NYC

Speaking with Kosby

January 31, 2013

Kosby-in-Brooklyn-NYC-studio

We’ve been huge fans of Kosby since his stickers and paste-ups began gracing NYC’s public spaces a number of years back. Since, his artwork has surfaced in galleries and is currently on view at the Woodward Gallery Project Space.

When did you first become interested in art?

I have been drawing since I was a kid. I was lucky that my mom loved what I was doing and bought me comic books to encourage me. My mom also taught me to accept people for who they are. I think that shows in my art.

When and where did you first start hitting the streets?

I started in Chicago between 1993 and 1994, and I began bombing buses. Then I met DREL and he introduced me to street bombing.

How did you guys meet?

He sat on a bench – next to me in church — and I was drawing a graffiti character on a piece of paper. He was intrigued and we kicked it off. He went as Drel of KMD, BTC and MOM Crew. He also got me to do my first fill-in. He said if I did it at a specific spot on Fullerton Avenue – a particularly busy and dangerous one — I would be set, established as a graffiti writer. And I did it.

Kosby-red-bull-artwork-winner

How did your family react to the whole graff thing?

I’m sort of the black sheep of my family. Ironically, though, graffiti saved my life. Logan Square — where I grew up — was gang-infested, and graffiti was a pass. When gang bangers stopped us, we explained what we were up to and they mostly left us alone.

Respect to the writers! Are you trying to get a specific message across with your work?

No specific message, but I like to be brutally honest. When I was younger, I was often isolated and shy because my family moved around a lot. Today, I’m more open. And that’s difficult for graffiti writers, as we usually play the whole smoke and mirrors game. But I like to be honest about who I am. I struggle with that in my art.

From where do you get your ideas?

My head. I have worked with plenty of people like Sure RIP, Overconsumer and Wisher914. Sure inspired me and prodded me to get better. And I’ve always liked what Cost and Revs were doing. Their poetic messages seem spontaneous and off the head. I ran away from home when I was younger to California and that’s when I was exposed to Mike Giant, Twist, Reminisce and Revok.

Kosbe-street-art-in-Bushwick-NYC

Have you collaborated with any artists?

I’ve done work lately with Cekis, Zato and Crasty. And I have a ton of homies I would like to collaborate with.

Tell us something about your process.

I care less about how something looks and care more about the act of doing it. I did a tribute piece for Nekst RIP recently on a rooftop.I was thinking about how he would never get a chance to paint again, I didn’t like how the piece was turning out, but it was just about doing it. I like having fun and I hope that translates through the work.

What materials do you like to work with?

Anything…spit. ink. markers, vintage paper, cloth. The other day I tagged with Montana refill paint, mistaking it for an acrylic paint marker.

Have you any favorite artists?

I am a fan of Abstract Expressionism. Some of my favorite artists include: Robert Rauschenberg, Chuck Close, Espo, EKG, Michael Allen Alien, Dee Doc, Anthony Lister, L’amour Supreme, Suck Lord and Rammellzee.

Have you ever been arrested?

Yes. I was often bailed out of jail by mom. She always worried about me when I stayed out past my curfew. Even though my disposable cameras – that I stole to shoot my work — were confiscated at the time of my arrest, I always got them back in time to get a flick of my mom bailing me out. ‘sorry, Mom.

What are some of your other interests?

I love photography, spending time with my friends and girlfriend and exploring the city.

How has your work evolved?

I’ve never been a good judge of my work. I am actually dangerous with it because I can’t tell when a particular piece of work is done. I keep drawing on it and drawing on it. I’m more interested in people’s reactions to it. I believe I’ve gotten looser and more chill. I don’t like the trendy. I have been careful not to lose that looseness to my work. It’s really a balance I’m looking for.

What do you think about the graffiti and street art divide?

I don’t think there is a divide. It’s a culture within a culture. I’ve seen street artists going over graffiti not knowing what they were doing. If you’d like to learn the proper etiquette, call me at 1 (800) GRAFFPRO.

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

It’s good. It’s such a part of our mass culture.

Do you see any danger in Internet oversaturation?

Sure. There should be a “Get off the Internet Day.” I often put messages like this on my stickers, like “Don’t Use Your Cell Phone Day.” I usually use the Internet in the morning when I check out www.theworldsbestever.com. I’ll be checking out StreetArtNYC.org from now on too. But that’s it.

