New York City

This is the second in a series of posts showcasing NYC’s stylish stickers that surface on an array of public surfaces:

Tokyo native Lady Aiko

Aiko street art

NYC-based Read

Read sticker

Harlem-born artist and curator Choice Royce

Choice Royce

Chicago-based Don’t Fret

sticker

The ubiquitous KA and MTK 

KA and MTK

Jos 1’s signature style

Jos 1 stickers

Zato’s character in one of his many poses

Zato sticker

 Photos by Lenny Collado, Dani Mozeson & Lois Stavsky

 

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We returned this week to one of our favorite East Village spots — East First Street off First Avenue — where a once-abandoned trailer now boasts a range of crisp, expressive images. With Cycle 7 now complete, this is what we captured:

Matthew Denton Burrows

Matthew Denton Borrows

Hellbent

Hellbent

Joe Iurato

Joe Iurato

Joseph Meloy and Nicholai Khan 

Joseph Meloy and Nicholai Khan

Yuki

Yuki-for-centre-fuge-public-art-project

The current installation will remain through May. Submissions for Cycle 8 are due by April 1 and can be submitted to Centrefuge@gmail.com, Images of Cycle 7 in progress can be seen here.

Photos by Dani Mozeson & Tara Murray

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Speaking with Joe Iurato

February 27, 2013

Joe Iurato

Joe Iurato‘s splendid stencil art graces the streets and galleries of New York City and beyond. We recently had the opportunity to visit Joe’s studio and find out more about him.

When and where did you start getting up?

Around 2006. I was working over in SoHo for a magazine, and I started by going out and putting up small works on my lunch breaks. I’m a bit of late bloomer when it comes to getting up in the streets, but I guess better late than never.

What inspired you?

My earliest inspirations came from graff, which heavily influenced the b-boy culture I was part of as a kid. Then, in my mid-teens, I started skateboarding and the lines began to blur among the styles of art that surrounded me. Wasn’t so much letterform as it was snakes poppin’ from the eyesockets of toxic green skulls and less refined scrawlings addressing social issues. I liked it all, and I was actively drawing and painting in all styles. I’d always secluded myself with my art, though. Never really liked to show anyone. But something was appealing about being able to share it publicly, without having to tell someone, “That’s mine. I did that.” Just leave it there, and let people take what they may from it. Eventually, the inspiration outweighed the hesitation, and I gave it a shot.

Joe Iurato

What was your most memorable “street art” experience?

In New Brunswick, I did a large piece of a kid praying on a trestle. When I went back to paint again a few months later, a homeless man approached me, pointed to that first piece I did and said, “I don’t care what you do, but if you touch that piece, I’ll kill you.” That made me realize just how important public art is.

Have you collaborated with others?

I work mostly on my own, but I’ve done a few collaborations. Some of the most memorable being with SNOW, SUE WORKS, and Chris Stain.

Have you ever been arrested?

No, I haven’t. I think largely because the risks I’ve taken were fairly calculated. I’m a father trying to support and raise a family, and we just can’t afford fines or worse. These days, most of my work’s done on legal walls.

Joe Iurato

What is the attitude of your family?

My wife is really supportive, and my older son loves that I encourage him to paint the walls in my studio. So, for now, I’m good!

Have you exhibited your work?

Yes, I do. Currently, I’m showing a number of new pieces at Signal Gallery in London.

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

I have no objections to it. Artists and their families deserve to eat, too.

What about festivals? Have you participated in any street art festivals or special events?

Yes. I’ve painted at Welling Court in Queens, at the Living Walls Conference in Albany, at Willoughby Windows in downtown Brooklyn, the G40 Summits in DC, Electric Windows in Beacon, NY, the Art of Basketball in Miami, and regularly at Fountain Art Fair to name a few.

Joe Iurato

Do you have any favorite surfaces?

I love weathered surfaces and texture, but it can sometimes be difficult to work with when I’m applying stencils. For what I do, the smoother, the better. Cinder block, steel, etc…

What percentage of you time is devoted to art?

I’d say 30-40%.

What is the main source of your income?

There is no one source. I sell art, but I also work in a restaurant and write a weekly wine column for a North Jersey newspaper group.

How do you feel about the graffiti street art divide?

To me, that argument doesn’t make much sense. We’re more or less doing the same thing. Maybe some of the ideology is different and the methods and materials, but we’re expressing ourselves creatively and publicly. Regardless, if you work in the streets, you have to respect your roots. It all started with the graffiti writers.

Joe Iurato

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

Like everything else, there are pros and cons. It’s a great way to share your work and network with the community, but it can also make anyone a superstar. Some great artists can get lost in the madness of the Internet.

