interview

Speaking with Montreal-Based Street and Studio Artist Waxhead

November 1, 2016

Toronto native Waxhead moved to Montreal in 2012, where his singular style has surfaced on a range of surfaces from vintage photographs to huge walls. I discovered his distinct aesthetic this past summer while visiting Station 16 and exploring the streets of Montreal. Waxhead‘s first solo exhibit in Montreal, Waxhead: An Installation opens this Thursday, November 3 at Station 16. While in Montreal, I had the opportunity to visit Waxhead‘s studio and pose some questions to him.

When and where did you first get up?

I was 13 when I began tagging along the trackside in Toronto. It was back in 2006.

Who or what inspired you at the time?

I lived right beside the train tracks. I saw graffiti every day. It seemed like the natural thing to do. I didn’t become serious, though, about it until I was 18. That’s when I really got into characters.

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

My mom has always been supportive. ‘gotta love Mom!

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

I respect the mentality of getting up. But I also appreciate the refined work of street art. I’ve done both.

How do you feel about collaborating with other artists?

I love to collaborate. Among the artists I’ve painted with are: Cry0te, Sbuone and Getso.

What about the movement of street art into galleries?

It’s great when artists can live off their work and have a space to show it. But they must keep the true sense of it.

Have you, yourself, exhibited your art in a gallery setting?

I’ve exhibited in several group shows — mostly in Canada.

What inspires you these days?

Colors, nature, old photos. I love collecting old photos and reworking them.

Are there any particular cultures that have influenced your aesthetics?

I‘ve been inspired by the time I spent in India – particularly the beautiful colors I associate with its culture.

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

I let it flow. If I don’t like it, I can always do it again.

Are you generally satisfied with your work?

No! I’m very critical.

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

It’s a great tool for me to connect with other artists and with clients.

Do you have a formal arts education?

No! I’m self-taught. My friends were my best teachers.

What percentage of your time is devoted to art?

All of it. I live my life through my art. I’ve always been drawing.

And is it the main source of your income?

Yes, most of the money I earn is through my artwork.

What is the riskiest thing you’ve done?

I was painting in India – balancing on a wobbly two-story ladder — when a giant bull was about to rub against it.

That certainly does sound menacing! How would you describe your ideal working environment?

Painting outside with friends. I love meeting and talking to people.

How has your work evolved through the years?

It’s become more refined.

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

As far as the street artist — it is to connect people to one another through what they see on the streets. I especially want to connect to the youth in this city.

What about the photographers in this scene? And the bloggers? How do you feel about them?

We need them! What we do needs to be archived.

I certainly agree with that!

Note: Waxhead: An Installation — a collection of Waxhead’s hand-embellished vintage photos — opens this Thursday, November 3 at 6pm at Station 16 and continues through November 14.

Interview by Lois Stavsky

Photos: 1, 2 & 4 Lois Stavsky; 3 courtesy Station 16

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ZINEmercado — First Logan Square Independent Zine Fest — Debuts Tomorrow, Sunday, 0ct. 23, at Chicago’s Comfort Station

October 22, 2016

Organized by Oscar Arriola and CHema Skandal, ZINEmercado, the inaugural Logan Square Independent Zine Fest, is happening tomorrow, Sunday, October 23, from noon to 6pm at Comfort Station. While in Chicago this past week, I had the opportunity to meet up with Oscar Arriola and check out a few of the zines.

When I first met you in NYC several years ago, we discovered that we are both huge zine fans! What is it about zines that appeals to you?

I love that you can make a zine on any topic that appeals to you and can share it with everyone. There are no rules! And you can use any materials you choose.

Do you remember the first zine that you discovered thet spurred your interest in this particular medium?

I started collecting them before I even knew what the term zine meant or even that it existed! My favorite was the one I bought at Barry McGee’s solo exhibit at Deitch Projects in 2005. It was $25.00, a lot of money at that time!

Wow! That is a lot of money for a zine — even now! But no doubt it was worth it! Any other favorite zines?

Just about any zine by Barry McGee and his crew DFW or Down for Whatever.

You, yourself, have created zines. When did you design your first zine? And what was its topic?

I designed my first zine five years ago, although I’d been thinking about creating one for some time. I work for the Chicago Public Library, and so I’m around all kinds of books all day I became intrigued by the covers of Indian books, and I began scanning them. My first zine was a collection of these images.

