New York City

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

Banksy on Manhattan’s Lower East Side

Banksy

Peat Wollaeger at Welling Court in Astoria, Queens

Peat Wollaeger

Icy and Sot in Bushwick, Brooklyn

Icy and Sot

Dr. Revolt in the East Village

Dr Revolt

Manny Vega in East Harlem

Manny Vega

 Owen Dippie in Bushwick

Owen Dippie

Photo of Banksy by Lenny Collado; of Peat Wollaeger and Manny Vega by Lois Stavsky; of Icy and Sot and Owen Dippie by Tara Murray; of Dr. Revolt by Dani Reyes Mozeson

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This is the fifth in an ongoing series featuring the range of faces that surface daily in NYC’s open spaces:

West Coast – based GATS at the Bushwick Collective

Gats

Dasic in Bushwick

Dasic-street-art-in-Brooklyn-NYC

Lamour Supreme and Lee Trice in Bushwick, close-up of huge mural

Lamour Supreme and Lee Trice

Judith Supine in Williamsburg

Judith Supine

Meres at 5Pointz

Meres

Skullphone in the East Village

Skullphone

Ecuadorian artist Raquel Eschinique at 5Pointz

Raquel Eschinique

Epic Uno in Long Island City

Epic Uno

Photos of GATS, Lamour Supreme & Lee Trice collab, Judith Supine, Meres, Skullphone and Epic Uno by Dani Reyes Mozeson; photo of Dasic by Tara Murray; photo of Raquel Eschinique by Lois Stavsky

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It’s been a busy past few days on East First Street in the East Village, as eight artists have been refashioning the now-famous trailer just outside the First Street Green Park. Here are a few images captured from Centre-fuge Public Art Project‘s tenth cycle:

Brooklyn-based brothers Willow and Swil

willow-and-swil-art-on-centre-fuge-trailer

Los Angeles-based artist CS-Navarrete at work

C-S-Navarette-paints-Centre-fuge

CS-Navarrete

Amanda Hurn aka Miishab at work

Miishab-paint-centre-fuge-NYC.

Brooklyn-based artists Nicole Salgar and Chuck Berrett at work

Nicole-Salgar-and-Chuck-Berrett-paint-for-Centre-fuge-NYC

And their completed piece

Nicole-Salgar-and Chuck Berrett-Centre-fugeNYC

Australia-native Damien Mitchell at work

Damien Mitchell

And his completed piece

Damien Mitchell

The prolific Long Island-based Phetus at work

Phetus

Photos of CS-Navarette at work, image 2; Nicole Salgar & Chuck Berrett’s completed piece and Damien Mitchell’s completed work by Dani Reyes Mozeson; photos of Willow & Swil; Nicole Salgar & Chuck Berrett at work, Damien Mitchell at work and Phetus at work by Tara Murray; photos of CS-Navarrete at work, image 1 and Miishab at work by City-as-School intern Kali Norris

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

Judith Supine in Williamsburg, Brooklyn

Judith Supine

ASVP in NoLita

ASVP

Bishop in Nolita

Bishop203

Craig Anthony Miller aka CAM in Williamsburg, Brooklyn

Craig Anthony Miller

The Yok in Williamsburg

The Yok

One of 13 Portals on the Lower East Side

one of the 13 portals

Gaia in Long Island City, Queens

Gaia

Jordan Betten in Chelsea

Jordan Betten

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

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

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

Graffiti is what the media called it. What I call the writing movement started in NYC back when I was in junior high in 1968. It began in the Inwood section of Manhattan with Julio204. Then in 1969, it took off in Washington Heights, with writers like Phil T. Greek and TAKI 183.1970

Why did writing start?

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

1972

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

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

1974

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

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

1984

Who do you consider are the pioneers?

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

1995

How did you get your name – COCO144?

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

What are some of your preferred mediums?

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

2009

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

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

How have you evolved as an artist?

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

2010

1) Photo, 1970

2) Photo, 1972

3) Photo, 1974

4) Photo, 1984

5) Photo, 1995

6) Photo, 2009

7) Photo, 2010

All photos ©COCO144

For a slideshow by COCO click the following link: COCO

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

 

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

Stik across from Dorian Grey Gallery in the East Village

Stik

Blek le Rat at the Bushwick Collective

Blek le Rat

Icy and Sot and Gilf!, close-up from huge mural for First Street Green and Centre-fuge Public Art Project

icy and sot and gilf!

Gaia at Bushwick Collective

Gaia

LNYCost and Enx in Williamsburg, Brooklyn

LNY, Cost and Enx

Vexta in Bushwick

Vexta and Gilf!

