graffiti

Tats Cru’s Bio, Nicer and BG183 in the East Village: at TT Underground and on the Streets

March 5, 2014

Tats Cru members — Bio, Nicer and BG183 — express their distinct creative visions in Blood, Sweat and Tears, a playful exhibit on view through Friday at TT Underground, 191 2nd Avenue in the East Village. Here is a sampling of the recent artworks on display by the legendary Bronx-based Mural Kings:

Another painting by Bio with his iconic heart

Close-ups from Nicer’s superheroes

A huge canvas by BG 183

And one of BG183’s smaller ones

And just a few blocks away — on Second Street off Avenue A:

Bio

Nicer

BG183

Photos of Bio’s paintings and mural by Lois Stavsky; photos of Nicer’s and BG183’s by Dani Reyes Mozeson

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From the Brooklyn Bridge to Pelham Bay Parkway with Graffiti Veteran Nic 707 and Multi-Media Artist Michael Cuomo

February 24, 2014

If you happen to be riding the NYC subways anywhere between the Brooklyn Bridge and Pelham Bay Parkway, you could be in for a treat – an impromptu art exhibit curated by veteran graffiti writer Nic 707. Michael Cuomo, a multi-media artist based in Yonkers, accompanied Nic 707 on a recent ride to share some of his new paintings. Here’s a sampling from the InstaFame Phantom Art Project:

These women who exited the train on the Upper East Side were delighted by Nic 707’s InstaFame Phantom Art Project!

Michael Cuomo, Wizard’s Well

Michael Cuomo, Amazon Jungle

Nic 707, Kilroy Goes Wild

Michael Cuomo, Astro-nuts

Nic 707, Apocalypse Aftermath

Nic 707, The Whole World in His Hands

Michael Cuomo, Bubblegum Ecstasy

Photo of Kilroy Goes Wild by Eddie DiBono; all others by Lois Stavsky

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Speaking with George Colon aka AIM SSB

February 20, 2014

Old School New York City writer George Colon aka AIM SSB credits graffiti with having saved his life in the early 70’s. Decades later, he is back in the game — this time with a message beyond his name.

When and where did you first get up?

I was living in Williamsburg, on South 3^rd Street off Bedford. It was in 1970. I was 10 years old. I remember looking at a clean wall in my hallway building and thinking. “My name would look good there!” I started off using shoe polish.

What other surfaces did you hit up back then?

Other hallways, mailboxes and telephone booths. The city became my playground. Soon I was hitting trains and station walls.

What inspired you to keep tagging?

I saw how much it was embraced at Art and Design, the high school I attended at the time. And it gave me something to do.

Have you any early graffiti-related memories that stand out?

Seeing phenomenal handstyles — such as those of Super Strut, Stay High and Super Kool 223.

Did you generally go out alone or did you get up with crews back then?

Two of my classmates at Art and Design took me up to the yards up at Baychester and Parkchester. Once I discovered them, I was on my own! But then in 1972, I went on to form SSB, one of the largest crews in NYC. We SSB members saved each other’s lives. And graffiti saved us all, by giving us a voice and offering us an alternative to the drugs, gangs and violence that were everywhere around us.

How were you known at the time?

I gained popularity as AIM-SSB, but I was also known as OH-222 SSB to confuse the cops.

What did AIM stand for? How about SSB?

AIM was an acronym for Artist in Motion and SSB for Soul Stoned Brothers.

Who were some of the other SSB members?

There were many: Lee Quinones, Shadow, CAM, Do, Rise, Bang 2, Taxi, Fear, Toke, Bomb-One, Jazz, Jazz 2, Pace, Don1, Dime 139 and more.

What is the riskiest thing you did? And why did you do it?

Laying on top of a train while it was running from the Bowery to Essex Street. I was with Chino 13 at the time, and we did it to escape the TA rats.

How did your family feel about what you were doing?

When I first started drawing, my mother encouraged me. She would buy crayons and pastels for me. But when I got into graffiti, my mom was concerned. She’d say things like, “Why are you getting paint on your sneakers?” But they didn’t pay all that much attention to what I was doing.

Have you ever been arrested?

About a dozen times. Mostly for tagging and stealing. I would run fast, but not fast enough.

These days, about what percentage of your time is devoted to art?

Not enough. I do about two pieces a week, but my day job as a recovery coach and a motivational speaker takes up much of my time.

When you do work, do you sketch first or do you just let it flow?

Both. About 70% of the time I work with a sketch.