Do you have a formal arts education?

I studied for three years at Montclair State University, but then I quit to study wine.

Did your art education benefit you?

It helped me understand color theory and composition. I also loved art history. But I can’t say any of it directly affected my aesthetic or technique.

What inspires you these days?

I’m inspired by what I’m doing and how I’m living, which is why the subject matter and even the mood of my work is constantly changing. At the moment, I’m influenced by a place I’ve been frequenting. It’s an abandoned space near my home with a long, complex history. I’ve been relatively obsessed with documenting it for a few years, and now it’s showing in my work

Joe Iurato

How has your work evolved throughout the years?

I think I have a deeper understanding of my own stencil art. I’ve explored everything from single layer to 15 layer pieces, and its taken years to develop some sort of continuity and fluidity. I feel I’ve finally arrived at a comfortable and consistent method of cutting. That said, I’ve begun challenging myself elsewhere, experimenting with new applications in addition to the stencils.

Are there any artists who particularly inspire you?

There are so many, I’ll kick myself later for forgetting anyone. But on a personal note, the one person I’d like to mention is Logan Hicks. While I don’t have to say anything about how dope his stencil art is, he’s become a close friend and mentor through the years. His work ethic has always inspired me. The dude never rests. He never sits in a pocket just complacent with what he’s done, and it’s not a day or two after a successful opening that he’s back at the grind exploring something new. There are plenty artists out there who’ll also vouch for him being this central figure that’s brought so many of us together. That, and he’s a family man. I admire and respect him.

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

Public art, especially, in the here and now is a powerful tool that can spark healthy conversation, debate, and even change. But I think that “art” collectively always makes more sense in the future. It helps put a time stamp on our culture, and will in some way define us when there’s little left of our fleeting existence on this planet.

Joe Iurato

What do you see yourself doing in the next five years?

Hopefully continuing along this path. Evolving my work, sharing more of it inside and out, still doing the wine thing, and being able to give my family all they need and deserve through doing what I love.

Wow! Good luck and, of course, we’re thrilled that you are doing what you are doing!

Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky

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Born in Argentina and raised in the Bronx, veteran graffiti artist Nic 707 is once again riding the trains. Curious about the force behind the transient graff galleries that have been surfacing on NYC subways, we posed some questions to Nic.

Nic707

When did you first start getting up?

It was back in 1973.

Wow! So you were at the beginning of it all. What inspired you at the time?

My first hero at the time was Checker 170, the King of the 4 Line. And I saw what guys like Tracy 168, Rub 5 and Pnut 2 were doing.

What train lines did you hit back then?

Mostly the 4, 5, 2, the D and the old CC trains.  But I also hit the 7 and the 1 lines.

Did you work with any crews?

Lots. Among them was MGA – with Set 149, Padre, Stone High.  When I was 16, I started OTB and was its first president. Presidents that followed included Noc 167, Ban 2 and the current one, Cope 2.

Nic707

Were you ever arrested?

Let’s just say I was held against my will a couple of times. Life was more adventurous back then.

What is the riskiest thing you ever did?

Probably jumping off the trains when they were moving. I could’ve gotten killed. Some writers did. I also remember when I had to ride on the top of a train to escape some cops, surf to the next station and leap to the roof and lie there for two hours until the coast was clear.

How did your family respond to what you were doing?

They never supported me.  When I was 19, I returned from summer camp to discover that my mother had destroyed everything I had ever created.  That ended my early stint as a graffiti artist. Luckily, I found my way back to it about seven years ago.

What were you doing all those years you were away from it? And what brought you back to it?

I was doing lots of things – mostly stand-up comedy and other things that I shouldn’t have been doing. But I finally realized how much I missed my graffiti days.

Nic707

I’ve recently seen your work on walls here in the Bronx and up in Inwood.  I also saw it on exhibit at Gallery 69 in Tribeca. Have you exhibited anywhere else?

I took part in an exhibit at NYU and at a number of smaller private spaces.

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

I applaud it. It pushes writers to continually refine their styles, and I think it’s great that they can make some money from their talents. I also like the idea of graffiti reaching folks who frequent galleries.

Why do you suppose graffiti seems to garner more respect in Europe than it does here – where it was born?

You’re never a hero in your hometown. And NYC is filled with too many haters.

Who are some of your other favorite graff artists these days?

There are many.  Meres, T-Kid 170, King Bee, Sonic, and Serve 1 are among them.

Do you have a formal art education?

No. But I attended DeWitt Clinton High School – along with dozens of other writers. It was the best art education I could get.

Nic707

Tell us something about your current project.

