museum exhibition

The following post is by Newark-based arts educator, writer and photographer Rachel Alban

I returned this past Saturday to the Morris Museum in Morristown, NJ to revisit On and Off the Streets: Urban Art New Jersey which remains on view through this Sunday, February 27. Curated by Lois Stavsky with my assistance, it is “the first museum exhibition to examine the duality of New Jersey artists whose creative versatility extends from the street to the studio.”

Working with Lois on this exhibit was meaningful on so many levels. It gave me the opportunity to connect with artists throughout NJ after a year of living almost entirely virtually. And introducing some of our favorite artists to new audiences and presenting them in such an elegant setting was especially wonderful.

The above photograph featuring a couple viewing a detail of Rorshach‘s huge mural was taken this past Saturday. Several more photos follow — some captured this past weekend, and others as far back as late summer.

Flemington-based artist James Kelewae aka Luv One to the left of the Newark-based duo Rorshach

Jersey City native Will Power, segment of his mural “1984,” a throwback to his childhood

Multidisciplinary artist Clarence Rich to the left of Jersey City-based Emilio Florentine

Newark-based Layqa Nuna Yawar painting the US golden dollar coin depicting a representation of Sacagawea and her son

The late Newark-based legendary multidisciplinary artist Jerry Gant, a segment of a special installation of his works

Jersey City-based Mr Mustart’s strikingly intriguing mural captures this visitor

Noted stencil master Joe Iurato to the left of Jersey City-based artist and arts educator Catherine Hart

New Brunswick native RH Doaz with a glimpse of Catherine’s mural

Located at 6 Normandy Heights Road in Morristown, NJ, the Morris Museum is open Wednesday – Sunday, 11:00AM to 5:00PM. Just a few more days remain to check out On and Off the Streets: Urban Art Jersey

Generous support for this exhibition is provided by the Joseph Robert Foundation and Loop Colors.

Photos: Rachel Alban

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Clarence Rich has been enriching the streets of Jersey City for over a decade. His impressive multi-faceted body of both street art and studio art ranges from curious characters to poignant portraits of family members to harmonious rhythmic pattern. I was delighted to feature his infectious aesthetic in the exhibition On and Off the Streets: Urban Art New Jersey that continues through this month at the Morris Museum in Morristown, New Jersey. An interview with the artist follows:

When and where did you first get up?

When I was 13 or 14. In 1997, I had my first real tag.

Had you any preferred surface back then?

Anything and everything around me.

Did anyone or anything in particular inspire you at the time?

Growing up in the 80’s and 90’s in Jersey City, I saw graffiti everywhere. Along with skateboarding and playing basketball, kids were always writing their names, tagging… It’s almost as though everybody’s older brother did graffiti – including mine. He’s two years older than I am, and he has been my partner since the beginning. I wrote LOSER as my tag. and he wrote DZEL, and together we started the AIDS (And It Don’t Stop; Alone In Deep Space) crew. And there were a few main people getting up in the neighborhood who were amazing. Among them was T.DEE. He was the founder of Undercover, the first graffiti magazine.

What about the name Loser? How did you come up with it?

We used to hang out in the parks and sit on the stoops. And one of our neighbors walked by and saw the graffiti and said, “What kinds of losers do this shit?”

Do any early graffiti-related memories come to mind?

There were just so many amazing things that changed my life. Meeting so many great artists who inspired me. That was a blessing. But here’s a story: We’re also rappers. Our original rap group was called AIDS — Adolescents In Dire Straits; Alone In Deep Space…We started tagging it on walls, but we never thought it would go anywhere. And so once we started our crew, then we had to switch our rap name to the “Animal Crackas.”

Do you prefer working alone or collaborating with others?

I’d rather collaborate because my crew is so amazing. It’s now 20 years old.

Is there anyone, in particular, with whom you’d like to collaborate?

Rembrandt.

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

I’m right in the middle. We’re bridging it. We’re not just graffiti writers. We are evolving. Many of us are transitioning from graffiti to street art to fine art. And we do all three. Some of the most amazing writers are also fine artists.

