This is the tenth in a series of occasional posts featuring the diverse range of trucks and vans that strike our streets.
Photos: 1 by Dani Reyes Mozeson; 2-4, 6 & 7 by Lois Stavsky; 5 by Lenny Collado aka BK Lenny and 8 by Tara Murray
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This is the fifth in a series of occasional posts featuring the range of curious characters that have found a home on NYC streets:
Buff Monster in Little Italy
Federico Massa aka Cruz in Bushwick
Nepo in Bushwick
Nemo — in from Italy — in Williamsburg
Pose in SoHo
stikman in SoHo
Unidentified artist in Brooklyn
Claw Money in Midtown Manhattan
Photo of Pose by Lois Stavsky; all others by Dani Reyes Mozeson
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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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To the sheer delight of local residents and passersby, the Centre-fuge Public Art Project brought its vision to Miami’s Little Havana during Art Basel Week. Here are a few images captured these past few days:
Elle, Yatika Starr Fields and Ben Angotti
Yatika Starr Fields at work
Ben Angotti takes a brief break
The legendary Korn does his thing — with Kristi Evans below
CS-Navarrete at work
Marthalicia Matarrita does her Mom
Nicole Salgar and Chuck Berrett, close-up from work in progress
CRAM Concepts, Lexi Bella, Matthew Denton Burrows & Danielle Mastrio
Thanks to Eric Ginsburg and the folks at the Fridge Art Fair — along with so many others — for their support. This was just the beginning of the Centre-fuge Public Art Project in Little Havana!
Photo of Cruz by Sara C. Mozeson; all others by Lois Stavsky
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This is the second in an occasional series featuring images of New York City’s doors that sport everything from tags and stickers to sophisticated images.
Long Island-based Reme821 in Brooklyn
Baltimore-based Gaia resurfaces in Queens with early wheat paste
Brooklyn-based Abel Macias in Bushwick
NYC-based SinXero on Bronx door
Italian artist Federico Massa aka Cruz in Brooklyn
Argentinian artist Sonni at the Bushwick Collective
OCMC goes big in TriBeCa
Brooklyn-based Judith Supine in Williamsburg, Brooklyn
Photos by Tara Murray & Lois Stavsky
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In partnership with the New Museum’s Ideas City Festival, Centre-fuge’s Cycle 8, Influx in Flux, expanded to include additional containers on East 1st Street, along with wide panels inside the First Street Green Park. Here are a few images captured this past week:
Italian artist Federico Massa aka Cruz at work
Brooklyn-based Elle at work
Brooklyn native Mor at work
Brooklyn-based ND’A
Simply signed “Exit”
Veteran graffiti master Demer at work
The legendary Claw Money at work
NYC-based painter and musician Yuri Velez at work
Noted painter and sculptor Ray Smith
Puerto Rican native Sofia Maldonado at work
The young, talented members of Cre8tive YouTH*ink at work
Recently cited in TimeOut New York as one of NYC’s Top Spots for Street Art, the Centre-fuge Public Art Project, under the curatorial vision of Pebbles Russell and Jonathan Neville, is committed to transforming transitional spaces and construction sites in New York City into public works of art. To assist the Centre-fuge Public Art Project with funds needed to continue and expand their project, check out its Indiegogo campaign.
Keep posted to our Facebook page for additional images of artwork by Sheryo, The Yok, Cram Concepts and more.
Photos by Lenny Collado, Dani Mozeson, Tara Murray & Lois Stavsky
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We discovered Federico Massa’s wondrous artwork this past fall on the streets of Bushwick, and we became instant fans. We recently had the chance to speak with him in his Brooklyn studio.
When did you first start hitting the streets?
Back in 1997. I was 16 years old and living in Milan. But even earlier, I was writing my name, Fede, all over my house — to my mother’s dismay.
We’ve noticed that you sign your work “Cruz.” Why “Cruz?”
It is derived from Santa Cruz, one of the most popular skateboard brands. I was inspired by the skateboard culture back home in Milan. I grew up with it.
Do you have a formal art education?
I studied set design at Academy of Fine Arts of Brera in Milan. I graduated in 2006.
When did you first come to New York City? And why?
Three years ago. I wanted more of an international experience as an artist.
We have seen your work in Bushwick. Where else have you gotten up here in NYC?
Two years ago, I painted a mural in Williamsburg on Hope and Marcy. I had an exhibit at the nearby Graphite Gallery at the time.
How does the experience of painting in the streets here compare to that in Milan?
It was much easier for me to paint in Milan. Here I need to get permission to paint, or I could face serious penalties. It is much more casual in Milan.
Did you do anything particularly risky back in Milan?
The riskiest thing I ever did was painting on moving trains. I learned how to run fast! I loved the adrenaline rush!
Any favorite surfaces?
No. Nothing in particular. I look for a surface that inspires me. Back in Milan, I loved pasting huge painted papers onto plywood panels on the streets. It was my way of reinventing them.
What inspires you to continue to work on the streets?
I like sharing my work with lots of different people, and it’s great when people stop and talk to me.
Great! We’ve loved watching you at work, and we’re so glad you’re sharing your art with us here in NYC. Do you always paint alone? Have you worked with any crews?
I created canvases and installations with The Bag Art Factory collective – a group of artists, including painters, sculptors, and set designers — in Milan. For eight years we collaborated on a variety of projects and constantly organized exhibitions of our works. I’ve also collaborated and exhibited with Biokip, a group that fuses visual art and electronic music.
What about branding? Any thoughts about it?
I have no problem with; it depends on the project. A number of years back, I customized bags, graffiti-style, for Mark Jacobs. I loved getting paid to do what I love most to do!
What is your main source of income these days?
I do set design. It is the perfect job for me, because I like to work with all kinds of materials.
How do you feel about the move of street art into galleries?
I think it’s fine. Just about every artist who works on the streets would like to show in a gallery.
Any thoughts on the graffiti/street art divide?
Lettering is the art of graffiti. Street art was born from graffiti. Street art has simply taken graffiti to the next level. The graffiti writers feel they are the original ones to claim the streets. And they are.
How have graffiti writers responded to your street art?
They like and respect it.
We’ve noticed Latin American influences in your art work. Tell us something about that.
The Mexican aesthetic has had a huge influence on my art. It continues to inspire me.
How do you feel about the role of the Internet in all of this?
I think it is great. It is the best way for one to find artists and for artists to get noticed.
What’s ahead?
I’m open to all kinds of collaborations. I like to work with different materials and ideas. I’ve collaborated with poets and sculptors, and I look forward to more such collaborations. I’m also always seeking huge walls. They inspire me!
Great! We are looking forward to seeing more of your murals on our streets here in New York City.
Photos by Dani Mozeson, Stefano Ortega (final image) and courtesy of the artist
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