Manny Vega in East Harlem

Manny Vega

Photos by Dani Mozeson, Tara Murray and Lois Stavsky

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This is the tenth in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:

Dasic — with Rubin in the background — at Hunts Point in the Bronx

Dasic and Rubin

Tristan Eaton in NoLita

Triston Eaton

Community mural in Bedford-Stuyvesant Brooklyn, When Women Pursue Justice, since 2005

Community mural

LMNOP at Welling Court in Astoria, Queens

LMNOP

Alice Mizrachi aka AM in East Harlem

Alice Mizrachi

FKDL at the Bushwick Collective

FKDL

Gore at 5Pointz in Long Island City, Queens

Gore

How and Nosm in Williamsburg, Brooklyn

How and Nosm

Photos by Dani Mozeson, Tara Murray and Lois Stavsky

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

Veteran graff artists Bis and Vor 

Bis and Vor

Austrian artist Roofie

Roofie

Japanese artist Shiro with PartYes1 and Meres

Shiro, Part, Yes One and Meres

ND’A and Bishop

NDA and Bishop

The Mexican Har crew, close-up

Har graffiti

Har Crew, complete mural

Har Crew

French artist Zeso

Zeso

Brooklyn-based international muralist Joel Bergner

Joel Bergner

Barcelona-based artist Dase

Dase

Photos by Dani Mozeson, Tara Murray and Lois Stavsky

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Based in Granada, Spain, the wonderfully talented and passionate artist Raúl Ruiz, aka El Niño de las Pinturas, visited NYC earlier this summer. I met up with him at the Bushwick Collective – where he was painting with Rimx – and then caught up with him at 5Pointz, where we spoke briefly.

El Nino de las Pinturas

When did you first get up?

Back in the 90’s. I was 11 when I brought graffiti to my neighborhood in Granada, Spain.  I began the usual way — by tagging and bombing.

What inspired you?

The movie Style Wars introduced the culture to me.

What is the attitude of the authorities in Granada to graffiti?

The government makes it tough. The fines for doing illegal works are excessive. It’s difficult to paint anywhere without the owner’s permission. And even when I had the owner’s permission and he loved what I did, I was forced to whitewash the wall.

How does your family feel about what you do? 

At first, they didn’t like it. They told me to paint only canvases.  But now they take pride in what I do.

El Nino de las Pinturas

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

It’s okay. We artists need money to live. But when our art is in a gallery, it’s no longer graffiti.  Graffiti is made in the streets for all people to experience. And we we must always remember to respect our masters  — the streets.  The streets are the inspiration and source of it all. If we lose the streets, we lose the way.

What percentage of your time is devoted to art?

Everything I do is art.

Have you a formal art education?

I studied fine arts for a year and a half. But I didn’t need teachers. I have masters — the streets.

Are there any particular cultures that influence your aesthetic?

Granada is a fusion of cultures, so my primary influence is the human culture.  But there are definite Moslem influences to my aesthetic.

What inspires you these days?

Everybody I meet.  And the natural world inspires me, as well. I love animals.

El Nino de las Pinturas and Rimx

Are you generally satisfied with your final piece? 

I am, but when I look at it, I feel like I didn’t create it.

Where have you painted?

Here in the US, I’ve painted in San Francisco, Santa Fe and NYC. I’ve also painted in many other countries. Among them are: Argentina, Venezuela, Mexico, the Dominican Republic, Morocco, Germany, Hungary, Belgium and France.

Any favorite place?

I love them all.

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

Whatever role society has imposed on the artist — the artist needs to break away from it.

Any thoughts about street art bloggers?

They need to know the artists. Many don’t.

El Nino de las Pinturas and Danielle Mastrion

What about the graffiti/street art divide?

It’s not important. We use the same gallery — the streets. But in some way street art gave legitimacy to graffiti.

What’s ahead?

My art will evolve as I experience more.  And I will continue to develop my own distinct style.

Interview by Lois Stavsky; photos 1. El Niño de las Pinturas at 5Pointz by Tara Murray; 2. with Rimx at the Bushwick Collective by Lois Stavsky; 3. with Rimx in Bedford-Stuyvesant, courtesy Rimx and 4. with Danielle Mastrion in Bushwick by Tara Murray

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Orly Genger

She stands only five feet tall, but her artwork is monumental.  Thirty-four-year old Orly Genger has fashioned 1.4 million feet of lobster-fishing rope into three surging and ebbing sculptures on three separate lawns in Madison Square Park.  I passed them by chance earlier this week in an area of town I only occasionally visit, and I was mesmerized. The installation continues through September 8 in NYC and will then travel to the deCordova Sculpture Park in Massachusetts.

Orly-Genger-public-art-work-at Madison-Square-Park-Red

Orly-Genger-public-rope-scultpure-at Madison-Square-Park

Orly-Genger-public-art-work-at Madison-Square-Park-yellow

Orly-Genger-public-art-work-at Madison-Square-Park-blue

Photos by Lois Stavsky

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