test of time where nature is flourishing

How has your artwork evolved in the past few years?

I’m trying to make it crisper and smoother. I would like all demographics to be able to understand my writing.

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What do you see as the role of the artist in society?

I’m here to create. I don’t think about it.

What’s ahead?

Building and creating wherever life takes me. Living my life as a “permanent vacation,” earning money doing what I love.

Note: Photos are of artworks seen in NYC and in Miami. Pictured in the third photo are: Mastro, Eskae and Disem — with Mastro and Eskae trading names.

Photo credits: 1-3, 7 & 8  Lois Stavsky; 4 & 5 Tara Murray; and 6 Mastro; interview conducted and edited by Lois Stavsky

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rocko-the-art-of-peace

Curated by Lady K Fever and hosted by Aldo Perez, Ihe Art of Peace, an exhibit of mural and graffiti art celebrating peace, opens tonight at the Al Iman Community Center. I had the opportunity to speak to Lady K Fever while visiting the space at 2006 Westchester Avenue earlier this week.

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Can you tell us something about the concept behind this exhibit?

It is an exploration of the notion of peace from the perspective of artists representing a range of ideologies, nationalities, religious backgrounds and ethnicities. The title is a take on The Art of War by Sun Tzu written in the 6th century B.C.

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What inspired it?

It was inspired by Peace December, an organization started five years ago dedicating the month of December to celebrating peace. As Sheikh Musa Drammeh of Peace December contends, trillions of dollars are spent on defense and none are allocated to promoting peace. 

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As curator, how did you decide which artists to engage in this exhibit? 

When Aldo Perez approached me to curate it, I sought artists from a range of backgrounds and communities. Many, in fact, had already been engaged in community-based projects promoting co-existence.

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What were some of the particular challenges you faced in curating this exhibit?

My main concern was that the imagry would not offend the community. I also had to keep the artists’ egos in check, reminding them that The Art of Peace’s principal mission is to promote peace. And I was working with a limited budget.

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The exhibit opens this evening from 6-10pm. How might folks — who can’t make it this evening — see it?

Yes, there will be a reception tonight with DJ Prince Tafari, the artists and special guests — including Assemblyman Jose Rivera. There will also be select artworks for sale. Folks who won’t be able to attend can email artists4peacebx@gmail.com and arrange a time to visit The Art of Peace.

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Images:

1.  Rocko 

2. BG183, Tats Cru with Lady K Fever and Aldo Perez posed in front

3. Meres One

4. Chris Riggs

5. Scratch and Lady K Fever

6. Lexi Bella

Interview and photos by Lois Stavsky

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For the past several days, over two dozen artists — from writers to muralists —  have been busily transforming a huge block along Boone Avenue at 174th Street. Here are a few more images that we captured these past two days from Writers Block organized by Wen Cod:

Mastro

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Curve

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Spot and Acne aka Young Socrates

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Yes 1 at work 

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Nero aka Uncle Ro

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Wen Cod, who organized the event, captured at work in the early stages yesterday morning

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Rath at work

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Danielle Mastrion, Lexi Bella, and Doc TC5 to the far right

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Ces checks it out

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 Note: First image features Jersey Joe aka Rime

Photo credits: 1-4 & 6-9 Lois Stavsky; 5 & 10 Tara Murray

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This past Saturday, David Gonzalez, award-winning journalist, photographer and co-editor of the New York Times photoblog, Lens, led a group of Instagramers on a walk through Hunts Point, introducing us to works by some of its legendary graffiti artists and muralists. Here are a few images StreetArtNYC captured on Instagram:

Tats Cru with How and Nosm, close-up

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Nicer, Tats Cru with Instagramer Sarah Sansom aka catscoffeecreativity seated

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Ces

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Daze

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Crash, who also shared some Hunts Point history with us, in front of his mural

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David Gonzalez leads the way to the Point, Tats Cru‘s headquarters

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Artist-at-work at the Point

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David Gonzalez (left), Whitney Richardson (center), James Estrin (right) and Kerri MacDonald (top) of The New York Times at the Point

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Renowned photojournalist Martha Cooper, also on the walk, shared with us some photos she had taken of the trains in key spots over 30 years ago, and she captured us all here.

Note: You can check out the Instagram hashtag #NYTBronxWalk for more images from Saturday’s tour.

Photos by Lois Stavsky

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trans1-street-art-mural-Bronx

Currently gracing the walls of Graffiti Universe up in the Bronx is a range of styles from photorealistic portraiture to stylish graffiti. Here is a sampling of the work fashioned by both international and regional artists:

Italian artist Jorit does the legendary TAKI 183

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Vins and Signl, EOS 

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Norwegian artist Stay One, KD

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Graffiti Universe is located at 2995 Boston Road in the Allerton section of the East Bronx.

Note: First image is by London-based Trans1

Photos by Lois Stavsky

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For over three decades Bronx native Just One has been making his mark on NYC public and private spaces. We recently had the opportunity to speak to the prolific artist.

