hip-hop

Joe Iurato Fashions His Signature Cutouts for Washington DC Tour of Red Bull Flying Bach Dancers

November 26, 2016

This past summer, Red Bull reached out to Joe Iurato — one of our favorite artists — to create his signature wooden cutouts to help support and promote the upcoming Washington DC tour dates of Red Bull Flying Bach, a new dance tour that fuses classical music, break dancing and modern dance, set to Bach’s “The Well-Tempered Clavier.”

An interview with the artist follows:

Can you tell us something about the process of creating your distinct cutouts?

It begins with a photograph of a central subject and a story in mind. Once I have the image I want to work with, I create my layer separations for the stencils. I don’t use a computer program or a filter to create my layers. I just print the photo out multiple times in black and white at the exact size I want the wood cutout to be. Then, I cut my stencil layers by working directly from the unaltered photos, more or less drawing the tones loosely with a knife. Once my stencils are cut, I make an impression of the first layer, a silhouette, on a piece of wood.

And how does the piece get cut? At what point is it ready for placement?

The piece gets cut on a scroll saw, which is good for making cuts up to 24”, as it has a thin blade and allows me to maneuver intricate cuts. The cut then gets sanded and primed. Then, I lay in my stencils – spraying them one layer at a time. When the piece is completed, I’ll varnish and seal it. Lastly, I’ll add any hardware to make it stand, float, whatever– all depending on the intended interaction. At that point, the piece is ready for placement.

How do you decide where it will be placed?

Sometimes I know where the completed work will be placed; other times, it’s a matter of hunting for the right location. I always install them by myself, mounting them securely. The challenge is finding a location where they will last for awhile! For this project, Red Bull is securing several locations, based on where they will work best, for 10-12 of my 16″ pieces. Three similar large scale wood cut pieces — roughly 6 feet tall — will be on display from January 6-8th at the Warner Theater for the DC performances of Red Bull Flying Bach.

How long does it generally take to create a 16 inch piece?

It depends on the level of detail in the particular piece and where I am in the process. If I’m going from initial concept through to final, then it usually takes me about three to four days to create the first one. But once the stencils are cut and it’s a matter of ripping wood cutouts and spraying them out, I can make duplicates within a day.

How does creating this work for Red Bull differ from the way you generally work?

I generally work from my own imagery, but in this case, Red Bull has provided me with photographs of the Red Bull Flying Bach dancers to work with and is involved in securing locations. As I don’t know specific locations, I’ve chosen a variety of movements that could work in a range of location.

Can you tell us a bit about your experience of working with Red Bull?

It’s been very exciting. I, myself, was once a breakdancer! And Red Bull has given me complete creative freedom — something very important to my artistic process.

Special thanks to Karin du Maire who met up with Joe Iurato at Red Bull Studios in Chelsea last week.

Photo credits: 1 & 4 Karin du Maire; 2 & 3 Drew Gurian, courtesy Red Bull

Note: Red Bull Flying Bach dancers will be performing in DC at the Warner Theater, January 6-8. Check out dates of all upcoming shows here

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Joey “Serve” Vega Solo Exhibit at More Points Bx with Closing Party This Saturday, Nov 19

November 17, 2016

Serve FBA‘s current exhibit at More Points Bx is a brilliantly executed visual ode to the golden days of hip-hop. Here’s a small sampling of what I saw when I visited the Hunts Point space last weekend:

The Roxy, West 18th Street, NYC

Club Zanzibar, The birthplace of Jersey house music, in Newark NJ

Studio 54, West 54th Street, NYC, Disco Man Heaven

Bar Two OTB Car, close-up

Two of several masterpieces — showcasing Serve’s extraordinary writing skills — on canvas

And a closing reception for a chance to see it all and get to own at least one piece —

Also on display and for sale are subway maps and record covers designed by Serve, along with his BLACK BOOK.

Photos by Lois Stavsky

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Speaking with Veteran Queens Graffiti Writer Alski

September 17, 2016

While attending the Street Art Expo NYC this past May in Elmhurst, I met the legendary Queens graffiti writer Alski. Struck by his passion and devotion to the graffiti culture, I was delighted to have the opportunity to interview him. We met up late last month at All the Right — a hip-hop clothing and graffiti art store — on the corner of 92nd Street and Corona Avenue in Elmhurst.

