graffiti

NYC’s Expressive Doors, Part III: Judith Supine, ASVP, Bishop203, Craig Anthony Miller, The Yok, 13 Portals Project, Gaia and Jordan Betten

September 18, 2013

This is the third in a series featuring images of New York City’s doors that sport everything from tags and stickers to sophisticated images.

Judith Supine in Williamsburg, Brooklyn

ASVP in NoLita

Bishop in Nolita

Craig Anthony Miller aka CAM in Williamsburg, Brooklyn

The Yok in Williamsburg

One of 13 Portals on the Lower East Side

Gaia in Long Island City, Queens

Jordan Betten in Chelsea

Photos of Judith Supine and 13 Portals by Dani Mozeson; ASVP, Bishop and the Yok by Tara Murray; CAM by Lois Stavsky

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COCO144: The Evolution of an Artist

September 16, 2013

COCO144 is a pioneer New York City-based graffiti/street artist. He started tagging in 1969, co-founded United Graffiti Artists and introduced the stencil into the graffiti movement in NYC. This interview was conducted and edited by Yoav Litvin. Yoav is a writer, photographer and author of a forthcoming book on NYC graffiti/street art.

You were there at the beginning of it all. How did graffiti start?

Graffiti is what the media called it. What I call the writing movement started in NYC back when I was in junior high in 1968. It began in the Inwood section of Manhattan with Julio204. Then in 1969, it took off in Washington Heights, with writers like Phil T. Greek and TAKI 183.

Why did writing start?

Writing was a reflection of the times — the socio-political and economic realities back then. It was a combination of the spirit of the anti-war movement, frustration with economical and social inequality, and racial and political tensions.

How do you feel about the evolution of it all? Where’s it heading? What’s the difference between today and back when graffiti just started out?

It has changed from a social scream of the inner city to a large-format, graphic design-like urban beautification movement. Go out right now and try to write your name on a wall, you’ll get arrested! Try to paint anything else and you’re more likely to get away with it. Back then, we wanted to be known within our circle of writers for destroying the system; you hit, do your thing and were cool to be incognito rather than celebrating who you are. That’s changed today.

Why do you think this movement has spread throughout the world?

Making your mark is a contagious virus with no known vaccination or cure.

Who do you consider are the pioneers?

My contemporaries, far too many to name, but I also feel that folks who are really interested in knowing the history of the movement should do their research.

How did you get your name – COCO144?

COCO was a term of endearment given to me by my parents when I was 3 months old. I grew up on 144^th St. in Harlem.

What are some of your preferred mediums?

Markers, spray paint and later I developed the stencil for obvious tactical reasons.

What were some of the concerns and dangers you had to consider?

Going into the yards you always had to consider the third rail. Other than that, there wasn’t much security to worry about at that time.

How have you evolved as an artist?

My name has developed and evolved in a calligraphic sense. I’m still working with my name. I see it as a process of constant rediscovery of myself; my name is a big part of who I am. Today I am influenced by my workplace, a Science Research Institute in Manhattan. I integrate the sciences into my name. I find it fascinating that both art and science utilize and emphasize the process of experimentation/trial and error. Both also greatly value and rely on curiosity and modesty as driving forces. Lastly, both accentuate the importance of the process as much as that of the final product.

1) Photo, 1970

2) Photo, 1972

3) Photo, 1974

4) Photo, 1984

5) Photo, 1995

6) Photo, 2009

7) Photo, 2010

All photos ©COCO144

For a slideshow by COCO click the following link: COCO

For an interview with Yoav on Street Art NYC see here.

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At 5Pointz — a Fusion of Cultures and Styles with: Bis & Vor, Christiaan Nagel, Shiro, Part One, Yes1, Meres, ND’A & Bishop, the Har Crew, Zeso, Joel Bergner and Dase

September 5, 2013

Dozens of new artworks, representing a wide range of cultures, styles and approaches, have surfaced this summer at 5Pointz. Here are a few from NYC’s ever-evolving open-air gallery:

Veteran graff artists Bis and Vor

Austrian artist Roofie

Japanese artist Shiro with Part, Yes1 and Meres

ND’A and Bishop

The Mexican Har crew, close-up

Har Crew, complete mural

French artist Zeso

Brooklyn-based international muralist Joel Bergner

Barcelona-based artist Dase

Photos by Dani Mozeson, Tara Murray and Lois Stavsky

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Speaking with Bisco Smith

August 25, 2013

Currently based in both LA and NYC, Bisco Smith is celebrated for his graffiti on walls, as well as for his audio and visual work within hip-hop culture. WORLD UPSIDE DOWN, a recent collection of this talented artist’s works, is on view at Low Brow Artique, 143 Central Avenue in Bushwick, through September 7^th. We spoke with Bisco soon after his hugely successful opening:

When and why did you start getting up?