Are you generally satisfied with your finished piece?

Absolutely!

Do you have a formal art education?

Just the year and a half I spent at the High School of Art & Design. I’m largely self-taught.

Are there any particular cultures that have influenced your aesthetic?

There are Greek and Italian influences. My father is Italian, and I’m inspired by Greek graffiti.

What inspires you these days to engage with the graffiti culture?

The eagerness of young people to learn about it. I love their innocence and ability to explore. My organizations, Imagine Ink and United We Paint, promote graffiti and urban arts events for folks across the generations.

Do you prefer working with others? Or would you rather paint alone?

When I was younger, I preferred to work alone. But I’ve recently enjoyed collaborating with Orlando Rine Torres and Sexer.

Any thoughts about the graffiti/street art divide?

I really can’t answer that. I’d like to learn more.

Why do you suppose the “art world” has been so reluctant to embrace graffiti?

Graffiti was originally seen as a threat. The defacing and destruction of property was perceived as an “uprising.”

How has your work evolved in the past few years?

I’ve diversified my styles and am more open, in general.

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

It’s an asset to the movement; it gets our work out there.

Have you any feelings about the photographers/bloggers in the scene?

I feel positive about them. They give us exposure.

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

To awaken awareness within others.

What do you see as the future of graffiti?

My hope is that it can be taught on many levels and used in a positive way.

What about you? What’s ahead for you?

Continuing to create art and educating others about graffiti.

Interview conducted and edited by Lois Stavsky; all images courtesy of George Colon; the final image is a collaboration between George Colon and John Paul O’Grodnick

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Girls on Walls, Part XII: Eli Sudbrack, Danielle Mastrion, Veng & Chris, RWK, Katie Yamasaki with Groundswell Youth, Sest 2 and Fin DAC & Christina Angelina

February 10, 2014

This is the twelfth in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:

Brazilian artist Eli Sudbrack in Williamsburg, Brooklyn

Danielle Mastrion in Williamsburg, Brooklyn

Veng and Chris, RWK in Little Italy

Katie Yamasaki with Groundswell youth in Park Slope, Brooklyn

Sest 2 on Manhattan’s Lower East Side

Fin DAC & Christina Angelina — tribute to Lou Reed in Williamsburg, Brooklyn

Photo of Fin DAC & Christina Angelina by Dani Reyes Mozeson; of Chris & Veng, RWK by Tara Murray; all others by Lois Stavsky

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Speaking with Angel Ortiz aka LA2

February 3, 2014

Based on the Lower East Side, LA2 creates bold, brightly-colored energetic works on a range of surfaces. Befriended by the legendary Keith Haring as a young teen, LA2 is best-known for his distinct tag that has earned him accolades both on the streets and in galleries and museums world-wide. I recently had the opportunity to interview him:

When and where did you first start tagging up?

I was 10 when I first started tagging. The street was my canvas. I lived on the Lower East Side, and so those were the streets that I hit.

Who or what inspired you at the time?

I noticed kids at the Boys Club and in school tagging up. And I was inspired by Lee Quinones’s work that I saw on subway cars and on walls in my neighborhood.

Did you tag alone or did you work with crews back in the day?

It didn’t matter. I just wanted to tag up. I worked mostly alone, but I did get up with TNS (The Non Stoppers) and El 3 (RIP), who later died when he was electrocuted by the 3^rd rail.

You went on to collaborate with Keith Haring. How did you first meet Keith?

Keith was looking for me. He had seen my tag and wanted to find me. When Keith was working on a mural at Junior High School 22, Richie SOE came to my house and told me that Keith wants to meet me, and so I went over there.

How did Keith Haring’s work change after meeting you?

Before he met me, he was doing mostly simple characters. After we began working together, his work became more energetic. And soon after Rock Hudson announced that he had AIDS, Keith came out of the closet, and his artwork took on a more sexual tone.

What was it like collaborating with Keith?

It was great. I’ve always been fond of Keith as a person and as an artist. We travelled to Europe together, and Keith made sure that I was paid what was due me. I feel grateful to Keith, but not to the Keith Haring Foundation. But that’s another story.

Your artwork has been exhibited in galleries worldwide. How do you feel about the movement of graffiti and street art into galleries?

I think it’s great. It’s a win-win for both galleries and artists. We artists have to make money to keep doing what we’re doing.

Any thoughts about the graffiti-street art divide?

