NYC

The Ñewmerican Dream: Yoav Litvin Talks to Ñewmerica

April 12, 2014

The following guest post is by Yoav Litvin, a writer, photographer and author of the recently released Outdoor Gallery – New York City book on contemporary NYC graffiti/street art.

Ñewmerica is a collective of artists, which includes LNY, Icy and Sot, Mata Ruda, NDA and Sonni. Each well-known to street art enthusiasts in New York City and worldwide, they joined forces in “The Birth of a Nation,” currently on display at Exit Room in Bushwick. After a fantastic opening chocked full of performances, raffles and other fun surprises, I returned to Exit Room to re-examine the art. The first piece one encounters is an installation piece constructed by the group — “La Inmortal Deli,” a bodega stocked with hand-embellished bottles and cigarette boxes. Outside the bodega are pieces by each of the artists in the main hall of Exit Room.

It is very refreshing, Ñewmerica, to see a group of talented artists — each in their own right — form a collective. What are you trying to achieve with Ñewmerica?

Ñewmerica is a friendship and a platform for independence. When artists start out, they are free to create a body of work as they see fit, but then as the gallery system takes over, the work gets dissected and profiled to fit curatorial restraints or group show themes that tell their own stories. This can take away from an artist’s ability to present and represent his or her work. Ñewmerica is a collective push to take that complete artistic expression back by making the work we want to see exactly the way we want to see it. Ñewmerica is freedom.

Is there a collective experience for foreign artists trying to make it in NYC? Can you tell us something about the name, Ñewmerica?

None of us are native to NYC – our shared playground. NYC is the perfect stage for anybody to talk about anything resembling national identity, immigrant identity, or issues of gentrification and generational perspectives. Our individual work speaks about these issues already, and it gets amplified when we work together. At the same time this is just our reality. Even if we don’t make identity an issue we see it coming up in every day life. Analyzing identity is a way of discussing the reality of New York.

What’s wrong with America and what are you trying to change?

We are not necessarily trying to change anything, but just better ourselves through collaboration, sharing, and friendship. That’s the only way we can create a better commons and consequently better communities, neighborhoods, cities and nations. Know thyself before you wreck thyself and thy town.

The bodega – why did you choose a bodega as the collaborative point for the collective, and not some other nexus? Why did you choose to make art on alcohol bottles and cigarettes boxes?

The bodega is a contested battleground. Much like the subway, it unifies a city because all social strata melt into it. Commerce and necessity make the bodega a contemporary secular place of worship where we all get our alcohol, coffee, cigarettes and purchase dreams on lottery tickets. It is this quintessential NYC icon — that has played an important role forming our culture — that is slowly getting lost. The bodega icon has been the focus of a lot of scrutiny, a specific example for this is the Street Market installation by Barry McGee, Todd James and Stephen Powers at Deitch Projects back in 2000 — something we all looked at and talked about at the beginning of this production and in a way are paraphrasing as part of this longer dialogue in time.

Is there significance to the name, “La Inmortal Deli?”

“La Inmortal Deli” is our nod to this history and our wish for this type of questioning to continue while simultaneously dealing with contemporary issues. Contrary to its name, “La Inmortal Deli” has an expiration date; it has been foreclosed and will soon be replaced by a Bank of America. So where will our culture go? What will replace the bodega in this new city we are building? What can we do about it?

Please tell us some of Ñewmerica‘s plans for the future.

Ñewmerica has lots of fun and secret events planned for the future months – check back with us to find out @nwmrca and on our Facebook page.

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“The Ñewmerican Dream is our biggest success to date,” commented Exit Room founder Dariel MTZ and co-founder Daniela Croci aka Zoe. “This group of artists represents the perfect balance between a grittier street art style and fine art, highlighting diversity in style, ethnic influences and a critical, yet progressive, new vision for American society.”