When did you first get up?

It was back in 1979 in Corona. I was in the 6^th grade at the time.

What were your main spots?

Street corners and the 7 train.

What inspired you back then?

It was the incredible pieces I saw on my walks from Roosevelt Avenue to Junction Boulevard – works by Dondi, Fuzz, Flame. I remember being struck by their phenomenal colors. And I liked the idea of becoming popular — of getting known.

Did you paint with any crews back in the day?

I was mostly solo. The kids from school wouldn’t put me down because I was White.

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

My father couldn’t understand why I was doing what I was doing! He yelled at me, but he was always good to me.

What were some of the dangers you encountered doing what you were doing?

Running as I was getting chased and dodging bottles that were thrown at me.

Can you tell us something about your name — Alski?

I’ve actually had lots of names. But the Al is my tribute to Raskal; I like his handstyle. And ski signifies homie.

These days — would you rather work alone, or do you prefer to collaborate with others?

I generally like working alone, but collaborating with others allows me to get to know other writers.

Any thoughts about the graffiti/street art divide? Do you — personally — feel it?

There’s definitely resentment among some graffiti writers towards street artists. Many street artists come from privileged backgrounds, and they’ve gone on to earn degrees in Fine Arts. Most graffiti kids can’t spend money the way many street artists can to promote their careers. The writers also feel that much of street art is a sell-out. But, no, I don’t feel it personally. I’m neutral! I’m open to interviewing street artists for my podcast, as well as graffiti writers.

Have any particular cultures influenced your aesthetic?

The B-Boy culture and hip-hop were my main influences.

I’ve been checking out The Alski Show. I love it. It’s so much fun, and I’m learning so much. You’ve interviewed quite a few legends.

Yes. Among them are Ces, Moody Mutz, Fade AA Mobb, Duster, Duel, Ket, Giz & Easy…

You’ve been doing this weekly now for almost a year. I know that you work full time. That’s a lot of love and a lot of devotion.

It’s my way of giving back, of keeping the culture alive and pushing it forward.

The Alski Show certainly seems to be doing that!

You can check out Alski’s website, Out to Crash, here. And you can meet him tomorrow, Sunday, at the Street Art Expo NYC where he will be selling a range of merchandise — from canvases to his OTCITY Truckbooks — and signing black books.

Photos: 1 Lois Stavsky; 2-4 courtesy the artist. Interview conducted and edited by Lois Stavsky.

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Eric Orr on His New Hunts Point Studio Space, His iconic Robothead, the Schomburg Center, the New York Comic Con and more

September 24, 2015

Best known for his iconic Robothead and his subway collaborations with Keith Haring, South Bronx native Eric Orr can now be found most days in his new Hunts Point studio. I recently had the opportunity to meet up with him there.

What a great space! When did you begin working here?

It’s been four months now. It couldn’t be more perfect, as it’s just a short ride from my house and convenient to just about everything.

How does working in a studio differ from working in your apartment?

It’s an entirely different experience. There’s a lot less traffic here. I can leave my paint on the floor and know that it will still be there when I return. I have the freedom to create without having to put things away. And my family is happy too! No more fumes and no more paint in their way!

How does having your own space impact your work as an artist?

Bigger thoughts and bigger pieces. I’m planning to design huge sculptures and paint on larger surfaces. Can you imagine what I’d be doing now if I had a space like this 40 years ago!

You are currently participating in Leave a Message, a group exhibit — curated by Tes One — at St. Petersburg’s Morean Arts Center. What’s next?

I’m showing in Unveiling Visions: The Alchemy of the Black Imagination, an art and design exhibit — curated by John Jennings and Reynaldo Anderson — at the Schomburg Center’s Latimer Edison Gallery. On exhibit are photos of the 1984 Eric Orr and Keith Haring subway drawings, along with an original 1986 cover of my Rappin Max Robot comic book. I will also be exhibiting five new Robothead masks recently created in the new studio space. Then later this year I will have a solo exhibit at WallWorks Gallery.

What about the upcoming New York Comic Con? Can we expect to see you there?