What spurred you to become engaged in this upcoming zine fest?

I love zines, and I love the idea of bringing the community together for an event like this.

Have you ever done anything like this before?

I was one of the organizers for the Chicago Zine Fest three years ago.

How many folks will be exhibiting at ZINEmercado?

There will be 14 tables representing about 30 artists.

How did you get the word out to the participants?

We spoke to people we knew, and we’ve been using social media. You can check us out, in fact, on Instagram.

What is the biggest challenge that you and CHema Skanda have faced in organizing this event?

Making sure people know about it! We’d like to engage as many folks as possible. Our flyers include text in English, Spanish and Polish, as we want to include members of the local community. Admission is free.

In addition to viewing, trading and purchasing zines, are there any other activities taking place?

During the fest, ZINEmercado will present a range of activities including art talks by Johnny Sampson and CHema Skandal, a performance by Wet Wallet, and DJ sets by Amara Betty and Esteban La Groue of Impala Sound Champions!

Good luck! It’s looking great!

Images

1. CHema Skandal

2. Gabriel Alcala

3. DFW Crew with Barry McGee & more

4. & 5. Tom Guenth

6. Alex Lukas

7. Sonic Visual Graphics

8. Flyer for ZINEmercado, designed by CHema Skandal, featuring image of Oscar Arriola

Interview with Oscar Arriola conducted and edited by Lois Stavsky

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Speaking with Queens-Based Photographer and Street Art Aficionado Raphael Gonzalez aka Zurbaran1

October 11, 2016

For the past several years, Queens-based photographer Raphael Gonzalez aka Zurbaran1 has been creating intriguing, visually dynamic images of street art, often focusing on the artists at work. Within the past year, his photos have made their way into several shows including his first solo exhibit, The Hand of An Artist. He has also been featured in Yoav Litvin‘s blog, 2createart. I recently had the opportunity to meet up with him.

I love what you are doing! When did you first begin to photograph NYC’s street art and graffiti?

About four years ago.

What inspired you to do so?

Several years ago, my daughter visited Berlin and returned home incredibly excited about the street art she had seen there. Her enthusiasm, along with the photos that she showed me, inspired me to check out what was happening on the streets of NYC. And I first became serious about it all in October, 2013 when Banksy hit NYC with his month-long day residency Better Out Than In.

Within the few years that you’ve been shooting street art, you seem to have established friendships with many of the street artists you photograph. Can you tell us something about that?

The very first street artist I met was Alice Mizrachi. I was standing in front of her mural at Welling Court when she noticed me. She was living right there at the time, and — almost at once — came out in her pajamas to speak to me! I was so impressed by her intelligence and craft. I photographed her in front of her mural, and we struck up a friendship right then. She was the first street artist I photographed and spoke to. Since that day, I’ve become friends with many more.

You’ve been photographing many artists as they work. How have they responded to this? Are they open to it?

The response has been great! And when I share the photos I’ve taken with them, they are so appreciative.

That’s great! As street art is so ephemeral by nature, it’s so important to document it. And I’m a huge fan of artful photographers who document the process. I notice that you’ve focused quite a bit on the artists’ hands.

Yes, I like observing their hands in action. And photographing hands gives me a chance to use my long lens which I love doing!

And you’ve also begun collaborating with some of the street artists whose works you photograph. How do you go about engaging them?

Yes! I love collaborating. The process makes me think a little differently, and the artists have been wonderful. Among them are Fumero, Giz, Trans1, Noir, City Kitty. Some I’ve approached, and others have approached me.

What are some of the challenges that you face in seeing your projects through?

There’s never enough time. And there are so many artists! Going through all the photos that I take and then editing them is a lengthy, time-consuming process.

How has the scene changed since you first started photographing street art?

There are fewer walls, and street art has become more commercial. And it seems that in the past few years, street artists have achieved celebrity status. It’s almost like they are the new rock stars!

What’s ahead for you?

I would like to engage in more collaborations…different in nature than the usual ones!

I look forward to seeing them all, and I will be keeping up with you — in the meantime — via your Instagram!