“The Birth of a Nation” continues through April 19 at 270 Meserole Street. Gallery hours are Wednesday – Sunday: 5 – 8pm

All photos by Yoav Litvin; photos 1-4. Bodega installation; 5. NDA and Icy & Sot; 6. Mata Ruda and Icy & Sot; 7. Ñewmerica — all members, and 8. LNY and Sonni

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Jef Campion aka Army of One at Castle Fitzjohns Gallery

April 8, 2014

Most of us street art aficionados identify Jef Campion aka Army of One with his appropriation of Diane Arbus’s compelling image, “Child with Toy Hand Grenade in Central Park.” But currently on exhibit at Castle Fitzjohns Gallery at 98 Orchard Street is a series of works never viewed before — from poetry to sculptures fashioned on salvaged wood — that provide a poignantly intimate look into the talents and torments of this distinctly complex and sensitive artist.

We visited the gallery the day after the exhibit opened and had the opportunity to speak to its owner, Vincent Harrison.

Where and when did you first meet Jef?

I discovered Jef at Art Basel in Miami in 2012. He was standing in front of his van, covered with red paint from a project he’d been working on.

What was your first impression of him?

He was a very intense guy, but also one of the nicest you’d ever meet. I was impressed by his sincerity and passion — in addition to his artistic and technical skills. He had a strong sense of justice that he carried throughout his work both as an artist and as a firefighter. In fact, he never intended to exhibit his work in galleries or make money from his art. Whatever money he made he donated to causes and charities such as the Ronald McDonald House. He just wanted to make a difference.

Why do you suppose Jef took his art to the streets?

Jef studied at CalTech and SVA and was making fine art long before he hit the streets. But after 9/11, he became intent on reaching as many people as possible. And the streets were the perfect vehicle for him to do this.

Have you any thoughts on Jef’s appropriation of Diane Arbus’s iconic Grenade Boy?

He always felt a strong connection to Diane Arbus, someone who also led a tragic life. Her iconic image was the ideal way for Jef to highlight the plight of children affected by war and the loss of innocence within American society.

There seems to be so much pain and angst in Jef’s work.

He had his demons. He struggled with issues related to his childhood, his relationships with women and his abuse of drugs and alcohol. Though spiritual, he rejected organized religion and the Catholicism that was imposed on him as a child. He felt that religion had been used to promote prejudice. But the biggest battle he faced was with PTSD (Post Traumatic Stress Disorder). He was a first responder following the 9/11 attack and stayed at Ground Zero for 40 consecutive days. He was left struggling with traumatic, painful memories.

Can you tell us something about this particular exhibit?

We wanted to commemorate Jef Campion’s life as an artist and individual who gave so much back to his community. Brooke Lynn McGowan, who was in touch with Jef’s former girlfriend, curated it. None of the work on exhibit is for sale, but some museums have expressed interest in the work.

How did the opening go?

It was a wonderful tribute to Jef. His close friends, along with street artists, firemen, members of the police department and representatives of charities, attended and shared their memories. He will be missed.

The exhibit continues through Thursday at 98 Orchard Street on Manhattan’s Lower East Side.

Interview with Vincent Harrison by Emily Thaler; photos of Jef’s work by Dani Reyes Mozeson, Lois Stavsky and Dea Sumrall

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Pawel Althamer’s “Neighbors” Transforms New Museum’s Fourth Floor Gallery into Dynamic Collaborative Canvas and more

April 5, 2014

The vision of Polish artist Pawel Althamer, the huge white space of the New Museum’s Fourth Floor gallery has become a vibrant collaborative canvas featuring a dynamic range of creative expression. Visitors of all ages are welcome to participate and are provided with paint and drawing materials. Here are a few images captured last week:

City-as-School’s Dea Sumrall joins the fun

And then captures some close-ups

Featured on the second and third floors of the New Museum are several of Althamer’s haunting sculptures and videos – many produced in cooperation with community groups that he has worked with over the past two decades.

From the Venetians, an installation of life-size figures

Self-portrait as the Billy Goat

Self-Portrait in a Suitcase

Another self-portrait, this one in collaboration with Paulina Antoniewicz and Jacek Taszakowski, as he looks out of the window on an imaginary childhood scene

If you bring a new or gently men’s used coat to be donated to the nearby Bowery Mission, admission is free! But do hurry – as the exhibit ends April 13.

Photo credits: 1. Rachel Alban; 2-3. Daniel Reyes Mozeson; 4-5. Dea Sumrall; 6-7. Dani Reyes Mozeson; 8. Lois Stavsky; 9-10. Dani Reyes Mozeson

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Speaking with Spain’s Belin in NYC

March 24, 2014

We’ve been huge fans of the Spanish artist Belin since we came upon his collaborative venture with Kingbee up in the Bronx awhile back. More recently, Belin was back in NYC painting in midtown Manhattan. That’s where we caught up with him.