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When did you first get up? And where?

It was back in 1984 — over 30 years ago — in the West Farms section of the Bronx. I was 14 at the time.

What inspired you to do so?

My older brother and his friends were all doing it. It was the natural thing to do.

Any early memories that stand out?

I was at a handball court in Crotona Park when the spray can I was holding in my hand almost burst into flames.

How did that happen?

It came into contact with a cigarette lighter, and could have easily blown up.

We’re glad it didn’t! We’ve noticed your work in quite a few projects these days – from JMZ Walls in Bushwick, Brooklyn to Operation Skittles at August Martin High School in Jamaica, Queens. Do you prefer legal or illegal surfaces?

I love painting anywhere – but to experience the full essence of graffiti, there is nothing like painting on a surface I discover on my own. Finding a space, being there alone and creating something out of nothing is the ultimate experience.

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Have you ever been arrested for graffiti?

No!

How’s that?

I have good instincts.

What was the riskiest graffiti-related thing you’ve ever done? And why did you do it?

Hitting an elevated abandoned train line, where I had to hop over each wall to do another letter. Why did I do it? I’d been eyeballing that spot for quite awhile and nobody else took it, so I’d figure I’d take my chance. And, yes, it was worth it!

How does your family feel about what you are doing?

My children love it!

What percentage of your day is devoted to your art these days?

About 70%.

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What keeps you painting after all these years?

Passion and the adrenalin rush!  It also relieves my stress.

Any thoughts on the graffiti/ street art divide?

I, myself, prefer the movement and flow of graffiti. But art is art. And street art can be beautiful.

How do you feel about the movement of graffiti and street art into galleries? Have you shown your work in galleries?

I don’t have a problem with that. It’s a good thing! I’ve shown at the Jeffrey Leder Gallery in Long Island City and in bars and other alternative spaces around town.

Do you prefer working alone or collaborating with others?

Both.

Is there anyone in particular you would like to collaborate with?

I’d like to paint with Mitch 77, Jamie Hef and Lee Quinones.

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Do you rep any crews?

TMC, TFO, KD, COA and I’m the prez of WF, World Famous Crew.

How you feel about the role of the Internet in this scene?

It can be too much. When it gets too much into your business, it’s bad.

Do you have a formal arts education?

I’m self-taught, but my teachers always encouraged me to draw.

Do you work with a sketch in your hand or do you let it flow?

I freestyle.

Are you generally satisfied with your work?

Most of the time!

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How has your work evolved in the past few years?

It’s sharper and neater. And I work much faster.

What do you see as the role of the artist in society?

To inspire others to express themselves.

How do you feel about the photographers in this scene?

The more exposure our works get, the better for us.

What do you see as the future of graffiti? Where is it going?

It will continue to evolve.

And what about you? What’s ahead for you?

I plan to keep painting.  And I want to get back into the canvas scene and hopefully — sometime soon — do a solo show.

Interview by Lois Stavsky with City-As-School intern Diana Davidovaphotos: 1, 3-5 courtesy of Just; 2 & 6 (with Awez) Lois Stavsky

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lady-k-Fever-with-graffiti-writers

Conceived and curated by Lady K FeverA Timeline of Handstyles: Signatures from the 1960’s to Present Day, presents an extraordinary array of writers’ signatures spanning three generations. While visiting the space — across from the Old Bronx Borough Courthouse — I had the opportunity to speak to Lady K.

I love this! There is so much history here. What prompted you to organize this?

When I first hit the streets, I did so as a tagger. And the first book I ever read on this culture, The Faith of Graffiti, alerted me to the significance of the tag. On a more personal level, this wall is also my way of paying homage to the old school writers who were so supportive of me when I first moved to NYC.

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This wall serves as a canvas for early legends, as well as for some of the new artists on the scene. How did you get the word out?

I spoke to a number of writers from different generations, and asked them to invite others.

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What were some of the challenges you faced in curating this?

Figuring out the logistics of it all, engaging younger writers, and dealing with the inevitable politics.

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Were there any particular surprises?

Folks rumored to be dead suddenly surfaced! Seeing Swan 3 was, perhaps, the biggest surprise! What a pleasure that was! And I was surprised — and delighted — that so many folks were willing to travel here from afar to tag this wall.

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What’s next?

I’d love to curate a huge warehouse and engage far more people.

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The mural will remain on view through the end of this month — with a special public viewing on Sunday, June 28, 1:00 pm – 6:00 pm.

Note: Special thanks to Delicioso Coco Helado for providing the space and supporting the project.

Photos: 1-7 Lois Stavsky; 8 & 9 Lady K Fever

Note: Photo 2 features Charmin 65 and Swan 3; photo 3 Stella Isabella; photo 4 Nicholai Khan; photo 5 Dun One; photo 6 Meek; photo 7 Broham380

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