Yes! I will have hand-embellished mini posters of the cover of my Rappin Max Robot #1 comic book available for purchase. I will also be speaking on the Hip-Hop & Comics: Cultures Combining panel discussion with Depth of Field‘s, Patrick Reed on October 8, 2015 at 11 AM.

I am looking forward to it all!

Note: Unveiling Visions: The Alchemy of the Black Imagination opens tomorrow evening, Friday, September 25, at the Schomburg Center’s Latimer Edison Gallery, 515 Malcolm X Boulevard in Harlem.

Photo credits: 1 & 3, courtesy of the artist; 2 & 4 Lois Stavsky; interview by Lois Stavsky

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Shake the Dust — on the Transformative Power of Hip-Hop Across the Globe — at the Maysles Cinema in Harlem This Weekend

July 31, 2015

An homage to hip-hop and its power to save lives, Shake the Dust takes us on a remarkable journey into villages, alleys and mountaintops across Yemen, Uganda, Colombia and Cambodia. Inspired by the culture that was born in the Bronx, the young b-boys and b-girls featured here, “the real kings and queens of hip-hop,” speak of the transformative power of hip-hop in places marked by political conflicts and economic hardships.

Former drug addicts, gang members and homeless refugees are among those youth whose lives take on meaning and purpose as they shake the dust off not only from the ground as they dance, but also from their lives. The breakdancing culture that they so enthusiastically embrace provides them with structure, focus and purpose, as it unites them.

Their pride in their own cultures is, also, evident as the break-dancers attest to the power of hip-hop to promote positive societal change within their own communities.

With its stunning cinematography and extraordinary documentation, Shake the Dust photojournalist and filmmaker Adam Sjöberg has given a voice and presence to folks who seldom have one, as he inspires and moves us viewers.

And Shake the Dust‘s infectious soundtrack of hip-hop samples from across the globe, along with original music by executive producer and rapper Nasir “Nas” Jones, is a further tribute to the soul and spirit of hip-hop.

The movie will be playing in Harlem this weekend at the Maysles Cinema. Following the screening on Saturday, August 1 there will be a Q&A with director Adam Sjöberg. Following Sunday’s screening there will be a Q&A with director Adam Sjöberg, moderated by Fab Five Freddy. There will also be break-dancers at the screenings. Maysles Cinema is located at 343 Lenox Avenue/Malcolm X Boulevard between 127^th and 128^th Streets.

Shake the Dust was previewed and reviewed by Lois Stavsky & Sara C Mozeson

Photos courtesy of Bond/360 Films

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Faces from the Block: The Brazilian-Bronx Connection with Izolag, Ananda Nahu and Ricky Flores through August 10 at BronxArtSpace

July 22, 2015

On view at BronxArtSpace is the brilliantly conceived and beautifully executed exhibit, Faces from the Block, featuring works by Brazilian artists Izolag and Ananda Nahu and Bronx-based photographer Ricky Flores. While visiting last week, we had the chance to speak to Ananda Nahu.

You and Izolag have so beautifully interpreted Ricky Flores’s photos of the Bronx of the 80’s. How did this collaboration come about?

Back in 2007, we discovered Ricky Flores’s photos of the South Bronx — the photos he’d taken 20 years earlier — on his Flickr account. They had affected us so deeply that we were inspired to bring these people to life on our streets in Brazil.

Why do you suppose you felt such a strong connection to these South Bronx residents?

Back in Brazil, we have enormous respect for the culture of the South Bronx. We identify it with the birth of hip-hop that has enriched our lives so much and has greatly influenced our culture.

You visited last year and painted a mural over at the Point, and now you are back — not only to exhibit with Izolag and Ricky Flores — but to paint again on our streets. What is your personal impression of the South Bronx?

I love it. I love its energy and the wonderful cultural mix of the people who live here.

How have the folks here in the Bronx reacted to this exhibit? As we are speaking, people of all ages are coming by to check it out.

The folks here seem to love it. Everyone has been so supportive and helpful, always wishing us well. It was quite a thrill to meet at our opening some of the actual people whom Ricky Flores had photographed over 20 years ago!

And what about Ricky Flores? How has he responded to this project?

He is delighted to have so deeply inspired us. It’s been a wonderful partnership.

What’s next? What happens to this project when it leaves the Bronx?

It will travel next to Los Angeles and then to São Paulo.