When and where did you start getting up?

I started bombing the southern part of Linares, a small town in Andalusia, Spain in 1995. I was 15 at the time. I first went by the name Slam.

Who or what inspired you at the time?

I was always drawing. But then I discovered a black and white magazine produced at the time called Explicit Graff. It changed my whole mentality. I just wanted to get up in my city!

What was your first graffiti crew?

My first crew was LR—Linares Rompe. There were about three or four of us.

Do you have any particularly memorable graffiti memories from back then?

Yes. I remember getting a call from Lechu, a graffiti writer from Ubeda, Spain. Someone had told him I did graffiti. We talked, and he then rode on his motorcycle to Linares to paint with me. That was the first of many trips that he took! There was also Frejo, who tagged “Rasta.” He was from my same hood. He introduced me to rap and basketball. That was around 1997.

What did your family and friends think about what you were doing?

My family thought nothing of it. And the preppie kids I hung out with in my neighborhood took no interest in what I was doing. My friend was Frejo.

How much time of your time is devoted to art these days?

I work on my art all the time. If I’m not doing it, I’m thinking about it.

What are your thoughts about the graffiti/street art divide?

Graffiti is freehand spray-painted letters. It is a form of street art, but street art is not graffiti. Street artists, like Banksy, often have a political or social agenda. Graffiti is primarily one’s name.

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

It works for me. It’s art either way. The artist needs to eat, too. Gallerists make money for the artists, as well as for themselves. They know how to talk and sell art. And it’s a lot about knowing how to talk. Unfortunately there are weak artists who sell because someone knows how to talk them up, while others, who are quite good, can’t even get into galleries.

What inspires you these days?

The urban environment inspires me. New York inspires me. There is a lot of energy here. And people are always awake.

How do you feel about collaborations?

It depends. I like to work with other writers on murals. But when I’m in the studio, I like to work alone.

Are there any particular cultures that have influenced your aesthetic?

No. Everything influences me. I watch documentaries. I listen to music. I read the news. I observe people on the streets. It all comes together in my work. My daily life is my inspiration.

Do you have a formal arts education?

No. I failed school. I liked painting and hanging with my friends more. And I was quite athletic. I played a lot of basketball and even got my black belt in karate. I think that’s why I enjoy graffiti so much. It’s about physical movement and creation and beauty. It’s like dancing.

Do you work with a sketch in hand?

I never used to. My work was mostly freestyle. But these days, I like to plan my work in advance.

And you generally satisfied with your work?

Yes!

Have you any thoughts on the role of the Internet in all this?

I feel good about it. It helps my art reach people and it’s a great resource.

How do you feel about the bloggers and photographers of this whole movement?

They are important. They help the artists get places.

Interview conducted by Lenny Collado and edited by Lois Stavsky. Photo credits 1. Lois Stavsky; 2. & 5. Dani Reyes Mozeson; all others courtesy of the artist

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Lady Aiko’s Playful Bunny Party at Red Hook’s Gallery Brooklyn with Closing Party Next Saturday, March 29

March 22, 2014

With a range of stencil artwork on different media — from a skateboard deck to cupboard doors — along with a a playfully seductive mural, Lady Aiko has transformed Red Hook’s Gallery Brooklyn into a magical bunny party. This is a sampling of what can be seen at 351 Van Brundt Avenue through next Saturday.

Kiss

It’s Over

Serious Romance, close-up

Linda

And close-up from huge mural

The exhibit is open Thursday through Saturday, 12-7 and Sunday 12-5. The closing party takes place next Saturday evening, March 29, from 6-10 pm.

Photos of artwork by Lois Stavsky and City-as-School intern Annie Loucka

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Robert Aloia Brings His Curatorial Vision to shny with Cern, Matthew Denton Burrows, Icy and Sot, Leah Weber, Leo Uzai and many more

March 21, 2014

Piece, a wonderfully eclectic exhibit featuring a range of artworks from sketches to completed pieces, remains on exhibit at Spreadhouse through March 28 at 116 Suffolk Street on Manhattan’s Lower East Side. While most of the artists are familiar to us street art aficionados, some simply have a distinctly urban or outsider sensibility. Curious as to what was going on here, I posed some questions to Robert Aloia who spearheaded the show.