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

I’m so happy! I’ve put together amazing shows in galleries for these past ten years. But to hang in a museum? Even that word! It’s huge for an artist.

What about the corporate world? How do you feel about street artists and writers collaborating with corporations?

Let’s get their money. I got this two-year old. I have to make money, and I don’t want to always have a day job working with fire alarms. I want to be an artist who paints whatever it is I want to paint whenever I want to paint it.

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

I’m just trying to ride the wave. If you’re not on it, you’re missing a big audience.

Have you a formal art education?

Yes. My mom encouraged me to get one. I studied Fine and Commercial Arts at DuCret School of the Arts in Plainfield, NJ. It was the best thing I ever did in my life. It helped me find out who I was. But it’s also in my blood. My grandparents worked as animators for Terry Tunes, and my grandfather was one of the animators for Beavis and Butthead.

How would you describe your ideal working environment?

I’d paint anywhere. I just need time to paint! Now that I’m a dad, I get up most mornings at 4 – just so that I could have time to paint.

What inspires you these days?

For now, my son inspires me. Becoming a father was the ultimate change in life. I want to be a good man, and provide for him and his mom.

Are there any particular cultures that have influenced your aesthetic?

Hip-hop, 100%.

Is there a central theme that ties your work together?

I’d have to say “family.” I’ve always been inspired by my mom and the women in my life, and just painting a woman is a beautiful connection to women. I can paint any female face and it becomes familial to me.

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

When I work on walls, I let it flow. I just freestyle.

Are you generally satisfied with your finished piece? And how do you know when it’s finished?

Never. I’m never satisfied with anything!

How important are others’ reactions to you?

It always feels good when you hear people say that they like your work.

How has your work evolved through the years?

It’s moving in the direction of fine art.

Have you any preferred colors?

Blue. Why? Picasso. And there’s more. I take pride in myself that I don’t use fancy paints. I don’t put tips on my cans. I just go to Home Depot or the hardware store and I buy the colors they have. And the color blue has so many variations.

What media do you currently most enjoy working with?

Most of my work is mixed media.

How has the work you’ve done on the streets impacted your studio work?

They’ve influenced each other. They’ve both evolved. Sometimes I feel more comfortable painting with a brush. But I want to do both. I want to make money from fine art and still paint on the streets.

 

How has your artwork evolved in the past several years? And how does your studio work differ from your street art?

I keep pushing it as an artist. My body of work is constantly evolving. When I work in my studio, I do it in smaller increments in multiple sessions. When I do a piece on the street, it usually takes me a day. And I haven’t yet broken into doing large-scale portraits in my studio with spray paint. I’ve done a few, and I’d like to do more. And sometimes things just happen. Like I stumbled upon creating patterns, and people really like them. I think they’re among my best work.

Interview conducted and edited by Lois Stavsky

Photo credits:  1 & 2 Sara C Mozeson; 3 & 5 Lois Stavsky; 4, 6, 7  & 8   Rachel Alban

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In both public and private spaces, Flemington, NJ-based artist James Kelewae aka Luv One fashions mesmerizing images that blur the line between graffiti and fine art. His distinct talents remain on view in  On and Off the Streets: Urban Art New Jersey through February 27 at the Morris Museum in Morristown, New Jersey. While selecting artists to feature in the exhibit, I met up with James in Trenton, NJ and had the opportunity to interview him:

When and where did you first get up?

I first hit a public surface back in 1995 while skateboarding in the Chicago suburbs where I grew up. I was 17 at the time. But it wasn’t until much later, 2006, when I became serious about painting on city walls.

Had you any preferred surface back then?

Brick. I liked the way it absorbs paint. I also liked getting up on trains with oil sticks.

Did anyone or anything in particular inspire you at the time?

The thrill of breaking rules. I liked the rush that I got.

Do any early graffiti-related memories come to mind?

In 2007, Will Kasso and I painted a two-block wall along the main bridge in Trenton. We painted in daylight pretending we had permission. It was so much fun!

Do you or did you belong to any crews?