There’s less and less of a divide. After Keith Haring collaborated with me, the museums had no choice but to accept graffiti. This past year, I became the first writer to paint in the Children’s Museum of the East End in the Hamptons.

Who are some of your favorite artists?

They’re all dead. Keith Haring, Andy Warhol, and Basquiat were my favorites.

Do you prefer working alone or collaborating with others?

I generally work alone. But in addition to Keith Haring, I’ve collaborated with quite a few artists including Richard Hambleton, Kenny Scharf and my girlfriend’s daughter, Jasmin. And when Stik was in from London this past fall, I collaborated with him.

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

I think it’s great. Since my girlfriend, Ramona, created the website, we’ve received invitations from galleries overseas in such countries as Italy and Germany.

Do you have a formal art education?

No, I’m self-taught. I dropped out of Seward Park High School to travel with Keith Haring and help him establish his career.

What is the riskiest thing you ever did?

Just getting my tag up is risky. I’ve spent time in jail for that. Whenever I take my dog, Nico, for a walk, I tag when he pees. And I’ve gotten locked up for that, along with Nico. He’s gotten locked up, too!

What inspires your art?

It’s inspired by my emotions…the things I go through… my thoughts and feelings. Creating art is how I express myself.

Do you work with a sketch in hand?

Never, it’s all straight out of my head.

Are you generally satisfied with your finished piece?

I’m always happy. I love them all.

How has your work evolved through the years?

It has gotten more detailed. There’s more line work and people tell me that it’s tighter.

What do you see as your role — as an artist — in society?

My particular role is to educate kids on how to express their creativity in a healthy way. They need to use the right materials and to cover their faces. I developed health problems (COPD) by not protecting myself when painting. I love lecturing kids and working with them. I will be doing a workshop with children this spring at the Angel Orensanz Center in conjunction with the Fridge Art Fair.

What do you see as the future of graffiti?

It’s going to become more and more valued as an art form.

The Europeans have always seemed to value it more than we have. Why do you suppose they are so much more receptive to graffiti than we here in the States are?

It’s because they appreciate art more, in general. It’s always been that way. And on a personal level, Paul Kostabi sold my art in Italy 20 years ago, gaining the attention and appreciation of Europeans.

What’s ahead for you?

Traveling, exhibiting both here and overseas, educating the youth and continuing to become healthier.

Editor’s note: A selection of LA2’s work in on exhibit at City as Canvas: Graffiti Art from the Martin Wong Collection at the Museum of the City of New York. Curated by Sean Corcoran, it opens tomorrow, February 4, and continues through August 24.

Interview conducted and edited by Lois Stavsky; first two photos — of LA2 collaborating with Keith Haring and of LA2 tagging — originally published in Keith Haring, Rizzoli — courtesy of LA2; all other photos by Dani Reyes Mozeson

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WALL WORKS: The Art of Graffiti at Great Neck’s Gold Coast Arts Center with Meres One, Zimad, Shiro, See TF, Kid Lew, Hunt Rodriguez, John Paul O’Grodnick and more

January 31, 2014

On exhibit through February at Great Neck’s Gold Coast Arts Center is WALL WORKS: The Art of Graffiti featuring works by 5Pointz (Rest in Power) curator and CEO Jonathan “Meres” Cohen and other artists who found a home at 5Pointz. Here’s a small sampling:

Meres

Shiro

See TF

Kid Lew

Hunt Rodriguez and daughter, close-up from sculpture, “Rest in Power, 5Pointz” (Click on link for video clip with full view)

John Paul O’Grodnick

Zimad

First image of Zimad and Meres, close-up from photo by Richard Alicia; all others by Lois Stavsky

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Speaking with Pioneering Graffiti Writer and Photographer FLINT

January 17, 2014

Back in the 1960’s, Flint Gennari was getting his name up, without even realizing that what he was doing was a precursor to modern graffiti. It was wonderful to have an opportunity to meet up and speak with this graffiti pioneer.

When and where did you first get up?

It was back in 1966. I was nine years old, and I was traveling and camping cross-country with my family during our summer vacation. I was already aware of the mindless scribing on the bathroom walls. I’d seen “John loves Mary,” “For a good time, call…” Why not write something profound or, at least, interesting — since you have a captive audience? I started writing sayings and signing them FLINT. Anything that caught my fancy would work — something from a fortune cookie, a great lyric from a song or a quote that offers advice. It didn’t matter that people didn’t know what to make of it. I had a secret identify, and it kept me busy.