This is a great venue here. Can you tell us something about it?

It is an all-around creative space launched by the film production company, Spreadhouse, aka shny.

How did you discover it? It’s the perfect space to showcase art and its location is ideal.

My friend, the artist Peter Passuntino, had an exhibit here last month, curated by his son Greg. It was the first art show at shny and it introduced me to this space.

What is the concept behind Piece?

This exhibit is my way to showcase this space at Spreadhouse and to give viewers a glimpse into the creative process – from inspiration to finished product. Many of the pieces were created right here!

Among the dozens of artists featured here are many who are active on the streets and others who are new to me. How did you hook up with so many talented folks?

Friends and friends of friends and assistant curators.

What’s ahead?

We’re at work on a number of wide-ranging exhibits. But you can expect to see some street art elements in all of them.

That sounds great. Good luck!

Images: 1. Cern 2. Matthew Denton Burrows 3. Icy and Sot 4. Leah Weber and 5. Leo Uzai

Photos of images by Lois Stavsky

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NYC’s Expressive Doors, Part IV: Ewok, Mor, David Shillinglaw, Jordan Betten, Stikki Peaches, Alice Mizrachi, Jerkface, LMNOP and Ludo

March 19, 2014

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

Ewok in Williamsburg, Brooklyn

Mor in Downtown Manhattan

Long-running David Shillinglaw in Williamsburg, Brooklyn

Stikki Peaches in Williamsburg, Brooklyn

Jordan Betten in Chelsea

Alice Mizrachi aka AM in abandoned East Village building

Jerkface in Little Italy

LMNOP in Bushwick, Brooklyn

Ludo in Little Italy

Photos of Mor, Jordan Betten, Alice Mizrachi, Jerkface and Ludo by Dani Reyes Mozeson; of Stikki Peaches by Emily Robertson; of Ewok, David Shillinglaw and LMNOP by Lois Stavsky

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NYC Sticker Art — Part IV: Screwtape, Skullphone, Kosby, Fling, RAE, Faust, RealAbstract, CB23, Zato and “Sticker Nerds 3” Call for Stickers

March 12, 2014

This is the fourth in a series of occasional posts showcasing sticker art that surfaces on an array of NYC public surfaces:

Screwtape’s homage to Army of One

Skullphone goes small

One of Kosby‘s many musings

Fling’s curious creature

RAE’s lovable, zany character

Faust‘s calligraphic handstyle

Milwaukee-based RealAbstract‘s magnetic sticker

CB 23’s now-iconic character in the rain

Zato’s much-loved fellow

And for those stickerheads who’d like to participate in the upcoming Sticker Nerds 3, organized by the inimitable Skam Sticker, the deadline to get your slaps in is this Friday, March, 14th. Send them to Sticker Nerds 3, Post Office Box 13492, Portland, Oregon 97213.

Photos of NYC sticker art by Lenny Collado, Dani Reyes Mozeson and Lois Stavsky

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Speaking with Lady K-Fever

March 10, 2014

Born in Canada, Lady K-Fever is a NYC-based interdisciplinary artist, art educator and curator. A recipient of numerous grants, she currently works with the Bronx Museum of the Arts, the Studio Museum in Harlem, the Bronx River Arts Center and the Laundromat Project.

When and where did you start getting up?

I started bombing in Vancouver, Canada in the early 90’s. I got up all over the city. No block was safe.

What inspired you back then?

In 1992, I found The Faith of Graffiti at a thrift shop and bought a bootleg copy of Wild Style. I immediately fell in love with graffiti. I was also into skateboarding at the time, and I was a member of the Riot Grrlzs: The Vancouver Chapter. We were invited to create an installation for an exhibition “Artropolis 1993.” We collaborated to create a graffiti-inspired tag wall about human rights.

What spurred your interest and engagement in social issues?

I was inspired by activism of the Black Panthers and counter culture of the 1960’s & 70’s.

What about graffiti crews? Did you belong to any?