That sounds great, and we are so glad you are bringing a taste of your culture to us here in NYC.

Note: Follow StreetArtNYC on Instagram and Facebook for images of murals — sponsored by Casita Maria — that Izolag and Ananda are painting this week with youth in the South Bronx.

Photos: 1, 4 and 6. Izolag by Lois Stavsky; 2. Ricky Flores by Tara Murray; 3. Ananda Nahu by Tara Murray; 5. Ananda Nahu by Lois Stavsky & 7. Ananda Nahu and Izolag by Lois Stavsky

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PESU: From Fuji, Shizuoka to Manhattan’s East Village

April 15, 2015

In this third in our series of interviews with artists born abroad who have made NYC home, we feature Pesu. Inspired by hip-hop, Pesu began his art career back in Japan in 1996 as a graffiti writer. Here in NYC he is best-known for his live painting in various venues and the many Art Battle competitions he has won. His works on canvas in a multiplicity of styles — from stencil art to abstract art — increasingly attract collectors, as well.

When did you first visit NY? And what brought you here?

In 2001 I left Japan for Sacramento, California on a student visa. But life there was too slow for me. So in 2004, I decided to check out New York City.

What was your impression of it at the time?

I was thoroughly overwhelmed. I remember walking on 5^th Avenue and crying – tears of joy! This city has everything: so much energy, art, graffiti, mix of people and amazing architecture. And there is always something happening here.

What is the image of NYC in your native country?

Back in Japan we think of NYC as the number one city in the world. It is the place of opportunity.

Do you think this is accurate? Why or why not?

Yes! I agree! Everything is possible here in NYC.

When did you decide to move here? And why?

I decided to move here the following year – in 2005. Why? Because I loved it!

How did your family feel about your move?

They were great. Everyone was very supportive. And they were always worried about me when I was doing graffiti back in Japan.

What were some of the challenges you faced when you first moved here?

I had to find a way to earn money. And I had to worry about having a visa. I also wasn’t used to living in such a competitive city.

You now have a great space in the East Village. Where did you live when you first moved here? And why did you choose that particular neighborhood?

When I first moved here, I lived in Bed-Stuy. I found the apartment through a broker. I chose Bed-Stuy because I love Biggie so much.

Have you encountered any prejudice here?

Yes. I’ve encountered some. Folks here are not all that accustomed to seeing Asians in the hip-hop scene.

How has your artwork evolved or changed since you came here?

I tend to use brighter, more vivid colors. My art is more alive here in NYC! And it’s become more professional.

How receptive have New Yorkers been to your artwork? To you?

They seem somewhat surprised by what I do, as they are not used to seeing Asians in this scene!

What would you like to accomplish here?

As an artist, I want to make people happy. And on a more personal level, I would like to bring my parents to America.

What do you miss most about your native country?

My parents and the food I ate back in Japan.

Interview by Lois Stavsky with City-as-School intern Zachariah Messaoud; photos 1-4, 6 (collab with Shiro) & 7 by Lois Stavsky; 5 by Zachariah Messaoud; images 2 & 4 are from Pesu’s blackbooks from the late 90’s.

Note: Several of Pesu’s works will be on exhibit in Brooklyn is the Future opening Friday at the Vazquez at 93 Forrest Street in Bushwick.

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Eric Orr on Graffiti, Keith Haring, Hip-Hop, the South Bronx, Comic Art, the New York Comic Con and more

October 9, 2014

Legendary for his collaborative artwork with Keith Haring on the NYC subways, Bronx-based artist and designer Eric Orr also produced the first-ever hip-hop comic book. I recently had the opportunity to find out more about this multi-faceted artist who will be participating tomorrow – Friday – evening at the New York Comic Con panel discussion Hip-Hop and Comics: Cultures Combining, presented by Depth of Field.

You were one of the first graff artists to develop a distinct icon. Your “robot head” has since appeared on a wide range of surfaces – from T-shirts to record labels to international fine art exhibits. It has even made its way into Sotheby’s and Christie’s auction houses and catalogues. Can you tell us something about it?

It was inspired by the space age and the robotics era. I grew up in the age of Star Wars, Space Odyssey and the Robot Dance. And as tagging on walls and traditional graff didn’t do that much for me, my robot actually made it to the streets of the South Bronx where I grew up.