How do you feel about your work being shown in galleries?

I love to share my art; it makes me happy. I like to stand next to people at galleries as they check out my art. I like getting their honest response to it.

When you’re not getting up on the streets, where do you tend to work?

It’s changed over the years. My mom gave me my first studio. For a while, my kitchen served as my work space, and I had collectors call me wanting to see my work. I said, “Of course, just come to my kitchen.” I’d say I’m in a better space now.

Who do you follow these days?

I’m looking at Lois Stavsky, as well as Martha Cooper, Angelo from Doyle Auction House, Royce Bannon, Brooklyn Street Art, Alex Emmert, SuckLord, who’s a major mentor, and Simeon from Art Hustle.

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

Chilling with my family and friends, enjoying a nice glass of wine, while we laugh with some purple kicking it back with my boy, Lenny.

‘sounds cool!

I want to say thank you to StreetArtNYC for being so supportive of NYC artists and to Lois for being so positive. And don’t forget, guys, to check out the StreetArtNYC app!

Interview by Lenny Collado; photos by Dani Mozeson and Lois Stavsky

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Chilling in Bushwick with: Elbow Toe, Roa, Dasic, Rubin, Berst, Never, Bast and more

January 28, 2013

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

Belgian artist Roa

4Burners‘ Dasic and Rubin with Madrid-based Okuda

Berst tribute to NEKST, RIP

Brooklyn-based Never

Brooklyn-based Bast

Bast, close-up

Photos by Lenny Collado

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Speaking with Nether

January 23, 2013

With his hauntingly elegant wheatpastes of everyday folks, Baltimore-based Nether has transformed the visual landscape of his city’s bleakest blocks. Within the past few months, his vision has also made its way to NYC. And opening tomorrow, January 24, at Weldon Arts is Crumbling Cities, a solo exhibit of Nether’s works.

When and why did you first get up?

It all started – sadly – as a rebellious middle schooler trying to be cool.

Did any particular artists inspire you to move in your current direction?

The two artists who really got me going were Gaia and Tefcon. I was living and sharing a studio space with Tefcon, and just watching his relentless hustle and work inspired me. And around that time, I got to be friends with Gaia and filmed him at work with Nanook. I soon became super interested in wheatpaste. It was like a bomb went off in my head. It seemed like the perfect bridge between my politics and my art. And Gaia was super helpful showing me the ropes and sharing his print and other connections with me.

When did you begin getting your wheatpastes up?

Started really going hard about three – four years ago.

And what about the risks? What inspired you to take the legal risks?

Seeing what other artists like Cedar, Dume, Ways, and a lot of KSW/NSF writers were doing at the time inspired me. And I see my work on the streets as a way to empower other Baltimoreans.

In the past few years, you’ve made quite a mark. Your work can be seen not only in Baltimore, but in NYC, Philly, DC, Berlin, Shanghai, Paris and London. You seem to be on a mission. Could you tell us something about it?

I see public art as a vehicle for social change. And the artist — by transforming the landscape – is the facilitator of this change. By getting up on the streets, I can reach masses of people at the same time that I am beautifying the environment.

Are there any issues that particularly concern you?

My main focus is the issue of slumlords neglecting their vacant properties in Baltimore. People just deem these areas hopeless and don’t think to address the issue or find out who is responsible. I am trying to put it in their faces.

Any favorite spots?

Anything vacant. I love vacant doors, electrical boxes and glass.

How do the cops respond to your current ventures?

Generally, if the cops come by, it’s in a non-threatening way. They always have way more pressing issues on their plates. I just tell them that I’m trying to beautify the neighborhood, and they are usually just curious and confused. A few times they’ve actually watched my back! Most of the more intense run-ins with the police have been out-of-town.

What about your parents?

When I first started going hard with it, they were worried. I remember getting a call from my mom after she drove by one of my pieces on i-83. But now they are totally down and both really dig it.

What was the riskiest thing you ever did?

The riskiest thing I ever did was the dumbest. I was with my buddy Tony trying to put up a piece in daylight on the Amtrak Line. Two trains passed by, and then one came by super slow and stopped. Three transit cops jumped off and chased me. I ran off the track clearing, slid off this embankment and fell like 20 feet into the Jones Falls. Then I swam across and hid under a rock for like 45 minutes till they gave up looking for me. I got a really nasty cough after that.