My first crew was the one I created with some of my friends in Vancouver, the ILC crew: The Independent Ladies Crew. I have since put down with lots of other crews: CAC, TLV (the Latin Vandals), IBM, and WOTS. Right now I am down with KD-TDS-INDS.

Any early graffiti memories?

I’ll always remember the first three-color piece/bomb I did on my own. It was all about timing. It was in 1996 in downtown Vancouver, and I had hidden behind a car. I started to paint in the shadow of the car and hide when traffic was coming by. It was a thrill, and I wanted to do more.

When did you first get up in NYC?

My first time painting here was in 2001 at The Phun Phactory before it became 5Pointz. While there, I met so many people and artists who have helped me along my path. I am so grateful that there was a place like that – a place for the global graffiti movement to connect and blossom in New York City.

Have you ever been arrested?

Pleading the 5^th and the 4^th.

Have you exhibited your works?

I began exhibiting my work in galleries in 1993 in Vancouver. In NYC, I have exhibited at the Bronx Museum of the Arts, El Museo del Barrio, Longwood Art Gallery, The Corridor Gallery, Andrew Freedman Home and MoMA.

What percentage of your time is devoted to your artwork?

100 percent. All day. Every day. It’s my life. Life is my art. My art is the facilitation of my experiences as a creative human on this planet. I am inspired and find inspiration all day long.

Have you made money from your work?

I sell pieces, do commissions, apply for grants and residencies, teach and consult with museums and arts organizations, speak at schools and conduct workshops. Hustle is hustle.

Any thoughts about the so-called graffiti/street art divide?

The boundaries continue to blur. I thought we all fought hard for graffiti to be considered “art”. A writer is a writer; an artist is an artist. Both are valid and beautiful and all artists have the right to decide how they want to be identified. What I do not like is the dogma and the prejudices that arise. If graffiti and street art are ultimately forms of freedom of expression, then what really is going on?

Do you prefer working alone or working with others?

Both. I like working alone, and I like the interaction that happens when artists work together. I go through phases.

Do you have a formal arts education?

Yes and no. I studied fine art in high school and in college, but I formally went on to major in Theatre. I worked as a studio assistant with a Canadian pottery artist and as a scenic painter on film/TV sets to gain art trade skills.

What is the riskiest thing you’ve done?

I have done a lot of risky things. On my last day in Toronto, I did a bridge piece along a highway in downtown Toronto. I wrote the name Lady K Fever in huge letters on the whole bridge. As I was finishing, I saw a set of police lights flash across the highway. I ran and hid all the way home. That was my exit from Toronto.

Are there any particular cultures that have influenced your aesthetic?

I’m influenced by all cultures. I go through inspirational phases. I love texture and color. I like to work with Indian, African and Mexican fabrics and designs. Music is also an influence – its sounds, beats and lyrics.

Are you generally satisfied with a finished piece?

Yes and no. Sometimes, I just have to walk away and move on to the next.

How has your work evolved throughout the years?

I continue to refine my style and explore concepts.

How would you describe the role of the artist in society?

The artist’s role is to tell stories through personal and collective reflections and responses and to raise questions. The artist is a messenger of universal truth who challenges others to see and acknowledge what they might not want to

Interview with Lady K-Fever conducted by Lenny Collado and edited by Lois Stavsky; photo credits 1. Lenny Collado; 2. Tara Murray; 3 – 5. courtesy of the artist

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SCOPE New York 2014 with Judith Supine, Beau Stanton, My Dog Sighs, Stormie Mills, Know Hope, Peeta, Mark Jenkins, Banksy and more

March 8, 2014

Featured in SCOPE New York 2014 are over 30 artists who are, also, active on our cities’ streets. Here’s a small sampling:

Judith Supine at Black Book Gallery

Beau Stanton at Moniker Projects

My Dog Sighs at Vertical Gallery

Stormie Mills at Vertical Gallery

Know Hope at Thinkspace Gallery

Peeta at C.A.V.E. Gallery

Mark Jenkins at Fabien Castanier

And Banksy at ArtNow NY

Located at 312 West 33rd St between 8th & 9th Ave, the fair continues through tomorrow, Sunday, March 9. General admission is $25.00; student admission is $15.00.

Photos of artworks by Dani Reyes Mozeson and Lois Stavsky

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