I was about 12 or 13 years old when I started writing.

Any particular inspirations at the time?

I grew up skateboarding, and we were all into writing. Just about everyone in my school had a black book. We also avidly followed Chino’s Graf Flix section in the Source. This was sometime in the mid-90’s.

What was your preferred surface – back then?

Abandoned buildings. I grew up spending day after day inside of a huge dead factory. We could paint anything and everything in there.

Any early graffiti memories that stand out?

The first time I got taken down to the train tracks, a party got broken up by the police and on our escape, we ended up under a bridge filled with burners.

What is the riskiest thing you ever did?

Train tunnels and some less-than-solid rooftops. I remember getting caught between two trains, coming on opposite sides, while I was standing between two third rails. That experience will make you appreciate life all over again.

Why were you willing to take that risk?

I ask myself the same question now.

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

Just about all of it. Both visual arts and music.

Do you have a day job? What is the main source of your income these days?

I work as a graphic designer and I mentor kids. I have a strong moral compass, and just about 98% of the work that I do is for the right cause. I’m involved with various community-based organizations including ARTS By the People, based in New York and New Jersey.

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

Graffiti has a code, street rules, that “street art” doesn’t have – and that’s one of the reasons for the tensions between the two. But I don’t think there’s enough respect on either side.

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

I think it’s great when people can make a living doing what they love – and also impact others.

Would you rather work alone or collaborate with others?

When I’m working on walls, I prefer to collaborate. More often than not, I paint with my friends and crew mates: Leias, Bishop203 or Meres

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

Jackson Pollock – if he were alive.

Any favorite graff artists?

Ces. Since Videograf 8 dropped, that whole 90’s era in the Bronx really was my favorite.

Do you have a formal art education?

Yes. I studied communication design at Pratt.

Was it worthwhile?

Very much so. It taught me a trade. There’s work in graphic design.

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

Both positive and negative. I love the connections and opportunities, but miss when style was localized

What inspires you these days?

Lately, I have been heavy on instagram and tumblr checking out other artists, working artists.

Are there any particular cultures that have influenced your aesthetic?

Hip-hop culture for sure.

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

I let it flow.

Are you generally satisfied with your finished piece?

For the most part, but in the end — for me — it’s more about the day and the moment. The end result is a bonus.

How has your work evolved through the years?

Although I continue to work on the streets, I no longer need its framework to create. I think my artwork is more focused these days – especially if I know it’s headed to a gallery.

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

Balance out the mundane, as well as make people think.

What about the role of the photographer? The blogger?

It is important to document what’s out there and happening. I think its essential to any movement.

Any thoughts about sanctioned vs. unsanctioned art?

I like them both. I think both are needed and both allow for their own outcomes and impacts.

The Europeans seem to appreciate and respect graffiti far more than we do here in the States? Any thoughts about that?

If it doesn’t make money here, society seems to not appreciate it.

What’s ahead?

More visual explorations, socially engaged work, and gallery exhibits.

Interview by Lois Stavsky. Photos: 1. Bisco on exterior of Low Brow Artique, photo by Lois Stavsky; 2. & 3. Bisco in WORLD UPSIDE DOWN, photos courtesy of the artist; 4. Bisco, Meres, Bishop203 & Leias at 5Pointz, photo by Lois Stavsky; 5. Bisco & Leias on exterior of Low Brow Artique, photo by Tara Murray and 6. Bisco in Watts, photo courtesy of the artist

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Curious Characters on NYC Streets: Zio Ziegler, Sheryo, JC, Lamour Supreme, Reme821, Sinned, QRST & Mr. Penfold

August 21, 2013

A range of curious characters have found a home on the streets of NYC. Here are a few in the first of our series featuring some of our favorite ones:

Zio Ziegler in Williamsburg, Brooklyn

Sheryo in the East Village

JC at Welling Court in Astoria, Queens

Lamour Supreme in Williamsburg, Brooklyn

Reme821 in Bushwick, Brooklyn

Sinned at Welling Court in Astoria, Queens

QRST at the Bushwick Collective

Mr. Penfold at the Bushwick Collective

Photos by Dani Mozeson, Tara Murray and Lois Stavsky

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Centre-Fuge Public Art Project — Cycle 9 with: Cern, Damien, QRST, Cassie Lynn O’Neal, Cake, Caroline Caldwell, Royce Bannon & Korn

July 30, 2013

The once-abandoned trailer on East 1st Street off 1st Avenue in Manhattan’s East Village has once again been transformed into an intriguing canvas of urban art. Here are a few images we captured these past few days from Cycle 9 of the Centre-Fuge Public Art Project.