All photos © Raphael Gonzalez aka Zurbaran1; interivew conducted and edited by Lois Stavsky

Images

1. El Niño de las Pinturas, Brooklyn Is the Future, Brownsville

2. Hendrik Beikirch aka ECB, Bushwick

3. Dasic Fernandez, Welling Court Mural Project

4. Fanakapan, Bushwick Collective

5. Noir, as featured in Raphael Gonzalez‘s solo show at Fatty’s in Astoria, Queens

6. Futura, Bushwick Collective

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Buff Monster on: Living in NYC, Collaborating With Brands, Celebrating Brooklyn for Miller Lite’s Our Can, Your Canvas and more

October 7, 2016

Celebrated for his captivating characters that have surfaced throughout the globe, Buff Monster forever delights us with his playful imagination and creative energy. In addition to painting murals across the world, the wildly talented and prolific artist has fashioned a wide array of artworks from prints and stickers to vinyl toys. He has also collaborated with numerous brands. Curious about this collaborative process, I recently caught up with him where he had just finished painting a mural in partnership with Miller Lite at Dobbins Street and Norman Avenue — where Williamsburg meets Greenpoint.

You were born in Hawaii and lived on the West Coast for several years. What brought you to NYC?

I’ve been to all 50 states, but I’ve only lived in states with good weather. I lived in LA for 15 years, and I grew tired of the same climate all the time. I needed a change. I wanted to be somewhere where there are seasons. I was looking for something different — personally and professionally.

And has NY met your expectations?

Absolutely! I love it! NYC has brought me new opportunities and projects. And snow is amazing! But you wouldn’t catch me painting outdoors in the winter!

You’ve created dozens of murals on the streets and an incredible range of your own products. You’ve worked, as well, with many brands. Among them are: Disney, Converse, Hello Kitty, Samsung, Nike, Coca-Cola and here with Miller Lite. What are some of the challenges that working with brands imposes?

The challenge is to make it work for everyone — for me, for the company I’ve teamed up with and for its intended viewers. Any collaboration I take on has to be consistent with my brand, and it has to make sense! A successful collaboration forces me to think. And I like to think! I like challenges!

What about this particular project — this collaboration with Miller Lite? What’s happening here?

This blank canvas was donated to me by Miller Lite as the first installation of its Our Can, Your Canvas project, a program aimed at celebrating the character and soul of iconic neighborhoods. My challenge was to capture the distinct spirit of Brooklyn — its energy and integrity. And so I came up with symbols that represent Brooklyn as I see it.

You studied Business Administration and Fine Art at The University of Southern California. How has your education in business administration impacted your art career?

It made my art career. If you don’t make money from what you do, it is just a hobby.

We love your characters. Your Melty Misfits are so much fun. What are some of your influences?

Among them are: Heavy Metal, Pop Art, ice cream, Japanese culture and graffiti.

How has your artwork evolved through the years?

It has become more expressive.

What’s ahead?

I’m headed now to the Life Is Beautiful Music Festival in Las Vegas, Nevada where my Self Portrait will be on display at the Crime on Canvas group exhibit. ( Buff Monster has since returned and is now at work in Jersey City with Mana Urban Arts Projects.)

Note: Buff Monster’s mural for Our Can, Your Canvas remains up through October 30.

Photo credits: 1, 2, 4 & 8 Tara Murray; 5 Courtesy of Our Can, Your Canvas 3, 6 & 7 and interview Lois Stavsky;

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Brooklyn-Based Artist LAMKAT on Public Art, Collaborations, Zany Characters, This Weekend’s Art Mart at Bushwick Open Studios & More

September 30, 2016

This past summer, a distinctly elegant mural surfaced on the streets of Williamsburg by Brooklyn-based artist LAMKAT. Last week, I had the opportunity to meet up with the talented artist and find out a bit about her.

When did you first share your vision in a public space?

The very first time I painted outdoors was this past June in Krakow, Poland. It was in collaboration with Marcin Kowalik and sponsored by Galeria Dystans. I loved the experience, and was instantly inspired to continue painting outdoors.

Were you always conscious of street art? Have you any favorite street artists?

Yes! I was always aware of it and I’ve always loved it! Among my favorite street artists are Bogota-based Gauche — whom I met in Berlin — and Li-Hill.

Can you tell us something about your particular aesthetic? What inspires it?