I was a co-founder of the SAGE Coalition, a diverse group of artists dedicated to planning and producing inner-city beautification projects. And I’ve painted with Trenton’s Vicious Stylez Crew .

Would you rather work alone or collaborate with others?

It’s more fun with others, and you can accomplish more. But egos often get in the way.

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

I’d like to collaborate with Cern, Chor Boogie, Other and José Parlá.

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

I’m interested in bridging the gap.  I use mostly spray paint, a graffiti tool, in a street art aesthetic. But each is entitled to its own voice.

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

I have mixed feelings. On one hand, it dilutes the culture, but graffiti and street artists should get acknowledged for their hugely influential work by a broader audience.

What about the corporate world? How do you feel about street artists and writers collaborating with corporations?

The work that I did for Vonage helped me make the down payment to the house I now own. Depending on the corporation and the circumstances, the experience can be a positive one.

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

I don’t like it. I’d rather spend my time creating art.

Have you a formal art education?

Yes! I graduated from SVA with a degree in Illustration.

How would you describe your ideal working environment?

Outdoors.

What inspires you these days?

All the visual information that’s around me. I take in everything!

Are there any particular cultures that have influenced your aesthetic?

Celtic art…its colors and patterns; the Book of Kells, medieval art, hip-hop, skateboarding and punk rock.

That’s quite eclectic. Is there a central theme that ties your work together?

Interconnectivity…building bridges…moments of intersection and overlap.

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

I find myself working more and more freehand.

Are you generally satisfied with your finished piece? And how do you know when it’s finished?

I always want my next piece to be better than my last. I know when it’s finished when I’m sick of it.

How important are others’ reactions to you?

Ten years ago, I was super concerned about others’ responses to my work. Currently, they are not important at all.

How has your work evolved through the years?

My style was originally very illustrative. I focused initially on portraits. These days my style is largely abstract.

Have you any preferred colors?

I love them all.

What media do you currently most enjoy working with?

Mixed media and spray paint.

How has the work you’ve done on the streets impacted your studio work?

It’s my studio work that has most impacted my street art. It’s tightened my art on the streets. My street art is calmer than it used to be.

How does the subject matter differ?

When I paint on the streets, it’s important that I take the community and the site into consideration. It’s important that it be accessible. My studio work is largely personal.

How has your studio work evolved in the past several years?

It’s more spiritual in its sensibility and its theme.

How long do you generally spend on a studio piece? On a street art work?

I work on my studio pieces over time – a few hours at a time over a period of a few months. When I paint outside, it’s generally for 4-5 hours a day over five days.

What percentage of your time is devoted to art?

It’s always in my brain, but because of family responsibilities, I can only devote about 40% to it.

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

It is to challenge one’s perception of accepted norms. It is to reshape society. To share the human experience…to bear witness and to capture a moment in time.

What’s ahead?

More canvas work.

Good luck!

Interview conducted and edited by Lois Stavsky

Photo credits: 1 Sara C Mozeson; 2, 4, 6 & 7 Courtesy of James Kelewae; 3, 5, & 9 Lois Stavsky 8 & 10 Rachel Alban

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Third-generation New Brunswick native RH Doaz fuses folk art imagery — inspired by Hungarian folk art patterns — with the aesthetics of street art to create beautifully crafted, poetic images both on the streets and in his studio. I was delighted to feature his work in  On and Off the Streets: Urban Art New Jersey, a group exhibition of NJ-based artists that continues through February 27 at the Morris Museum in Morristown, New Jersey. A brief interview with him follows:

When and where did you first get up?

In the late 1990’s – with stickers and tags in New Brunswick and in NYC.

Had you any preferred surface back then?

The backs of street signs. That was always the best! Newspaper boxes. Anything with a surface that I could stick something onto that would stay up!

Did anyone or anything in particular inspire you at the time?

Yes! Among my early inspirations were: the handmade posters I saw in New Brunswick advertising basement shows; Shepard Fairey’s Andre the Giant image, and the simplicity of Michael DeFeo’s flower image.

Do any early graffiti-related memories come to mind?

Taking the NE Corridor train into Manhattan and seeing different graffiti crews at every stop.

