graffiti

Legendary Writer George “SEN One” Morillo Pays Tribute to Upper West Side’s 80’s Graff on Cover Design for Time Out New York

June 20, 2014

Born and raised on Manhattan’s Upper West Side, George “SEN One” Morillo first got up in his neighborhood in 1980. Soon afterwards, he began painting subway trains on Manhattan’s No. 1 line and became a member of IBM (Incredible Bombing Masters), one of NYC’s most celebrated graffiti crews. When asked to design an original cover for Time Out New York, SEN One painted a tribute to that era.

In his studio with painting on canvas

And here’s a sampling of some more of SEN One’s tributes to that era:

To Kill A Red Bird, 2012, a recreation of a piece done on a NYC wall back in 1985

My First Love, 2012, based on the first train SEN One ever did with “POKE” and Joey aka “TEL” in 1982

If you are interested in viewing and purchasing some of SEN One’s artwork, he is conducting an Open House at his art studio through the end of this month. For further information, you can contact the artist at ArawakMedia@gmail.com.

Images courtesy of Time Out New York and the artist

Speaking with Billy Mode

June 10, 2014

A master of bold, abstract graffiti-inspired art that fuses elements of mathematics, science and design, Baltimore-based Billy Mode is a frequent visitor to NYC. Here he has graced walls in Brooklyn and in Queens with his strikingly stylish aesthetic, often in collaboration with fellow Baltimore native Chris Stain. I recently had the opportunity to speak to the talented artist:

When and where did you first get up?

It was around 1984-85 in Baltimore. I was 11 or 12.

Who or what inspired you at the time?

Most of my friends at the time were older than me. My friend Eric Meek and I went to see Beat Street at the Grand Theatre in Highlandtown when it first came out. We were so hyped that we were doing backspins and such in the theatre while the movie was playing! Soon after, Eric got hold of a copy of Subway Art by Martha Cooper and Henry Chalfant. I’ve been grateful for these two introductions to the movement ever since.

Had you any preferred surface or spot at the time?

When I first began, it was mostly alleyways with Pilot markers and spray paint. But I soon moved on to rooftops. It was fun and I quickly became addicted to the adventure of it all.

Were you ever arrested back then?

I was caught bombing a bus. But nothing major happened. I got community service.

How did your family and friends feel about what you were doing?

My folks were cool. I was basically a “good kid.”

Have you any thoughts about the graffiti/street art divide?

There is a divide, but I don’t think about it. If it’s good, it’s good. It doesn’t matter whether it’s graffiti or street art.

What about the movement of street art into galleries?

I’m fine with it. I’ve been exhibiting in galleries since the mid 90’s. Galleries offer us artists a different way to share our art.

Why do you suppose graffiti is held in higher esteem in Europe than it is here?

Arts in general are more celebrated there. Plus I think the hip-hop culture is embraced differently In Europe. It is viewed more positively.

Do you prefer working alone or collaborating with others?

I enjoy both. Collaborating is fine — so long as I don’t have to compromise too much and lose too much of my own concept. Collaborations can’t be forced.

Your collabs with Chris Stain are among our favorite pieces. Is there anyone else with whom you’d like to collaborate?

I’ve thought about collaborating with Joe Iurato and Rubin. To me a good collaboration is when the works balance each other out. One of my favorite exchanges was with one of my best friends, Pat Voke. He always made me want to push my limits and seek out deeper meanings in the work process. I hope to collaborate with him again.

What inspires you these days?

Letter forms continue to inspire me; structures, in general, inspire me. When I sit down to work, I try to expand on what I’m developing — so it continues to grow. My graffiti background influences my desire to be inventive and contribute to the movement.

Are there any particular cultures that have influenced your aesthetics?

They’re not quite cultures, but I’m increasingly influenced by the fusion of mathematics and science.

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

These days I do have a sketch in hand which helps with the layout. When I do a more traditional graffiti style, I prefer freestyling it.

Are you generally satisfied with your work?

About 80% of the time! I’m always looking to improve.

What do you think of the role of the Internet in all of this?

We live in the future. Information travels faster than ever which, I think, allows for exponential growth. I do enjoy seeing artistic developments happening daily. But I have noticed that regional styles have been diluted. The grass roots of graffiti culture have been slowly changing, and so have the rules of etiquette.