Cern at work

Cern, close-up

Damien Miksza at work

QRST at work

Cassie Lynn O’Neal at work

Cake — close-up

Caroline Caldwell at work

Royce Bannon at work on collaborative piece with Korn

The curatorial vision of Pebbles Russell and Jonathan Neville, the Centre-Fuge Public Art Project was conceived in 2011 in memory of Mike Hamm. Submissions to Cycle 10 — due by August 26th — can be sent to centrefuge@gmail.com. Keep posted to our Facebook page for more images from Cycle 9

All photos by Tara Murray, except for final photo by Lois Stavsky.

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It’s Happening at 5Pointz: Rimx & Nepo, Kid Lew, Jasper, Demer, Rain & Kasso, Nok Crew, Serrano, Mas Paz, Rimx & Cortes and Zeso

July 26, 2013

The walls at 5Pointz continue to showcase some of the most vibrant public art in NYC — or anywhere. Here’s a sampling of some artwork that has recently surfaced:

Puerto Rican artists Rimx and Nepo

Queens-based Kid Lew’s tribute to Trayvon Martin

Jasper — in from Queensland, Australia

New Jersey-based graff masters Demer, Rain and Kasso

The Parisian Nok Crew

Serrano, Mas Paz, Rimx and Cortes fashion letters “PROC” for the Artist Process, a 5Pointz annual project coordinated by Marthalicia Matarrita

Close-up from huge mural by French TD4 member, Zeso

Photos by Dani Mozeson, Tara Murray & Lois Stavsky; image of Ked Lew’s mural courtesy of the artist

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Speaking with Miss 163

July 24, 2013

A graduate of Cooper Union and a Fulbright scholar, Bronx native Sharon de la Cruz aka Miss 163 is a passionate artist and activist. Her first solo exhibit, Wild Thing, can be seen through August 11th at bOb’s at 235 Eldridge Street on Manhattan’s Lower East Side. Her most recent public mural surfaced last month on Boone Avenue in the Bronx.

When and where did you start getting up?

I was 17 and living in Florida. Life was dull. My mom bought me my first spray can and told me I could paint a landscape on the back fence.

How did that turn out?

It was terrible. I hated the way it looked. I was instantly discouraged and started bombing.

What, then, inspired you to start painting in public spaces?

During my junior year in college, I went to Amsterdam. I saw amazing — different — graff there, and I began to think of graffiti as art.

It seems that Europeans, in general, tend to respect graffiti as an art form far more than we do here in the States. Why do you suppose this is so?

Here — from early on — it was regarded as a symbol of chaos and vandalism.

We’ve seen your artwork in Brooklyn, in the Bronx and at 5Pointz. Where else have you gotten up?

I’ve painted all over Lima, Peru.

Did you paint alone in Lima or were you with a crew?

I painted with Maripussy Crew. There were six of us – five graffiti artists and one rapper. It was wonderful!

What is the riskiest thing you’ve done?

Painting way up high in Lima while standing on a rickety, wobbling ladder. It was not a good feeling!

Do you prefer to work on legal walls or on unsanctioned spaces?

I try to achieve a balance. It depends on the setting. But legal walls don’t have to be done in a rush and in the dark. And that’s an advantage.

Any thoughts about the movement of street art and graffiti into galleries?

It’s a different experience than painting on the streets. But I’d expect it to feel different. And that’s okay!

You designed a limited edition perfume bottle for Calvin Klein’s CK One Shock Street Edition For Her. How do you feel about the merchandizing or branding of graffiti?

It’s okay. In the past, it helped me pay off loans.

What percentage of your time is devoted to art?

When I’m not doing it, I’m thinking about it.

Any thoughts about the graffiti/street art divide?

I think it’s silly. And as graffiti continues to evolve, the lines between the two continue to blur.

Why do you suppose the “art world” remains reluctant to accept graffiti as a legitimate art form?

Because it’s participatory, political and immediate, it is seen as a threat.

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

I love it. One of my early inspirations was the Art Crimes web site.

Have you a formal art education?

Yes, I studied at LaGuardia High School, Dreyfoos School of The Arts and at Cooper Union.

Was your formal art education useful?