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

They’re two mediums competing for real estate. Graffiti always wins!

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

The more people who see your art, the better!

What about the corporate world? How do you feel about street artists and writers collaborating with corporations?

As long as the artist is given full credit, I don’t have a problem with it.

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

It allows me to connect with other artists, and that helps me feed my kids.

Have you a formal art education?

Yes. I minored in Art at Defiance College, located in northwest Ohio.

How would you describe your ideal working environment?

Any huge outdoor wall in October.

What inspires you these days?

Nature, folk art, nostalgia….

Are there any particular cultures that have influenced your aesthetic?

Skateboarding, Hungarian, folk art, punk rock and hip-hop.

Is there a central theme that ties your work together?

Telling stories that haven’t yet been told through folk art.

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

These days I usually do have a sketch-in-hand.

Are you generally satisfied with your finished piece? And how do you know when it’s finished?

Absolutely! I know I’m finished when there’s no more space left. The pattern feels complete. I’ve reached the sense of saturation where nothing needs to be added.

How important are others’ reactions to you?

I’m honored when others like my work. I like knowing what others think. I feel like I need to know.

How has your work evolved through the years?

I’m better at storytelling, and my patterns and palette are more refined.

Have you any preferred colors?

As I’m color-blind, I need to work with colors that strongly contrast one another with bold black outlines.

What media do you currently most enjoy working with?

Aerosol.

How has the work you’ve done on the streets impacted your studio work?

I’m more willing to experiment with patterns and palates on the streets, and this experimentation has impacted my studio work.

How long do you generally spend on a studio piece? On a street art work?

I spend anywhere between 5-10 hours on a piece I do in my studio. An outdoor mural generally takes about 60 hours, 6-7 10-hour days.

How important is it to you to maintain a presence in the public sphere?

It’s everything!

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

It is to tell visual stories that no one else is telling. Our most beautiful aspect is our aesthetic expression.

Note: You can view RH Doaz‘s talents in  On and Off the Streets: Urban Art New Jersey through February 27 at the Morris Museum in Morristown, New Jersey and at Woodward Gallery‘s current exhibition New in 22.

Photos and interview by Lois Stavsky

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A huge fan of Mr. Mustart‘s mesmerizing aesthetic since I discovered it on the streets of Jersey City a decade ago, I was delighted to feature his talents in the Morris Museum‘s current group exhibition, On and Off the Streets: Urban Art New JerseyWhat follows is an interview with the artist:

When and where did you first get up?

Back in Russia. I was about 11-12 when I first got up on a wall. I remember using a navy blue spray can from a local auto shop. At that time the paint only came in two colors.

Had you a preferred surface?  

No! Everything goes, and as long as there is room for creativity, it’s all a blank canvas.

What inspired you to hit the streets? 

A desire to be heard and also seen now that I think about it. Also, I was inspired by the music that I listened to at the time. At first, it was punk rock and heavy metal. Then when I was about 13 or 14, back in 97-98, it was a wave of hip-hop and rap music – groups like Public Enemy, Naughty By Nature, Cypress Hill, Wu-Tang, Gangstarr, of course 2Pac and Notorious BIG, BIG Pun, Big-L, Jay-Z, Nas, Dr. Dre, Snoop, KRS One, MC Hammer, Kool G Rap, Coolio, … whosever bootleg tapes and VHS videos made it to my small town.

There was no internet at that time, mind you. I remember watching music videos with b-boys in them rocking on linoleum mats with graffiti pieces and characters in the background. I was already drawing, sculpting and making my own play-weapons like wood gun replicas, ninja darts, bows and arrows. and more. The music and the videos opened me up to an entire new world of self-expression.

Do you prefer working alone or collaborating with others? 

I like doing both. Some of my finest memories are from the times I painted with my friends. And sometimes it’s more therapeutic for me to work alone. Depends on what it is that I’m doing.

Do you belong to any crews?

I’m an honorable member of BAMC, a huge and very talented international crew based out of California and the A-Team aka the AIDS Crew, a collective of some of the dopest local street and graffiti artists based out of Jersey.