My father’s black and white photography has been a huge inspiration. He’s the one that taught me the importance of perspective and depth, both visually and as a way of observing life. And I’m inspired by math.

Are there any particular cultures that have influenced it?

My Chinese heritage plays a role, and growing up in Texas, I was influenced by Mexican culture.

Do you prefer working alone or collaborating with others?

Both! I like working alone, and I love collaborating. This summer I collaborated with One Thousand Birds, a commercial sound studio. We created interactive sound murals that were featured at Likeminds Camp, a creative and tech conference set in the middle of the woods in Beacon, NY.

Have you a formal art education?

I started with Fine Arts, but I then studied Advertising and Art Direction at The University of Texas at Austin. And I earned a degree in Communication Design from The University of North Texas.

Do you feel that your formal education benefited you?

It did when I worked in advertising. It taught me about the relationship between art and business…how to turn art into a business.

Now that you are now longer focused primarily on advertising, what is the main source of your income?

My art still is — through commissions — in such venues as restaurants — and also through my work as an illustrator.

Your illustrations — as evident in the gate you recently painted for the 100 Gates Project — certainly exude a different feeling than your huge abstract murals!

Yes! I’ve always loved drawing birds, robots and goofy characters!

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

I do have an initial sketch.

How do you generally feel when your piece is finished?

I feel happy and sad at the same time! I’m happy, of course, that it’s completed, but I love painting so much that I feel sad that it’s over!

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

It is to bring a sense of vibrancy to our environment.

What’s ahead?

The interactive sound mural from Beacon will be at the Art Mart, 395 Johnson Avenue, at Bushwick Open Studios (ed.note: beginning today through Sunday); I will also be selling my smaller-scale works there. On October 20th, I will be participating in a skate deck show at Fillin Global, 160 Bowery. I’m also scheduled to paint next month up in the Bronx at the BMX Park. And in late October, I’m heading to Austin.

It sounds great! Good luck with it all!

Photo credits: 1 Tara Murray; 2-8 courtesy of the artist; interview conducted and edited by Lois Stavsky

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Neely Shearer on In Heroes We Trust: Street Artists and Their Heroes

August 25, 2016

Conceived and curated by Native Californian Neely Shearer, In Heroes We Trust: Street Artists and Their Heroes features the musings and artworks of 60 international artists on the theme of heroism. After reading the elegantly engaging book — with its foreword by Ron English and preface by Jef Aerosol — I posed a few questions to Neely.

What inspired this book/project?

One of my clients happens to be the CEO of a publishing company, Knock Knock. After purchasing some artwork, she suggested that I do a book based on the concept of my shop, In Heroes We Trust

Why did you choose to focus on street artists?

I had already been working on projects with artists and decided to make my new shop a mash-up of fashion and street art. Street artists have always had my respect, and they quite amuse me. They are a certain type of character – bold, independent, determined. That’s inspiring to me. The walls of my shop have been painted, stenciled and wheat-pasted by street artist friends. I had asked them to do their own personal heroes, keeping their own original style.

What inspired the particular title — In Heroes We Trust— of both the shop and the book?

I came up with it some years ago driving solitary along an ocean road listening to the David Bowie song ‘Heroes’. It really speaks to me at core level – the idea of being a Hero. Not in a grand gesture way, but in terms of living life daily as a Hero to oneself, and ultimately to others. Being human isn’t always easy, but if we can do our best to be the best versions of ourselves and share that with others, perhaps we can all get along better, live fuller.

How did you decide which artists to include?

I had my favorites, of course, and I did a lot of research. I looked for the talent, the message behind the work and the artist’s integrity.

Did this project pose any particular challenges to you?

I had to keep my nose to the wheel to track many of them down, as their contact info wasn’t always easily accessible.

How did the artists respond — as it’s not the usual question posed to them?

Most artists seemed excited about the project right away. In a few cases, an artist had said No at first; however, with more communication between us, we came to understand one another and what this was about. The artists get hit up a lot by various projects and surely it’s not always clear what’s what and who’s who. They need to protect themselves. It was definitely a wonderful learning experience in communication. And I had such a great team at Knock Knock – my editors Jamie Stern and Erin Conley, who were of great support and positivity behind the scenes. They really trusted me to do my thing, and that meant a lot.