Gee! You must have been quite precocious! And what about your name? What inspired you to start writing your name in public spaces?

I had been learning about World War II in school, and I became obsessed with the phrase, “Kilroy was here.” Who was Kilroy? And why did he write his name everywhere? Like Kilroy, I liked the idea of advertising myself. I had hearing and speech problems, so I couldn’t understand much of what was happening in the classroom. This made me me a loner, but I found something that could make me part of the world. I was sensitive to social change. It was the 60’s. Things were changing, and I wanted to be part of it.

Did any particular writers or artists inspire you?

There were no writers at the time. Graffiti – as we’ve come to know it – didn’t yet exist. I was influenced by Madison Avenue ads and slogans. They would bombard you with whatever they were trying to sell. The artist Peter Max was commissioned to make art to be placed on mass transportation. He always made his name the centerpiece of the work and placed his art — angels, butterflies, fairies etc — around his name. Was he smart? I think so.

What about your name? How did you acquire the name “Flint?”

I spent lots of time – as a kid — with Marvel comic books and movies. These characters were cool; they would do what they wanted. I became a real James Bond fan. And so I took the name of Flint, the master spy who spoofed James Bond.

How did your family feel about what you were doing back then?

They hated it. They hated the name “Flint,” but it was my given name. I gave it to myself. Yes, I was the black sheep of the family and I was always in trouble.

What about crews? Did you join any crews?

As time went by, many more writers started in Brooklyn. Scooter and Dino Nod lived in the same apartment building two blocks away. And Flip One lived In the other direction — one block away. Erasmus High School was nearby, along with Mico, Mani and Wicked Gary. Dino Nod was the president of the ExVandals — the first-ever graffiti crew — and I ran with him. Then with my writing partner, LSD OM, I founded the Rebels. Future Rebels members included writers such as Shadow and Zephyr.

Were you influenced by these other writers? Did meeting them affect your style?

It was when I met these other writers that my sayings changed. I started writing more for them, and messages like For Those Who Dare, For Ladies Only, Bad but Not Evil and The Time Will Come... started turning up.

What is the riskiest thing you ever did?

Every time a writer gets up, he is taking a risk. But probably the riskiest thing I did was climbing down from the el to avoid the cops.

Do you have a formal art education?

I attended the High School of Art and Design, the greatest “writing” school out there. In the lunch room we all sat at the “Writers Table,”passing around our black books and refining our tags. In fact, Art and Design is where I met Al Diaz and influenced him and Basquiat to write messages.” On a more formal level, I took some classes at Pratt and at the International Center of Photography. But I’m largely self-taught.

You are an active photographer as well as an artist. At what point did your focus shift to photography?

I stopped hitting train stations and most public surfaces in 1976. And the following year, I began a 10-year project of photographing a drug addict. But even as a young child – before I could afford a camera – I loved photography, and I would borrow my father’s camera to photograph my friends. There was a time when it became a choice between doing pieces or photographing my friends doing them. This is how the video footage for my graffiti song came about. I remember when my friends Flip One and Dime139 asked me to hit the yards. I ended up doing more photography than hitting that day, but this was 1975 already.

Have you exhibited your work in gallery settings?

Yes. I’ve exhibited both my graffiti and photography. Before I graduated from high school, my work had won a Scholastic Art Award and was exhibited nationally. Then in 1998, Hugo Martinez, the founder of the United Graffiti Artists (UGA), saw my tag behind me at B&H photo, where I was working at the time, and gave me an exhibit at his gallery in Chelsea. That opened my eyes to how big graf had become: I had no idea! Since, I’ve exhibited worldwide and was featured in Born in the Streets at the Fondation Cartier in Paris.

Why do you suppose the Europeans are more receptive to graffiti than we Americans?

Europeans have always understood and respected art, particularly art that’s a bit out of the mainstream. Just look at how receptive they were to jazz musicians!

What percentage of your time is devoted to art?

All of it, though most of it is focused on my photography business. I’d like more time to focus on my own art. I do get orders for canvases and water colors all the time.

Any other passions?

Music. I play the guitar and I write songs. I was the rhythm guitarist for the Ex Vandals Band. Stan 153 played bass; wicked Gary was on percussion and Bama/Amrl was the leader and on drums.

Any thoughts about the graffiti/street art divide?

It’s all a means of expression, and we influence each other. It means something special, though, that we graffiti writers are a part of New York City’s history, and that we writers have invented a new American art form which is still evolving. But I’m not a purist. I think Banksy is terrific.