I came up with the concept in 2008 for “InstaFame Phantom Art.” It’s about creating moving art galleries – back on the subways where graffiti had its first and strongest impact. It’s about bringing people’s art to the people. Who really wants to read a Budweiser ad twenty times?

And how have folks reacted to it?

They love it!

And what about the “InstaFame” part?

Yeah. I want to be famous. Doesn’t everybody?

I’m not sure!  What do you see as the role of the artist in society?

To inspire others to dream and to follow their dreams.

How do you see yourself in five years?

I’d like to have my own graffiti reality television show.

Good luck! It sounds like fun! And in the meantime we’re looking forward to seeing more of your InstaFame Phantom Art galleries riding our trains.

 Photos by Lois Stavsky

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Boasting first-rate hand styles, cunning commentary and intriguing characters, the stickers that surface on NYC streets are among the best anywhere. Here is a brief sampling:

Australian born painter and installation artist Anthony Lister

Anthony Lister

First-rate hand stylist(s) Aidge and Serch

Aidge

Queens-based artist, curator and educator Alice Mizrachi aka AM

Alice Mizrachi

One of Curly’s playful statements — though usually handwritten

Curly

Brooklyn-based artist RAE

RAE

NYC’s prolific Katsu

Katsu

The legendary NYC-based artist Billi Kid in collaboration with the Russian-born graphic designer and illustrator Street Grapes

Billi Kid and Street Grapes on sticker

 Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky

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Joseph Meloy & Nicholai Khan

East First Street near First Avenue in the East Village/Lower East Side is the place to be this week as the Centre-fuge Public Art Project begins its second year of transforming a once-abandoned trailer into a showcase of urban art. These images of works-in-progress were captured yesterday:

NYC native Joseph Meloy at work on his distinct post-graffiti style that he labels Vandal Expressionism

Joseph Meloy

Queens-based Nicholai Khan fashions a school bus as tribute to NYC’s striking school bus drivers

Nicholai Khan

Brooklyn-based Hellbent with his enchanting geometric rhythms 

Hellbent for Centre-fuge

Peeking into Hellbents’s black book

Hellbent black book

Graphic artist Matthew Denton Burrows conceives an intriguing character

Matthew Denton Burrows

Hellbent and Matthew Denton Burrows side by side

Hellbent and Matthew Burrows for Centre-fuge Public Art Project

Japanese painter and muralist Yuki brings her graceful aesthetic to the scene

Yuki for Centre-fuge

The wonderfully talented Joe Iurato will be on board tomorrow.  StreetArtNYC will feature images of the completed trailer next week.

The Centre-Fuge Public Art Project was conceived in 2011 by First Street residents Pebbles Russell and Jonathan Neville in memory of their friend, Mike Hamm.

Photos by Tara Murray

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This is the fourth in an occasional series of artwork on NYC shutters by both local artists and those visiting from abroad:

England’s Ben Eine and Sweet Toof — as seen in the snow this past Sunday in Bushwick, Brooklyn

"Ben Eine & Sweet Toof"

Sweet Toof of the London-based Burning Candy Crew at Welling Court in Astoria, Queens

"Sweet Toof"

Muck123 and UFO on Manhattan’s Lower East Side

"Muck123 and UFO"

Darkclouds, Deeker & Flying Fortress at Welling Court in Astoria, Queens

Darkclouds, Deeker and Flying Fortress

How and Nosm on East 14th Street in Manhattan

How and Nosm

How and Nosm at Hunts Point in the Bronx 

How-and-Nosm-graffiti-in-NYC

Carlos Pinto does Bob Marley in Flatbush, Brooklyn

Carlos Pinto

Beau on Manhattan’s Lower East Side

Beau

And — Pixote bringing stylish Brazilian writing to the streets of NYC

Pixote

 Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky

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This past weekend — on one of winter’s chilliest days — we hit Bushwick, where we caught some new images and revisited others.

New from Brooklyn-based Elbow Toe with Veng‘s signature birds

Elbow Toe and Veng

Belgian artist Roa

Roa

4BurnersDasic and Rubin with Madrid-based Okuda

Dasic, Rubin and Okuda

Berst tribute to NEKST, RIP

Berst

Brooklyn-based Never

Never

Brooklyn-based Bast

Bast

Bast, close-up

Bast close-up

Photos by Lenny Collado

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NYC’s Dashing Pavement Art

January 21, 2013

Paul Richard

From Paul Richard’s elegant gentlemen to Dceve’s stylish tags, the images that surface on NYC’s pavement intrigue:

Another one by Paul Richard

Paul Richard

The itinerant Swamp Donkey aka Swampy

Swampy

Meres at 5Pointz

Meres

Close-up of extraordinary piece by the wonderfully talented David Ellis

David Ellis

The iconic UFO

UFO

The elusive stikman

stikman-street-art-on-NYC-pavement

And stylish writing by Dceve of the legendary Smart Crew

DCEVE

 Photos by Dani Mozeson, Tara Murray & Lois Stavsky

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Speaking with Rubin

January 16, 2013

Rubin-graffiti-and-street-art-action-in-Bushwick-NYC

Rubin’s exquisite murals surface here regularly in NYC on the streets of Brooklyn and the Bronx.  Each one is a cause for celebration.  We recently had the opportunity to speak with the talented artist.