Did any artist responses particularly surprise you?

Yes, one in particular. One artist’s manager wrote back quite a strict reply saying that the artist would never do such a book for the benefit of promoting my shop. I explained that this was a real gift for all of us that the publisher had offered us. Basically — a book showcasing them and their work on another, more personal, level. Sure, the book will shine light on what my shop is doing – which is to promote artists. And I am thrilled about that! I’m similar to them in that I’m a one-person show… getting by on what I love to do. Collaborating and supporting one another is really IT. It’s how we move forward, follow our passions and live what we are here to do.

What was the outcome? Did you successfully convince this particular artist’s manager?

Yes! That artist did join the project and is featured in the book.

How has the response been to the book? All of us here who have seen it love it.

From what I’ve seen firsthand, people think it is a beautiful little book of inspiration. And the artists who have seen it have said they are honored to be included with so many other artists whom they admire. For me, that was surely my hope. I wanted to present the best of the best and for all the artists to feel proud of their work in the company of their peers.

Who are some of your personal heroes?

In high school, I kept a photo of Joan Rivers with Boy George on my locker door. I loved that they both caused such controversy by being outrageous. I know Joan got pretty crazy into the insults later in her career. However, she opened up so many doors for women in the entertainment industry and beyond; in her generation women held back, but she didn’t. And Boy George just rocked his style and sexuality like no one. He let freaks be freaks! The two of them were good friends and that was also pretty cool – kind of two people you wouldn’t expect together. I’m interested in these kinds of people who don’t give a f*#k about normality. They break barriers for the rest of us. Today we have Martha Stewart and Snoop together – and I love it. It’s a great example of people connecting beyond age, race, upbringing and past lives.

Images

Interview by Lois Stavsky

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Speaking with the Legendary Tracy 168

July 9, 2016

With his outstanding sense of color, style and design, Tracy 168 achieved legendary status early on in the most significant art movement of our time. The personification of wild style and the first writer to hit the subways with cartoon characters, the prolific artist wielded tremendous influence. On reviewing Tracy 168‘s work on exhibit back in 1999, the Pulitzer Prize-winning New York Times art critic Holland Cotter had the following to say: “Tracy offers an astounding variety of styles, from 3-D to space-age spiky to Cubistic. He floats out words on cushions of colors, and ties them up in unreadable knots, festooned with tendril-like flourishes.”

When did you first get up?

I first got up with a crayon on a wall in my house when I was four years old. I remember drawing a tortoise and a hare. I lived across from the Bronx Zoo, and I always heard the sounds of animals from my window.

What about the streets? When did you first hit the streets? And the trains? When did you first hit them?

In 1969 when the Mets won the World Series, I first hit the streets. And I tagged my first train the same year. I was 11.

What inspired you to do so?

I loved the sense of adventure…the adrenalin rush. I envisioned myself as a Tom Sawyer or Huckleberry Finn. And I loved seeing my name on the trains.

Had you any favorite spots?

I was all-city, and I loved painting anywhere with people whom I loved. But my favorite spots were New Lots Avenue and Utica Avenue on the IRT line in Brooklyn. Any train I painted there would run right away, and so I didn’t have to hang around too long to see my piece pass by.

What about crews? Did you get up with any crews?

I founded the Wanted crew. It was one of the largest crews ever, and just about anybody who was anybody of worth was in that crew. It represented Wild Style.

Had you any early role models or inspirations?

My mother, my grandfather, Jack Stewart, Michael Stewart… Michael Stewart gave his life so that others would live. After his death in 1983 — and the trials and investigations that ensued — the police were somewhat afraid of treating writers so brutally. We are the true prophets…

Any particular risky ventures stand out?

I was always wild, always doing dangerous things.

How did you support yourself back in the day? What was your source of income?

In the late 70’s, I began to create all kinds of art-related jobs for myself — painting storefronts, memorial walls, murals… I was the first writer to do that kind of thing. I also worked in an advertising agency. Jack Stewart taught me about copyrights and trademarks. He was a true mentor. He told me real stories — not the ones from Fantasy Island.

Your work has been shown in all kinds of settings across the globe!