You may well be best-known for your collabs with Keith Haring that surfaced on the 6 Pelham Bay and the 4 and 5 NYC subways lines 30 years ago. You are, in fact, the only artist who ever collaborated with Keith in the subway system. How did you two first meet up?

Keith, it seems, had been eyeing my work for a while. But we actually met, by chance, one day at a Swatch watch completion. I was wearing my hand-painted robot head shirt when Keith Haring approached me and invited me to collaborate with him on a series of artworks on the black panel spaces of the NYC subway system.

And these became a legendary part of NYC’s subway history! You also played a huge role in the hip-hop scene back in the day, producing work for Afrika Bambaataa and such hip-hop artists as Jazzy Jay, along with the brand logo for the Strong City Record label. Can you tell us something about that? What exactly was the relationship between graffiti and hip-hop? And was there one?

Yes! The same energy from the streets of the South Bronx that created the graffiti there in the late 70’s created hip-hop. Writers would go straight from getting up in the streets to hanging out at park jams and clubs. And it was largely the graffiti artists who designed the flyers for the hip-hop events.

What about the relationship between hip-hop and comics? You produced the first-ever hip-hop comic and will be speaking about the two cultures at the tomorrow – Friday.

From the beginning graffiti artists, MC’s and break-dancers adapted elements from the comic book culture. Just about everything — from our names to our fantastical identities to the flyers we designed — had comic elements in it. But only someone from the inside could have produced an authentic hip-hop comic. My original “Maxwell Robot” strip ran in Rap Masters magazine.

Do you have a formal art education?

I studied art at the School of Visual Arts and the Art Students League.

Was it worthwhile?

Yes, it inspired me to take my work to a commercial level.

How do you feel about the interplay between graffiti/street art and the commercial world?

I have mixed feelings. It’s great for me and others to get paid to do the things we love. But it’s also easy for artists to be exploited — if their art is used to market a product and they are not getting paid for their artwork or sharing in the company’s profits.

You’ve done workshops with kids in New Zealand – to which you originally traveled to create a design for Serato — and recently here up in the Bronx. Can you tell us something about that?

Having grown up in the South Bronx, I understand just how important it is for kids to have positive experiences that nurture their creativity in productive ways. My most recent venture was with Sienide, working with youth to design a mural on 172^nd Street and Southern Boulevard for the Children’s Aid Society’s.

What’s ahead?

Cornell University recently approached me about purchasing the original source material for Rappin’ Max Robot for its hip-hop collection of rare books and manuscripts. I am currently working on an a piece for an upcoming train show at Grand Central, scheduled to open on November 22. And tomorrow evening, I will be participating in the New York Comic Con panel discussion Hip-Hop and Comics: Cultures Combining.

Congratulations! It all sounds great!

Interview conducted and edited by Lois Stavsky; all images courtesy of Eric Orr; final photo by Lois Stavsky

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Born in the Bronx: A Visual Record of the Early Days of Hip-Hop Continues through 7.26 at Gavin Brown’s Enterprise in the West Village

July 21, 2014

On exhibit through this week at Gavin Brown’s Enterprise in the West Village is Born in the Bronx: A Visual Record of the Early Days of Hip-Hop. Among its many highlights are: memorabilia featuring personal narratives and archives of hip-hop pioneer Afrika Bambaataa; hip-hop party flyers and clothing designed by the late Buddy Esquire; original cells from the animated sequences of Charlie Ahearn’s film Wild Style and prints of Joe Conzo’s photographs of the early days of hip hop.

Here is a sampling of what greeted us when we visited this past Tuesday:

On the exterior of Gavin Brown’s Enterprise

U.K.- based Paul Insect‘s portrait of Afrika Bambaataa

And inside the gallery — noted DJ, producer and poet Rich Medina going though the bins of duplicates from Afrika Bambaataa‘s record collection

Close-up from installation of Buddy Esquire‘s clothing and flyer designs

Afrika Bambaataa fashioned from Bambaataa’s records by Paul Insect and Bäst

Selections from Joe Conzo’s’s seminal Born in the Bronx

Joe Conzo and Charlie Ahearn

The pioneering MC and hip-hop historian Grandmaster Caz

And legendary b-boy Crazy Legs

With Charlie Ahearn

Exhibited by Boo-Hooray and curated by Johan Kugelberg, Born in the Bronx is an extraordinary tribute to hip-hop’s early days and its everlasting influence. And if you can get over there tomorrow (Tuesday) afternoon — between 1-3pm — you will be treated to a Born In The Bronx Hot Platter Lunch DJ Session with DJ Jazzy Jay and DJ Rockin Rob. The gallery is located at 620 Greenwich Street at the corner of Leroy Street in the Village.