Absolutely. It encouraged me to evolve and explore. There’s nothing like being around people who believe in you and feel excited about what you are doing.

What inspires you these days?

I’m inspired by animation, cartoon characters and color. In terms of themes, I’m concerned with “sister strength.” Raising and answering the question, “What does it mean to be a strong woman?”

Are there any particular cultures that have influenced your aesthetic?

Brazilian, Peruvian and Old School Graffiti

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

My basic idea comes from a sketch, and from there it flows.

Are you generally satisfied with your finished piece?

Barely. I’m never satisfied.

How has your work evolved through the years?

I’m more willing to experiment, and my artwork is more detailed.

Any favorite artists?

Among them are: Inti, Nunca, Kano, Anarkia, Miss Van and my crew, Maripussy.

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

A main role is to highlight issues and create a space for solutions.

Interview and final photo by Lois Stavsky; all other photos courtesy of the artist.

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Guys on Walls, Part II: Chris RWK, Luv1, RAE & Abel Macias, Zimer, Magda Love, the Dude Company, Owen Dippie, Ces and Icy & Sot

July 21, 2013

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

Chris RWK at the Woodward Gallery Project Space on Manhattan’s Lower East Side

Luv1 at the Bushwick Collective

RAE and Abel Macias in Bushwick, Brooklyn

Zimer does James Gandolfini at the Bushwick Collective

Magdalena Marcenaro aka Magda Love in Cobble Hill, Brooklyn

The Dude Company does Talib Kweli in DUMBO, Brooklyn

Owen Dippie in the Tremont section of the Bronx

Ces at Hunts Point in the Bronx

Icy and Sot in Prospect Heights, Brooklyn

Photos by Tara Murray and Lois Stavsky

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Speaking with Spidertag

July 18, 2013

Based in Madrid, Spidertag is known for his masterful geometrical and abstract artworks fashioned with yarn and nails. I recently met up with him during his visit to New York City, where he left his mark at 5Pointz.

When did you start getting up?

I started doing graffiti in 2000, and in 2008 I began working as Spidertag.

Have you any preferred surfaces?

I like abandoned places. Just like a spider, I only build my geometrical webs in out-of the way, deserted spaces. When people are present, a spider’s web does not last.

Have you ever been arrested?

Not for this, but I was arrested in Berlin for bombing.

What was that like?

They pepper-sprayed me and punched me. They kept me over night.

Wow! And I thought the authorities in Berlin were lenient!

Not if you’re caught bombing.

What percentage of your time is devoted to your art?

All day, all night.

What is your main source of income?

Freelance photography and design. Selling artworks.

Any thoughts about the graffiti/street art divide?

I try to connect them both. But, clearly, street art is more acceptable, and street artists have more freedom than graffiti writers. In some ways, street art legitimizes graffiti.

Do you prefer working alone or collaborating with others?

Both. I like working alone, but I also like the mix of techniques that comes with collaboration.

With whom have you collaborated?

Back in Spain, I collaborated with Señor X, Gaucholadri, EC13 and El Niño De Las Pinturas. And in Berlin, I collaborated with Hottea.

What do you see as the role of the Internet in all this?

It’s important — because what we do is so ephemeral.

Have you a formal art education?

I studied sculpture, but most of what I do comes from what I taught myself and through reading. I’m an avid reader.

What’s the riskiest thing you ever did?

Doing art while standing in deep cold water. It was irresistible.

Your work is certainly unique. What is the source of your inspiration?

I love to experiment with different materials. I’m inspired by geometrics. And I’m always trying to do something different and better. Particular spots, also, inspire me.

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

I usually don’t work with sketches.

Are you generally satisfied with your finished piece?

Sometimes. If I like it, it feels like magic. I jump for joy. And if I don’t like it, I forget about it.

Are there any particular cultures that have influenced your aesthetic?

Egyptian.

How has your work evolved through the years?

I’m more engaged with the materials that I use. These days nails have a hold on me. And I’m more particular with the spots that I choose.

What’s ahead?

A movie is coming soon. More experimentation, more geometry. I don’t want to repeat myself. I would like to Spidertag an entire abandoned town, my dreamed kingdom.

Gee – that’s quite ambitious. It sounds great! What do you see as the role of the artist in society?

I wish the artist did have a significant role in society. I’m not sure he does. But the way I see it — his main goal is to teach others to follow their hearts.

Interview by Lois Stavsky. First two images photographed by Lois Stavsky at 5Pointz in Long Island City, Queens. All other photos are courtesy of the artist.

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