Yes! I’ve been in museums and galleries all over the world. I was always breaking boundaries, Here in NYC my work has been exhibited in dozens of spaces including the New York Historical Society, the Brooklyn Museum and NYU.

I remember seeing your work at the Brooklyn Museum back in 2006.

Yeah! When I came by, I made some adjustments to my canvas with a paintbrush. That didn’t go over well with the security guards. They got the curator of the exhibit involved, who insisted that I couldn’t change anything, since it had already been photographed for their catalog.

Did you have a formal art education?

My education is hands-on.

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

It can be used as a tool — if you know how to read the truth.

What’s your ideal working environment?

Anywhere outdoors. Even when I paint canvases, I like to paint outside.

What inspires you these days?

My main inspiration is to express myself and grow as an artist in a world that is reluctant to see me as one.

Are there any particular cultures that have influenced your aesthetic?

Every culture. NYC is a melting pot, and I’m in the center of it painting.

Are you generally satisfied with your finished piece?

I’m not done until I’m happy. As long as I’m alive, I can improve on it. But it must have meaning and exude positivity. Otherwise, why bother?

A few years back you were reported dead. What was that all about?

If I hadn’t died then, I wouldn’t be alive now. It had to happen. When I vanished, I saw the world going in the wrong direction. This art form can save it.

How has your work evolved in the last few years?

It’s constantly evolving. This movement is to art like jazz is to music. It’s a fusion of styles and cultures that knows no boundaries. It is a universal language. And the message of Wild Style is “Be yourself. Find out what your talent is and get good at it.” I love everyone, but I will not surrender the truth and lose my integrity.

Photos: 1, 6-8 Lois Stavsky; 2, 4 & 5 courtesy of the artist; 3 Flint Gennari; interview conducted and edited by Lois Stavsky

Note: Photos 7 & 8 were captured from Tracy’s current black book; special thanks to Flint for the introduction!

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In Newark, New Jersey with Torch Fuego at the SGK Graffiti Pit

June 18, 2016

The most riveting graffiti spots are those we almost never discover on our own. Located in tunnels, abandoned buildings, rooftops and hidden passageways, they tend to host some of the most creative, innovative writing — from tags to pieces — to be found anywhere. We recently had the opportunity to visit such a spot — the SGK Pit — in Newark, New Jersey and speak to Torch Fuego who has established an office there.

Can you tell us something about this spot! What an amazing oasis of creativity and escape from it all!

It was founded over 25 years ago by several Old School writers, and it quickly became — largely under the direction of SGK crew founder Syko — a key spot for writers to practice and learn from one another.

And what does SGK stand for?

Style, Gifted, Knowledge…and more!

Who were some of the writers who frequented it? Were they all locals?

Among the NJ writers were: Syko, Rime, Carmelo “Snow” Sigona, Teck and Lesk — who made me an SGK member. But folks also came from other places. Bom5 used to come down from the Bronx.

How and when did you discover the SGK Pit? And what was your first impression of it?

Baye took me there when I was about 15. I thought, “Wow!.” I couldn’t imagine that such a place existed.

Do any particular memories stand out?

The few graffiti battles that turned into brawls…lots of parties…and the first time I saw the deer and red foxes that also call this spot home.

And just what is your role here now?

For several years it had been abandoned. But it has recently been revitalized. And — together with Zew — I basically maintain it. I keep it tidy. I make sure the walls are clean. I introduce new members to old heads, who can pass down knowledge to them. Basically, I want to maintain it as a “practice sanctuary.” And as Syko handed down the torch to me, I feel a huge responsibility.

That seems like quite a responsibility and quite a bit of work!

Yes! I’ve sacrificed my day job for this. But it’s worth it!

No doubt!

Note: You can meet Torch at a special event today — Saturday — from 1-6 pm at Shorty’s. And tonight — starting at 11pm — Clearport Events will host a graffiti after-party at Port-O-Lounge, 286 1st Street in Jersey City, to benefit The Artchitectz, a program that teaches youth creative skills. Check out Torch’s Instagram for additional info.

Photo credits: 1, 3 & 4 Lois Stavsky; 2 & 5 Tara Murray; photo two features work by Lesk, with Erizl to his left; interview conducted and edited by Lois Stavsky

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Yoav Litvin on 2Create: His Ongoing Project and Upcoming Book on Creative Collaborations

June 16, 2016

We recently had the opportunity to speak with writer and photographer Yoav Litvin about 2Create, his ongoing project and upcoming book on creative collaborations.