What about the role of the Internet in all this? How do you feel about it?

I have mixed feelings about it. On one hand, it kills the experience of simply stumbling upon a piece. On the other hand, it allows folks all over the world to see the work I’ve created for a specific small community.

Are there any artists who particularly intrigue you these days?

I am really digging Pixel’s recent work and Ludo in Paris. Swoon has always been my favorite artist, and her new stuff continues to stun me. On the graf side of things, it’s Kuma and Goal.

Have you collaborated with any artists?

I’ve installed work with a bunch of artists from different places. Shouts to Mata Ruda, Harlequinade, Sorta, Gaia, Tefcon — and many others.

How do you feel about the branding of street art and graffiti? Are you open to it?

I think it’s sad, but often necessary. It’s all about who you get the money from and what you do with the money. On one hand, all this focus on money changes the nature of the underground. But, at the same time, the money allows us to pump funds into the street game.

What’s ahead?

I’m super-psyched about this new project with the Baltimore Slumlord Watch. We are going to wheatpaste artwork onto all of Baltimore’s neglected vacant properties. We will post large QR codes – next to the artwork – directing passersby to the Slumlord Watch website. On the doorways we will list the specific property violations and the contact info to report them. This project is intended to create awareness and pressure absentee slumlords into fulfilling their responsibilities. I am also working on a mural project with the Muhammad Ali Center.

It all sounds wonderful! And good luck with your exhibit at Weldon Arts.

Interview by Lois Stavsky; photos by Tara Murray, Lois Stavsky and courtesy of the artist

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NYC’s Dashing Pavement Art

January 21, 2013

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

The itinerant Swamp Donkey aka Swampy

Meres at 5Pointz

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

The iconic UFO

The elusive stikman

And stylish writing by Dceve of the legendary Smart Crew

Photos by Dani Mozeson, Tara Murray & Lois Stavsky

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Speaking with Rubin

January 16, 2013

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.

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.

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.

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.

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.

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.

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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The RAMMELLZEE Galaxseum at CMA

January 9, 2013

In a Tribeca loft that became known as the “Battle Station,” the legendary graffiti artist and hip hop MC Rammellzee began in the 70’s to create his own mythology. Known as “Gothic Futurism,” it was a world that he would continue to develop — often with objects he found on the streets — for 30 years. The most comprehensive collection of Rammellzee’s works to-date is on view through February 3 at the Children’s Museum of the Arts at 103 Charlton Street in the South Village. Among the items included in the RAMMELLZEE Galaxseum are: large-scale paintings, figurines, Rammellzee’s legendary letter racers and full-body life-sized costumes. Here are a few more images that we captured while visiting last week:

Figurine, close-up

Letter-racers representing letters of the alphabet — transformed into war machines — seeking to “break free”

Letter-racer, close-up

Life-sized costumed figure

Close-up from a second life-sized costumed figure

Curated by Prescott Trudeau, The RAMMELLZEE Galaxseum at CMA is certainly as appealing to us adults as it is to children!

Photos by Lenny Collado and Lois Stavsky

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Girls on Walls, Part VII: Toofly, FKDL, Lady Aiko, Hef, Russell King, Shiro and King Bee

January 3, 2013

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

Toofly on Manhattan’s Lower East Side

French artist Frank Duval aka FKDL in Brooklyn

Lady Aiko in Bushwick, Brooklyn

Hef in Williamsburg, Brooklyn

Russell King on the Lower East Side

Shiro and King Bee in the Bronx

Photos by Lenny Collado, Tara Murray and Lois Stavsky; Toofly image courtesy of the artist

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Winter Mural Project at Bushwick Five Points: Stik, Zimad, Alice Mizrachi, Col, Danielle Mastrion, Bowz, Icy & Sot, Gilf!, See One & LNY

December 17, 2012

Coordinated by Joe Ficalora and See One, the Winter Mural Project brought over ten artists together this past Saturday to Troutman and Wyckoff at Bushwick Five Points. The spirited afternoon was a cause for celebration for both the talented artists and the enthusiastic spectators. Here are some images:

London-based Stik and veteran Bronx-born artist Zimad

Queens-based Alice Mizrachi aka AM

Col of the legendary Wallnuts crew– to the left of AM

Brooklyn-based Danielle Mastrion

Geobany Rodriguez aka Bowz at work; final image here

Iranian artists Icy and Sot

Brooklyn-based Gilf! at work

Gilf!