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

Before we get into any type of logomachy about this hot topic, let’s agree that there is no solid definition of either one. and the lines between have been crossed numerous times throughout its brief history and continue to till this day.  I don’t think it’s that much of a divide, rather a continuous interaction and coexistence/collision of ideas, concepts, social commentary, techniques and more. Don’t believe the hype.

I think it’s more of a territorial issue. Most graffiti writers have been doing their thing on the streets for years and even decades without serious recognition from the art world, mostly because  graffiti has been classified as a crime rather than an urban form of expression. It’s the label “street art” that took graffiti places it has never been. So I think the divide is more personal and not as systematic as people like to think.

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

I think it’s great. It’s Art and that’s where the Art belongs. It’s a window of opportunity for many talented artists and a positive outlet for those who come from harsh environments with many self-destructive vices.  It gives many people hope and a way to earn some sort of a living.

And what about the role of social media? How do you feel about that?

Its role is to connect people and that’s what it does best. It’s been great for me personally. It gives me a free platform with a global outreach. It’s a way for me to expand my network and come across great opportunities.

Have you a formal art education?

I graduated from New Jersey City University in 2009 with a BFA Degree in Painting and Drawing, but even before and throughout middle and high school, I’d always attended some sort of art classes and artists’ workshops.

How would you describe your ideal working environment?

Lots of daylight, a peaceful space without too many distractions – with some kind of instrumental music in the background and lots of blank canvases and paint. And hunger to search within.

What inspires you these days?

Good music, interactions with people. Everything really. Life.

Are there any particular cultures that have influenced your aesthetic?

Growing up in Russia and moving to New Jersey at the age of 14 pretty much sum up my background of influences. The hip-hop culture and music from all parts of the world, especially the music from Russia, Poland, France, Brazil and of course USA.

Is there a central theme that ties your work together?

It’s my organic and free-flowing style. I rarely work with a sketch in hand. My themes change as I do.

What about colors? Have you any favorite ones?

I especially like working with yellow. It’s energetic and exciting, but colors are nothing in isolation. I love the nuance that exists among the colors rather than individual hues.

And media? Which do you prefer working with?

Spray paint is mostly my go-to, but I would draw with a stick on sand if I have to.

How important to you are others’ responses to your work? Is it important that they like it?

When the reaction is positive, that’s great! I feel like that’s the greatest reward for any artist, whether you’re a painter, a sculptor, a chef, or a dancer! If someone doesn’t like something, that is fine too; it simply is not for them.

How has the work you’ve done on the streets impacted your studio work?

They impact each other. It’s a back and forth thing.

Where would you rather be? On the streets or in a studio setting?

Probably on the streets. Just because I like being outdoors. But I see myself  spending quality time in a studio with some canvases. I’m exactly where I’m supposed to be.

How long do you generally spend on a studio piece?

All depends on its nature. Sometimes a few hours, and sometimes months. I also work on many pieces simultaneously.

How has your work evolved through the years?

It’s always evolving, and I’m always experimenting. It’s a continuous journey with no end in sight.

How does your family feel about what you are doing?

My parents always encouraged me. They are both creative and always valued and supported my niche for creativity. They are thrilled that I can earn a living as an artist.

Have you any favorite artists?

I feel like art is about self-expression, so anyone who has been doing it and has done it well and with love is a favorite.

 

What are some of your other interests?

Eating healthy and traveling. Breathing.

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

It’s to find their inner light and to share it with others.

Note: You can view a sampling of Mr. Mustart‘s abundant talents in On and Off the Streets: Urban Art New Jersey through February 27 at the Morris Museum in Morristown, New Jersey

Photo credits: 1, 3, 4, 5, 7 & 8: Lois Stavsky; 2 Sara Ching Mozeson and 6 Rachel Alban

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Active on both the streets and in his studio, Will Power fashions stylishly seductive images, often fusing elements of  graffiti, street art and fine art. His talents can now be viewed not only on the streets of his native New Jersey and throughout NYC, but in  the group exhibition, On and Off the Streets: Urban Art New Jersey, that continues through February 27 at the Morris Museum in Morristown, New Jersey. While selecting studio works to feature in the exhibition, I had the opportunity to interview Will.