Do you have a formal arts education?

I do have a BA from Maryland Institute College of Art (MICA), but I always credit my graffiti background as my formal training. I’ve been very fortunate to have good friends to learn from and grow with.

What’s the riskiest thing you’ve done?

Bombing in daylight on super visible spots!

What are some of your other interests?

Sleep, and when I’m not injured, skating pools.

What’s ahead?

I intend to do more murals and conjure mathematic visual formulas into reality. I will keep on expanding!

Interview conducted and edited by Lois Stavsky; photos 1. At Welling Court in Astoria, Queens with Chris Stain by Lois Stavsky; 2. At the Bushwick Collective by Dani Reyes Mozeson; 3. In Cobble Hill, Brooklyn with Chris Stain and Cre8tive YouTH*ink members — based on a Martha Cooper photo by Lois Stavsky; 4. At the Bushwick Collective by Dani Reyes Mozeson; 5. At the Bushwick Collective by Lois Stavsky; 6. At 17 Frost for OutDoor Gallery book launch by Lois Stavsky

Keep posted to our Facebook page for images of Billy Mode’s new mural, done in collaboration with Chris Stain, for the 5th Annual Welling Court Mural Project, opening this Saturday, June 14.

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City as Canvas, New York City Graffiti from the Martin Wong Collection — A Look at the Companion Publication to the MCNY Exhibit

June 7, 2014

The following guest post is by Houda Lazrak, a graduate student in Museum Studies at New York University.

Currently on view at the Museum of the City of New York through September 1, 2014 is the exhibit City as Canvas. To accompany the splendid exhibition featuring pivotal selections from Martin Wong’s exceptional graffiti art collection, the museum released a book by the same name. Edited by exhibit curator Sean Corcoran and cultural critic Carlo McCormick, it features hundreds of images, along with essays from experts in the field and artists’ recollections.

City as Canvas – New York City Graffiti from the Martin Wong Collection, the companion publication to the exhibit, is a fascinating window not only into the graffiti that surfaced in the 80s, but also into the life of artist, collector, curator, and visionary Martin Wong. A San Francisco native of Chinese origin, Wong moved to New York City’s Lower East Side in the 1980s. Immediately inspired by the surge of graffiti, he at once sensed the creative value of the then teenage-run art movement. Wong’s collection documents the roots of the graffiti movement in NYC and the evolution of writing styles through the 1990s.

In his introductory essay, Sean Corcoran, Curator of Prints and Photography at the MCNY, explains how Wong championed young graffiti artists by befriending them, collecting their works and ultimately opening a museum dedicated to the art form (Museum of American Graffiti). Essentially, Wong acquired artists’ black books and requested canvas reproductions of their street pieces – such as Lee Quiñones‘s iconic Howard the Duck, originally painted on a Lower East Side handball court wall. He also secured — what he considered to be — significant canvas pieces, such as Lady Pink’s Maniac Depression. These reproductions form the bulk of the Martin Wong collection and are presented in the second section of the book, alongside biographies of twenty plus instrumental graffiti artists.

As does the exhibition, City as Canvas spotlights the young graffiti artists’ black books. Perhaps the collection’s most prized pieces, these books illustrate the process through which the young writers honed their skills and shared their styles. The publication features full-size pages of sketches and tags by artists such as Zephyr, Kenny Scharf and Keith Haring. True to the original sketches, the pages contain minimal color enhancement and retain their ancient paper background shade and old coffee stains .

Finally, artists such as Lee Quiñones, Daze and Sharp share recollections of their first encounters with Wong. These unique testimonies illuminate Wong’s passionate personality and demonstrate his impact on legendary graffiti writers. Quiñones remembers his friend telling him: “Just when it all seems done, this is when I am going to buy,” a sign of his “wholly commit[ment] to supporting our work in a difficult time.”

Overall, City as Canvas provides an impeccable overview of the Martin Wong Collection treasured in the Museum of the City of New York. The publication’s splendid aesthetics and stimulating essays serve as a vital introduction to graffiti art, as well as an indispensible document for aficionados of the iconic movement.