Brooklyn-based See One

Brooklyn-based LNY at work

Photos by Lenny Collado and Tara Murray

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Dasic, Okuda and Rubin415 in Bushwick, Brooklyn

December 14, 2012

We are thrilled that both Dasic Fernandez and Rubin415 are back in town. Earlier this month, they were joined by Madrid’s Okuda as they fashioned intriguingly captivating murals on White Street in Bushwick.

Chilean artist Dasic Fernandez at work

Dasic Fernandez and Okuda

Okuda at work

Okuda

Swedish artist Rubin415 at work

Rubin415

Photos by Lenny Collado, Tara Murray and Lois Stavsky

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Speaking with Federico Massa aka Cruz

December 12, 2012

We discovered Federico Massa’s wondrous artwork this past fall on the streets of Bushwick, and we became instant fans. We recently had the chance to speak with him in his Brooklyn studio.

When did you first start hitting the streets?

Back in 1997. I was 16 years old and living in Milan. But even earlier, I was writing my name, Fede, all over my house — to my mother’s dismay.

We’ve noticed that you sign your work “Cruz.” Why “Cruz?”

It is derived from Santa Cruz, one of the most popular skateboard brands. I was inspired by the skateboard culture back home in Milan. I grew up with it.

Do you have a formal art education?

I studied set design at Academy of Fine Arts of Brera in Milan. I graduated in 2006.

When did you first come to New York City? And why?

Three years ago. I wanted more of an international experience as an artist.

We have seen your work in Bushwick. Where else have you gotten up here in NYC?

Two years ago, I painted a mural in Williamsburg on Hope and Marcy. I had an exhibit at the nearby Graphite Gallery at the time.

How does the experience of painting in the streets here compare to that in Milan?

It was much easier for me to paint in Milan. Here I need to get permission to paint, or I could face serious penalties. It is much more casual in Milan.

Did you do anything particularly risky back in Milan?

The riskiest thing I ever did was painting on moving trains. I learned how to run fast! I loved the adrenaline rush!

Any favorite surfaces?

No. Nothing in particular. I look for a surface that inspires me. Back in Milan, I loved pasting huge painted papers onto plywood panels on the streets. It was my way of reinventing them.

What inspires you to continue to work on the streets?

I like sharing my work with lots of different people, and it’s great when people stop and talk to me.

Great! We’ve loved watching you at work, and we’re so glad you’re sharing your art with us here in NYC. Do you always paint alone? Have you worked with any crews?

I created canvases and installations with The Bag Art Factory collective – a group of artists, including painters, sculptors, and set designers — in Milan. For eight years we collaborated on a variety of projects and constantly organized exhibitions of our works. I’ve also collaborated and exhibited with Biokip, a group that fuses visual art and electronic music.

What about branding? Any thoughts about it?

I have no problem with; it depends on the project. A number of years back, I customized bags, graffiti-style, for Mark Jacobs. I loved getting paid to do what I love most to do!

What is your main source of income these days?

I do set design. It is the perfect job for me, because I like to work with all kinds of materials.

How do you feel about the move of street art into galleries?

I think it’s fine. Just about every artist who works on the streets would like to show in a gallery.

Any thoughts on the graffiti/street art divide?

Lettering is the art of graffiti. Street art was born from graffiti. Street art has simply taken graffiti to the next level. The graffiti writers feel they are the original ones to claim the streets. And they are.

How have graffiti writers responded to your street art?

They like and respect it.

We’ve noticed Latin American influences in your art work. Tell us something about that.

The Mexican aesthetic has had a huge influence on my art. It continues to inspire me.

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

I think it is great. It is the best way for one to find artists and for artists to get noticed.

What’s ahead?

I’m open to all kinds of collaborations. I like to work with different materials and ideas. I’ve collaborated with poets and sculptors, and I look forward to more such collaborations. I’m also always seeking huge walls. They inspire me!

Great! We are looking forward to seeing more of your murals on our streets here in New York City.

Photos by Dani Mozeson, Stefano Ortega (final image) and courtesy of the artist

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