When and where did you first get up?

I first got up in 1983. And about a year later I did my first character, a devil. In 1985, I hit the White Castle on Journal Square. No one had ever hit that wall before. I was 14 at the time.

Had you any preferred surface back then?

Any place visible.

Did anyone or anything in particular inspire you at the time?

The movie Style Wars. It came out in 1983.

Do any early graffiti-related memories come to mind?

Racking up cans and bombing the bathrooms in Dickinson High School. The entire building was covered with graffiti.

Were you ever arrested?

Never! I knew what I was doing. I knew when and where to do it.

Did you belong to any crews back then?

A few. TFK (The Fresh Kingdom); KOC (Kings of Cremation) and MOB (Masters of Bombing).

Do you prefer working alone or collaborating with others?

I’d rather work alone. Often when I collaborate, I feel as though I’m carrying the other person. The exception is Albertus Joseph. We began collaborating in 2018, and we’ve developed our distinct aesthetic that we call “Gritty City Styles.”

Is there anyone, in particular, with whom you’d like to collaborate?

The Italian Renaissance artist Michelangelo. I’d like to paint graffiti-style over his Sistine Chapel.

Have you any thoughts about the street art/graffiti divide? You certainly bridge the two.

The line is getting thinner and thinner. The problem is that street artists and graffiti writers don’t really get to talk to each other. The writers feel that the street artists are doing it for the money. But our motivation is really the same. We love what we do, and we have fun doing it!

What about the street art scene here in New Jersey? Any thoughts about it?

We need a “scene!” There are not enough legal walls and it’s all too cliquish. And I’d like to see the state do more to promote local artists.

Street artists are increasingly collaborating with the corporate world. Have you any feelings about that partnership?

That depends on the circumstances, the particular product and the way it’s being represented.

And how do you feel about the movement of graffiti and street art into galleries and museums? 

I feel good about it. Graffiti and street art should be moving into galleries and museums. It’s the logical progression.

How would you describe your ideal working environment?

It’s in my home. I find a space to paint in my house, and it becomes my studio and my sanctuary.

Have you a formal art education?

No. I’m self-taught. Graffiti was my teacher.

What inspires you these days?

My main sources of inspiration are: hip-hop, iconography, God and the Bible.

Are there any particular cultures that have influenced your aesthetic?

I lived with my mother’s family in Thailand for three years from about 4-7. I vividly remember the detailed, decorative repetitive patterns and the classic spiritual beauty of the Buddhist temples. And I spent six months with my stepfather’s family in Egypt after I graduated from high school. There was gold everywhere! That’s what stands out. But the hip-hop culture has always been my main influence.

Is there a central theme that ties your work together?

Hip-hop and spirituality.

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

Mostly, I don’t. But for commissions, I sometimes have to.

Are you generally satisfied with your finished piece? And how do you know when it’s finished?

I am satisfied with it. I know it’s finished when it feels balanced.

How important are other’s reactions to you?

On my studio work, they’re not important. But when I paint outside, it’s for the people. And then it matters.

How has your work evolved through the years?

It began with tagging and bombing the streets, and now it’s working on canvas fusing elements of graffiti, urban art and fine art.

How has the work you’ve done on the streets impacted your studio work?

The media I use are largely the same ones I use on the streets: spray paint, wheatpastes, stencils and charcoal. But I’ve also begun working more and more with oil paint and oil sticks in the studio.

How has your studio work evolved in the past several years?

I’m definitely taking more chances, and my tones are often more subtle. And working with oil paint adds a classical element to it.

How long do you generally spend on a studio piece? On a street art work?

I spend, on the average, of about three months on a studio piece, and anywhere from 4-6 hours on a work on the streets.

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

My role is to share my God-given talents with others.

What percentage of your time is devoted to art?

I’d have to say all of it, because even at my day job – my main source of income – I paint in my head.

Note: Will Power‘s work remains on view through February 27 at the Morris Museum in Morristown, NJ and for the next several weeks, you may even find him collaborating with the legendary Al Diaz at First Street Green Art Park.