Photos 1-4, 7, 8 & 10 by Lois Stavsky; 5, 6 & 9 by Dani Reyes Mozeson; photo 1 features mural by Keo X-men

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Speaking with Shiro

June 25, 2014

Huge fans of Shiro’s vibrant, playful aesthetic, we were delighted to meet up with her this past week at SoHo’s gallery nine5, where she will be participating in the gallery’s summer show, GROUP INK.

When and where did you first get up?

Back in 1998 in Shizuoka, Japan.

What inspired you at the time?

I remember seeing a video with graffiti as the backdrop. I was impressed! And soon after, I saw the movie Wild Style.

Any early memories stand out?

I remember having to create my own tools. I couldn’t get hold of any spray paint in aerosol cans at the time, and so I had to be inventive. I mostly used hair spray and mosquito spray containers that I filled with paint.

How did your family feel about what you were doing?

At the time my mother didn’t understand it, but now she appreciates it.

What percentage of your time is devoted to art?

When I am in NYC, 100%. But back in Japan, I work as a nurse, and I can’t devote as much time to my art as I would like to.

Wow! A nurse and a graffiti writer!

Yes, a nurse heals, and so does art.

Have you exhibited your work in galleries?

I’ve shown my work in galleries in the U.S., Germany and Japan. And I’ve participated in projects in India, China, Australia, New Zealand and the Philippines.

Have you any thoughts about the movement of graffiti and street art into galleries?

I’d rather paint on a wall than on a canvas. But when I create work for galleries, I learn and perfect new techniques.

What inspires you these days?

I’m inspired by my own experiences in different situations…and by my imagination. In my art I can be anything!

Are there any particular cultures that have influenced your aesthetics?

The entire graffiti and hip-hop culture, along with, I suppose, my Japanese roots.

What is the riskiest thing you ever did?

I hadn’t planned it to be risky. But back in 2002, I found a deserted wall in Forest Hills, Queens that I thought would be the perfect canvas for me. As I began painting, a group of boys suddenly appeared and stole my spray paint. One of them had a gun. Soon they were hurling stones and although they weren’t aiming the stones at me, some rocks did hit me and injured me.

Gee, that sounds traumatizing. Do you generally paint alone?

I love painting alone. I am very independent! But I’ve also painted with crews and collaborated with other writers.

What are some of the crews you’ve painted with?

TDS (The Death Squad), SUG (Stick Up Girlz), FX and UZNJ (Universal Zulu Nation Japan)

What’s it like being a female writer in what is so much of a man’s world?

I forget about gender when I’m painting. It’s irrelevant.

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

Sometimes I work with a sketch; other times I just let it flow.

Are you generally satisfied with your finished piece?

I mostly feel very happy with it!

How has your work evolved through the years?

It is more detailed, and I paint more quickly. I’ve developed much better can control than I had earlier.

What’s ahead?

I just got my artist’s visa, and so I’m looking forward to spending more time here. I will just go with the flow!

Note: Shiro will be participating in gallery nine5‘s summer show, GROUP INK. Along with TATS CRU, Bisco Smith, Alan Ket, Vor138 and Rubin415, she will be transforming the private space over at 24 Spring Street into a public one. It all begins today, Wednesday, June 25 with TATS and bare walls! Keep posted to our Facebook page for updates.

Photos: 1. Welling Court Mural Project, Dani Reyes Mozeson; 2. 5Pointz, Tara Murray; 3. With Sans, Tone and Yes One in Greenpoint, Dani Reyes Mozeson 4. With Meres and Demer at 5Pointz, Dani Reyes Mozeson & 5. On uptown wall with Ree on right in Inwood, Lois Stavsky

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