We love your recently launched 2Create Facebook Page and Group. Can you tell us something about the concept behind 2Create? What is its mission?

The aim of 2Create is to study and promote teamwork and fellowship as it showcases the art of collaboration. Folks tend to place far more emphasis on competition than on collaboration. But so much more can be accomplished if we work together.

Yes! We tend to glorify individualism, particularly in the West.

And my point is that when two people create, it is greater than two. 1 + 1 is not 2, but something more. The duo is the basic unit of a collective. And we need to look at forming collectives as a means to solve our societal problems.

One of your initial projects, related to this larger one, is your upcoming book, 2Create: Art Collaborations in New York City. Can you tell us something about it?

Yes. It will be released by Schiffer Publishing this fall. It showcases the works and processes of nine pairs of NYC graffiti and street artists. Each duo consists of two artists whose unique styles came together to create a larger-than-life work of street art in a NYC neighborhood. The book focuses on the backgrounds, techniques, and collaborative processes of the featured duos.

What spurred you to produce this particular book? What was your impetus behind it – in addition to promoting the concept of collaboration?

There were a number of factors. I was interested in expanding the documentation that I began in Outdoor Gallery New York City by getting to know more of my favorite artists – like Cekis and Rubin. But most of all, it was a project that enabled me to further develop myself as an artist by integrating my background in psychology, my passion for progressive politics and my respect and love for graffiti and street art in NYC.

What were some of the challenges that you faced in the process?

Identifying artists who could work well together and produce first-rate artwork was the initial challenge. I also had to gain their confidence and access to their relationship so that they would speak freely about the process. And some of the artists were quite shy – which was an additional challenge. And, then, for some of the works I had to secure walls, materials and more.

What’s ahead for 2Create? Where are you going with it?

I want to continue documenting and interviewing duos that work together in a wide range of scenarios: visual arts, dance, music and more!

How can we become engaged with your project? Can we contribute to it?

You can Like the project on Facebook and share your own collabs and connect with others here. You can also follow it on Instagram and on Twitter.

It sounds great! And what a wonderful concept!

Images

1. Dasic Fernandez with Rubin 415

2. Icy and Sot

3. Cekis with Cern

4. ASVP

5. Jilly Ballistic with Al Diaz

6. Alice Mizrachi with Trap IF

7. Logo design by Dan Michman

Photos © Yoav Litvin; Yoav in conversation with Lois Stavsky, Tara Murray and City-as-School intern Sol Raxlen

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Painter and Performance Artist Gregg Deal on Silenced Indigenous Voices

June 1, 2016

A member of the Pyramid Lake Paiute Tribe, Colorado-based Gregg Deal is an accomplished muralist, painter and performance artist. I first encountered his artwork awhile back on the grounds of the EBC High School For Public Service in Bushwick, Brooklyn. This past weekend, I met him down in DC at the Smithsonian Arts & Industries Building, where he was one of 40 artists featured in CrossLines, presented by the Smithsonian Asian Pacific American Center.

What spurred you to so fervently embrace your Native American identity?

I don’t know that I specifically embrace it. It is just one of my many identities. I am, foremost, a human being. I am also an artist, a husband and a father.

You are sitting here in a tipi. What does this particular setting represent?

This tipi represents Washington DC. It is where museums, politics, sports and commerce all contribute to a view of Native Americans.

What about the paintings inside this tipi? How did you decide which to include?

I had to include works that would be acceptable to the Smithsonian. They had to be safe. And so I chose identifiable stereotypes of Native Americans — the only image most others have of us.

And as today’s event progresses, you continue to cross out the mouths of your portraits with bold red lines.

Yes! That is because of voices our censored. We have not been permitted to speak for ourselves. I, myself, have been censored.

What about your interpreter? You often speak through an interpreter.

That is because our lives — our experiences, feelings and thoughts — are almost always interpreted through others. Authentic indigenous voices have yet to be heard or recognized.

You are certainly creating awareness of that here.

Photo credits: 1, 2, 4 & 5 Lois Stavsky; 3 Sara C. Mozeson; interview by Lois Stavsky

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