Interview by Lois Stavsky

Photos feature Will Power‘s studio and street art in various indoor and outdoor venues. Images 3 & 8 in collaboration with fellow Ex-Vandals member, Albertus Joseph

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Featuring dozens of works in a range of media by the late legendary Jean-Michel Basquiat, along with artworks by several of his key contemporaries, “Writing the Future: Basquiat and the Hip-Hop Generation” continues at the Boston Museum of Fine Arts through July 25. The image featured above, “Hollywood Africans,” fashioned in 1983 by Basquiat with acrylic and oilstick on canvas, portrays the artist, Rammellzee and Toxic, as it documents the time the three artists spent together in Los Angeles.  Several more of the exhibition’s highlights — as seen on my recent visit –follow:

Jean-Michel Basquiat, Anthony Clarke (aka A-One), 1985, Acrylic, oil and collage on wood

Jean-Michel Basquiat, Ero, 1984, Acrylic, oilstick and Xerox collage on paper

The late multi-media artist and hip-hop pioneer Rammellzee, Super Robber, 1985, Mixed media on canvas

NYC graffiti pioneer and acclaimed fine artist Futura, Untitled, 1982, Spray paint and marker on paper

Keith Haring and LA2 collaboration, Suit for Madonna, 1984 Acrylic on leather

Legendary graffiti pioneer Lady Pink and neo-conceptual artist Jenny Holzer collaboration, Tear Ducts Seem to Be a Grief Provision, 1983-84, Spray paint on canvas

A tribute to those who “fueled new directions in fine art, design, and music, driving the now-global popularity of hip-hop culture,”  “Writing the Future: Basquiat and the Hip-Hop Generation”  is accompanied by an illustrated catalogue produced by MFA Publications and edited by co-curators Liz Munsell, the MFA’s Lorraine and Alan Bressler Curator of Contemporary Art, and Greg Tate.

Photos of artworks: Lois Stavsky

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Featuring a superlative documentation of NYC’s golden age of graffitiHenry Chalfant: Art vs. Transit, 1977-1987 remains on view at the Bronx Museum through March 8With his remarkable eye, vision and passion, the award-winning visual anthropologist Henry Chalfant captured a culture that has since evolved into a global phenomenon impacting the entire art establishment. Featured above is Henry Chalfant, as seen at the Bronx Museum several days after the exhibit’s official opening. What follows are several more photos — some captured at the September 25 2019 opening by travel and street photographer Karin du Maire aka Street Art Nomad — and others as seen on subsequent visits.

 Documentation of graffiti on NYC subway trains

Re-creation of Futura graffiti on subway train, 1980

Henry Chalfant — with Bio, Tats Cru to his right — as captured on opening night

Recreation of Henry Chalfant,‘s early studio featuring Tats Cru, Tracy 168 and more

John “Crash” Matos with noted graffiti documentarian and author Jim Prigoff  to his right — as captured on opening night

Martha Cooper — with camera in hand on opening night — turns her lens on Bgirl Rokafella, Jose Parla, Jerry MazeJorge Fabel Pabon and DJ KaySlay 

More photos of trains with quote by Carlos Mare aka Mare 139 to their left: “We may have lost the trains, but we’ve gained the whole world.”

The Bronx Museum is located at 1040 Grand Concourse and is easily accessible by the B, D and 4 trains. Visiting hours for this “must see” exhibit are: Wednesday, Thursday, Saturday and Sunday 11:00 am – 6:00 pm and Friday, 11:00 am – 8:00 pm.

Photo credits: 1, 2, 4, 6 & 7 Karin du Maire aka Street Art Nomad;  3, 5 & 8 Lois Stavsky

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Opening tomorrow, Thursday, September 19, at the elegant Morris Museum in Morristown, NJ is “Aerosol: Graffiti | Street Art | New Jersey | Now,”  the first U.S. museum exhibition to showcase contemporary urban artwork painted directly from floor to ceiling onto a museum’s gallery walls. While visiting the exhibition as its installation was near completion, I had the opportunity to speak to the legendary artist, curator and educator, Will “Kasso” Condry, who, along with Morris Museum Director of Exhibitions and Chief Curator Ronald T. Labaco, curated the landmark exhibition.