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

It’s great. I’m seeing and enjoying new things all the time. And it goes without saying how easy it has become to showcase what you are doing to a much bigger audience.

Have you any feelings about the photographers and bloggers in the scene?

It’s all good.

What do you see as the future of graffiti?

At the beginning, graffiti was considered nothing more than vandalism. When you became a writer, you entered a brotherhood with benefits. You belonged to a family of like-thinkers who, along with you, were creating something — without knowing exactly what. I’ve had life-long friendships with many of the pioneers such as Tracy 168, Stayhigh 149 (R.I.P) and Taki 183. Back in the day, we never would have imagined just how influential graffiti would become – that it would impact everything from fashion and marketing to the “art world.” Graffiti will continue to evolve, and its influence is likely to increase.

Interview by Lois Stavsky with Richard Alicea; all photos courtesy of the artist; first photo, Flint and Tracy 168.

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Guys on Walls, Part V: Esteban del Valle, Ramiro Davaro-Comas, Swoon, James de la Vega, Paul Paddock, Tats Cru and Mataone

January 10, 2014

This is the fifth in an occasional series featuring images of males who surface on NYC public spaces:

Esteban del Valle on Manhattan’s Lower East Side

Ramiro Davaro-Comas in Bushwick, Brooklyn

Close-up from huge wall by Swoon and Groundswell youth on the Bowery and Houston

James de la Vega in East Harlem

Paul Paddock in the East Village

Tats Cru in the East Village

Mataone in Bushwick, Brooklyn

Photo of Swoon by Tara Murray, of Mataone by Dani Reyes Mozeson and all others by Lois Stavsky

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Speaking with Col Wallnuts

January 7, 2014

For over 20 years Col has been gracing our public spaces with his distinctly graceful aesthetic. His street murals, along with his small works on various media, are among our favorites. It was wonderful to have the opportunity to recently interview him.

When did you first get up?

I began tagging and doing some outlines in Staten Island/Brooklyn about 1993-94.

What inspired you at the time?

I was inspired by the tags and pieces I saw along highways. I always wondered who had done them.

Have you any early graffiti memories that stand out?

I loved seeing Cost and Revs in the Meatpacking District. The area has come a long way from the violence and corruption that once characterized it. But it’s great to see a piece of that time still around.

Do you paint with any crews?

I was active with CTO (Check This Out), as both Vers and Edge had taken me under their wings. I’m currently part of Wallnuts, MST, MTA and KD. Wallnuts is comprised of writers from both the States and Europe. Among them are: Muse, Chester, Been3, Ree2, Soco, Riot, Phyme, Met, MadC, Zest, Dos, Free5, Kern and Mad.

Do you prefer working alone or with others?

It depends on the project. Painting with good people motivates me, sets a fire under my ass and inspires me. Painting alone is good too. It’s like nothing else exists.

Do you generally paint with a sketch-in-hand?

Almost never. A sketch prevents one from being organic. I want to see where my idea goes and to produce what I see in my head.

Do you have any preferred surfaces?

I love to paint on anything. I prefer painting on surfaces and in areas where no one has painted before. I enjoy challenges. Obstacles are fun. And I love working large scale on buildings. I grew up working on walls, so the bigger the better.

What about neighborhoods? Have you any favorites?

I prefer working in bad neighborhoods. There are real people there. In good neighborhoods, you’re faced with bullshit. I’ll take Marcy Avenue over Park Avenue any day of the week! Painting in an impoverished neighborhood gives it life and positive energy.

What percentage of your time — would you say — is devoted to art?

I paint seven days a week. I work through holidays. I’m always working on paper, canvas or on my computer.

Have you exhibited your work in gallery settings?

Yes. I’ve exhibited at Art Basel (Miami), in NYC, LA, Chicago, DC, and in Europe.

How do you feel about the movement of graffiti into galleries?

As a painter, that’s progression. And it all begins with the tag. A tag is an art form. It’s a craft that not just anybody can do. Tags, then throw-ups and then you eventually evolve into doing pieces. And galleries have a responsibility to preserve them and share them. Although I’m still not completely comfortable with gallery settings, it’s a good feeling to make money from my art when my work sells.

What are your thoughts on the street art/ graffiti divide?