When and where did you start getting up?

I started tagging in 1985 – age 10.  I was living in Gothenburg, Sweden. I grew up there among the concrete projects. Their walls were my first canvas.

What inspired you?

I watched the movie Beat Street at my friend’s house. That started everything. The movie had a huge impact on me, as did growing up in the projects.

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

My mother worried a lot. But she was supportive.

Rubin graffiti

Do you have a formal art education?

No. I never wanted to go to art school. I studied music and played in several bands in my native Gothenburg.

Back in Sweden, did you work alone or with a crew?

I painted with NTA (Night Time Artists) back in Sweden. But I also painted alone.

What about here – in NYC?

I’ve collaborated mostly with 4Burner members:  Sen2, Dasic, Owns, Deem, Gusto and Logek.

Would you rather paint alone or with others?

I like painting alone, but painting with others is important for artistic growth.

Rubin-street-art-and-graffiti-in-NYC

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

I would love to collaborate with Futura. That would be something.

Have you any preferred spots and/or surfaces?

I love the concrete walls up in Hunts Point in the South Bronx.

What is the riskiest thing you ever did?

I climbed five or six stories on a drain pipe to get to the top of a building.

Why?

Because it was an impossible spot that no-one had reached before.

Rubin-street-art-and-graffiti-in-Brooklyn-NYC

Your artwork seems to blur the lines between graffiti and street art. How do you feel about the graffiti/street art divide?

We should be on the same side, but we’re not. There is definitely a beef between street art and graffiti. I have always tried to bring these two opposites together in my art. It’s very challenging. There is so much ego in graffiti and street art trends seem to come and go.

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

It’s exciting and interesting. I see it as a natural progression.

Have you exhibited in galleries?

Mostly in Sweden, but I exhibited along with Cope2 two years ago in Nolita.

Rubin-graffiti-action-at-Bushwick-Five-Points

What is your main source of income these days?

My main source of income is photography. I’m also involved with the production of a Swedish/Finnish arts and culture magazine.

How do you feel about the role of the Internet in all this? And do you follow any sites?

I think it’s great. I follow 12ozProphet and StreetArtNYC.

What inspires you these days?

Craftsmanship, Kraftwerk’s minimal electronic music and the contrasts between my two homes: Bushwick, Brooklyn and the gorgeous woods of Lapland, where I spend the summers with my wife.

Are you generally satisfied with your finished pieces?

Never.

Rubin-graffiti-in-Bushwick-NYC

When you look back to what you did two years ago, how do you feel about it?

Two years ago feels like an eternity, especially when living in NYC. I tend to look forward instead of looking back.

How has your artwork evolved through the years?

In the nineties, I was one of the most active writers in Sweden. In the mid-nineties my graffiti took a turn to the geometric. From 1999 to 2008, I took a break and focused on my band, Kingston Air Force. I can’t really describe my usual style. Someone once called it abstract geometry; that’s a pretty good description, but my style is still evolving.

 Of all the cities in which you painted, which is your favorite?

New York City. I love the energy and the mix of people. Nothing beats New York.

 Who are some of your favorite artists?

The Swedish artist Gouge. He’s amazing!  Bates from Denmark, Dondi and Riff 170 from NYC, C215 and Nelio from France, Boaone from Germany and  Sofles and Fecks from Australia.

Rubin-street-art-and-graffiti-with-character-in-NYC

 What advice would you offer young writers and younger artists?

 Work hard. Learn the craftsmanship. Perfect your technique. Practice. Be a good role model to younger writers. Be nice.

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

Every artist is an egoist, and I’m no exception to the rule. I interpret what I see and how I feel through my art. I create for myself, but I’m very humbled every time someone appreciates my pieces. It means that they appreciate my take on what’s going on around us. That’s very flattering.

Where do you see yourself in five years?

I don’t even know where I’ll be next week. NYC has taught me how to live right here and now, and I’m really enjoying taking a day at a time.

Interview by Lois Stavsky with Lenny Collado and Tara Murray; photos by Lenny Collado, Dani Mozeson. Tara Murray and Lois Stavsky

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