All images from City as Canvas, New York City Graffiti from the Martin Wong Collection © 2013 Museum of the City of New York, Inc. 1. Book cover featuring Lady Pink mural; 2. John Naar, Graffiti Kids, 1973; 3. Lee Quiñones, Howard the Duck; 4. Zephyr, black book; 5. Peter Bellamy, Martin Wong, 1985

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The Bushwick Collective Celebrates Another Year with Live Street Art, an Indoor Gallery and a Block Party — with Vexta, Adam Fu, Sexer, Solus, Vers, FKDL, Jerkface and more

May 31, 2014

These past few days have been busy at the Bushwick Collective. New walls have been surfacing daily and the Collective has launched its first indoor exhibit. Here’s a bit of what we captured yesterday and Thursday:

Vexta‘s mural — as seen yesterday — and Vexta at work here

Adam Fu at work yesterday

Sexer‘s newly completed mural

Solus — in from Dublin — at work yesterday

Vers at work yesterday

FKDL — in from Paris — checks out his progress

FKDL inside the gallery

Jerkface begins

Jerkface inside the gallery

Also on view in the gallery — located at 426 Troutman Street — in the heart of the Bushwick Collective are works by: Blek le Rat, Solus, Rubin 415, Chris Stain, Dan Witz, Zimad, Joe Iurato, Sexer, Beau Stanton and Atom. And at tomorrow’s block party you can see and celebrate it all with live street art, bands, food trucks, a beer tent and giveaways.

Photos of Vexta, Adam Fu, Solus and Vers by Lois Stavsky; of FKDL, Sexer and Jerkface by Dani Reyes Mozeson; gallery images of FKDL and Jerkface by Houda Lazrak

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Jamming at the Junction, Part I: East New York Graffiti Walls with Rezor, Sebs, Owns, Slom, Slash, Jerms and Poet

May 26, 2014

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

Sebs

Owns

Slom

Slash and Jerms

Jerms aka DJ JS-1

Poet

Photos by Lois Stavsky

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The Allies Bring Their Vision to Manhattan’s East Village with UK Artists Inkie, Elmo and more

May 24, 2014

Imagination in Space – a group of talented artists repurposing the use of city space as an alternative to traditional galleries – brought their vision to the East Village this past Tuesday. In partnership with London-based We Are Pop Up and NYC-based watchmaker Martenero, The Allies have launched their model of “borderless creativity” at 37 East First Street. Among the works featured are quite a few of interest to us street art aficionados. A small sampling follows:

UK graffiti pioneer Inkie

London-based Elmo Hood

Brooklyn-based Misha T

From the launch with noted culture critic Carlo McCormick in attendance (bottom, right)

And a close-up of the backyard — — transformed by Columbia’s Graduate School of Architecture students — the setting of its daily morning yoga classes

Also on view and for sale are works by NYC-based photographer Joey L, illustrator Sam Spratt and multi-media artist Yazmany Arboleda, along with Martenero‘s customized automatic watches and selections from Heidi Gardner’s esoteric jewelry designs. Perceiving its space as an alternative to traditional galleries, The Allies aims to transform city spaces into pop-up galleries — more vibrant and accessible than traditional art-sales venues. You can visit the space through Tuesday at 37 East First Street.

Photos of Elmo and backyard by Dani Reyes Mozeson; all other courtesy of The Allies

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Speaking with Chor Boogie

May 15, 2014

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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Meres and Zimad in Bed-Stuy, Brooklyn

May 13, 2014

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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Fridge Art Fair in Long Island City with Crash, Cosbe, Deps1, Cody, Youth Waste, Alone One and more

May 9, 2014

Located at 5-25 46th Avenue in Long Island City — just minutes from Manhattan — the Fridge Art Fair has much to offer us street art aficionados. Here’s a sampling:

John Matos aka Crash presented by Dorian Grey Gallery

Cosbe

Deps1

Cody and Youth Waste

Alone One with the The Sticker Social Club aka the Secret Sticker Club

The Sticker Social Club aka the Secret Sticker Club — under the curatorial direction of Cosbe

Conceived by Eric Ginsburg, whose portraits of pets are on display at the fair’s Dorfman Projects booth, the Fridge Art Fair — now in its second year — presents an eclectic array of art in all media and styles. It continues through Sunday with live art and performances throughout, as well as pets for adoption today and tomorrow!

Photos by Dani Reyes Mozeson and Lois Stavsky

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“All Girls” at Graffiti Universe in the Bronx with Scratch, Lady K Fever, Mrs, Vik and more

May 6, 2014

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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