Fifteen years ago, it was only graffiti. But we are no longer the only ones getting up. And that’s not a bad thing. I have a lot of respect for street artists. They are doing fresh stuff. Street art actually helped graffiti. Since the emergence of street art, graffiti writers have had more opportunities to exhibit their work in galleries. If you’re a wheat-paste artist keeping the movement alive…how can I hate that? There are rules, though, to graffiti and some street artists need to learn them.

Have you ever been arrested?

Never for graff. But I’ve been chased a lot. Back then, cops used to catch you with paint and write on you. Then they’d let you go with a warning. Those days are over.

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

My family hated it. My family didn’t want the kids doing anything illegal. They saw it as a dead end…not doing anything with yourself, but putting up your name. I also lost some friends over graffiti. But your true family will never turn their backs. Ultimately, you learn, too, that you only have yourself at the end.

Do you have a formal arts education?

I studied Fine Arts and Advertising at FIT and at the Academy of Art University. But all my spray painting training is self-taught. I learned the hard way with Krylon, Rustoleum, American Accent and Dutch Boy. The kids today have it easy using Montana and Belton.

Are you generally satisfied with your work?

It’s fifty-fifty. Sometimes. Other times I want to just buff and start all over. If you care about what you do, you’re your own worst critic.

What’s the riskiest thing you’ve done for your art and why were you willing to take that risk?

Painting in Israel by the Syrian border right in the line of fire. It’s the sort of thing we as artists live for. Art is stronger than war. And that’s why I did it.

Are there any particular cultures that have influenced your aesthetics?

I love the abstract movement. I enjoy the works of Pollack, Rauschenberg, Fran Stella, Jasper Johns and de Kooning. The abstract movement went against the grain of what was popular in Europe.

How has your work evolved throughout the years?

I’ll say it’s more deconstructed these days. Back then, the majority of my work was 3D, but that got old and boring to me. I went into breaking letters and transitioned from 3D to silhouette.

How do you feel about what you are doing these days?

I’m happy with my progression and where I’m going. I’m glad I didn’t listen to people around me. I’m glad that the progression came naturally, and I can’t wait to see where it goes within the next few years.

What do you think the role of the artist in society?

It’s about being a role model and reaching the youth. You got to give something to them they can grasp. You have to make them feel excited about what you are doing. The artist has to inspire and lead by example. He has to teach others that being an artist is a positive thing.

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

It’s a part of you when you wake up; it’s a part of you when you go to sleep. It’s an outlet for everything we do. Before the Internet, guys were grinding…dealing with people first-hand. You had to present physical material. Today it’s digital, and it takes two minutes. There are tons of positives and negatives to the Internet. You have to use it in a way that it works for you.

Any thoughts on the photographers and bloggers out there?

I support them. They shoot my work, they are very supportive and their eye is important. I like that they provide an opportunity to others to see my work.

Any shoutouts?

Shoutout to my WALLNUTS and URNY family. The homies: Hellbent, SeeOne, Depoh, Phetus, KA, Werds, Touch, Rubin. Semz (Rest In Power) and my grandma. Semz did so much for the graffiti scene. His is a name everyone should remember. My grandma was my biggest supporter. She never understood my art, but always pushed. She was a self-taught traditionalist artist. She told me, “Never stop and don’t ever let anyone tell you that you’re not an artist or that you’re not a painter.” She’s with me in everything I do.

Interview by Lenny Collado; photo 1 at the Bushwick Collective by Lois Stavsky; 2 at the East Harlem Hall of Fame by Lois Stavsky; 3 at the Bushwick Collective by Lois Stavsky; 4 in Prospect Heights by Tara Murray; 5 in Bed-Stuy with Muse by Lois Stavsky; 6 in Inwood with Ree by Lenny Collado; 7 in Tel Aviv by Lois Stavsky, and final photo courtesy of the artist.

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LA2 at Leila Heller Gallery for Young Collectors Exhibition

January 4, 2014

For its second annual Young Collectors Exhibition, the Leila Heller Gallery is featuring an exuberant selection of works in a wide range of media by Angel Ortiz aka LA2 and LaROC. Befriended as a young teen by the late Keith Haring, the two clearly influenced one another. And in this exhibit, as in so much of LA2’s artwork, Keith Haring’s spirit is visibly alive. There is even an LA2 Pop-Up Shop dedicated solely to LA2’s objects, reminiscent of Keith Haring’s Pop Shop, a fixture for almost 20 years on Lafayette Street in lower Manhattan. Here are a few images from the exhibit that continues through Wednesday, January 8, at 568 West 25th Street in Chelsea.

Spring Flow