This is remarkable! It’s so great to see a museum as prestigious as the Morris Museum showcase aerosol art. In addition to its global impact, modern graffiti has had a huge influence on contemporary art that isn’t often acknowledged. How did you come to co-curate “Aerosol: Graffiti | Street Art | New Jersey | Now?”  It is looking wonderful — a perfect ode to my favorite art form!

The museum’s chief curator, Ronald T. Labaco, reached out to me earlier this year. He had been researching graffiti and street art in New Jersey and came upon my work in my native city, Trenton, and beyond. He also read about several of my projects in my current home, Middlebury, Vermont, where I’ve served as the Alexander Twilight Artist-in-Residence at Middlebury College. My wife, Jennifer Herrera Condry — an administrative genius — has been the perfect link between Ron and me.

Your artwork often reflects a strong social consciousness, particularly as it relates to community-building. Can you tell us something about the striking mural you chose to paint for “Aerosol: Graffiti | Street Art | New Jersey | Now?” 

Yes! It is a tribute to the late Jerry Gant, a beloved visual artist, poet, performance artist and educator, who strongly impacted his native city, Newark. Gant had worked on murals and sculptures throughout Newark and became identified with his spray-painted message, “Detox the Ghetto.” 

I love the way your mural, along with all the murals in this exhibition, seamlessly fuses into its surroundings. And the installation of tags and throw-ups further enhances the exhibition’s authentic flavor.

Painting directly onto the gallery walls was Ron’s concept, and we’ve all loved the experience.

There are so many talented artists in your native state, particularly in Trenton and Newark. How did you go about selecting which artists to feature in this exhibition?

I started with a list of 25 names. I consulted with Leon and then Demer. I was interested in featuring not just “names,” but those artists who have put in lots of work, even if they are not all that well-known. Most of the artists I selected I know personally. And I know that they are committed to their art form and are, also, accomplished and reliable.

You then narrowed your list down. Which artists are featured? While most are graffiti masters, there are several muralists, as well.

There is a total of 12 artists. In addition to me, the artists who participated in the exhibit are: 4sakn, Acet TM7, Dave “Mek One” Klama, Dean “Ras” Innocenzi, DemerockDistort, Elan, Felipe Prox One Rivas, Leon Rainbow, Jonathan Conner aka LANK and Maliq Griffin.

What were some of the challenges you faced in seeing this through?

The biggest challenge was getting the artists to check their email accounts! And, of course, getting everyone scheduled to paint — between their jobs and other commitments — was quite a challenge. Luckily, Ron and the museum staff were very supportive.

How do you feel about it all — now that it’s close to completion? 

I’m satisfied! Very happy, in fact! The feedback I’ve gotten so far has been overwhelmingly positive. And I’m thrilled to have the opportunity to showcase talented artists who are underrepresented and under-appreciated in the “art world.”

What’s ahead?

The exhibition opens to the public on Thursday, September 19, and we will be celebrating its opening on Thursday, October 3.

6:00PM – 7:00PM Aerosol viewing and reception for museum members
7:00PM – 8:00PM
A conversation with the Aerosol artists (FREE for Museum Members, FREE with Museum Admission for non-members)
8:00PM – 9:00PM Aerosol remains open

And what about you? What’s ahead for you?

I’m about to start a tattoo apprenticeship. I’m continuing to develop my studio practice, and I will be working on a huge label-design project.

That all sounds great and congratulations on “Aerosol: Graffiti | Street Art | New Jersey | Now.” 

Featured images:

1.  Will “Kasso” Condry

2. Demer, to the left of Kasso

3. Distort

4. Leon Rainbow

5. 4sakn

Interview conducted and edited for brevity by Lois Stavsky; photos by Lois Stavsky.

Note: The Morris Museum is located at 6 Normandy Heights Road in Morristown, NJ. Check here for travel directions and information regarding hours and admission.

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