portraits

Bronx-based artists John Ahearn and Rigoberto Torres have been fashioning exquisite life-like portraits of their neighbors for over 40 years. At once poignant and majestic, their sculptural portraits are a a visual ode to their community — its resilient spirit and its rich culture.  Continuing through this month at The Bronx Museum is their solo exhibition  “Swagger and Tenderness…,” featuring 65 sculptural portraits created both individually and collaboratively. What follows is a brief sampling:

John Ahearn with Rigoberto Torres, “Janelle and Audrey,” 1983, Acrylic on plaster

John Ahearn, “Joe Conzo at 17,” 2020, Acryic on plaster

Rigoberto Torres, “Daze,” 1998, Acrylic on plaster

John Ahearn with Rigoberto Torres, “Mario and Norma,” 1979, Acrylic on plaster

John Ahearn, “Juanita in Stripes Hugging Carlos,” 2020, Acrylic on plaster

Rigoberto Torres, “Melissa Maycock,” 1997, Acrylic on plaster

John Ahearn with Rigoberto Torres, “Bintou and Anwar,” 1998, Acrylic on plaster

Co-curated by Amy Rosenblum-Martín and literary activist Ron Kavanaugh, “Swagger and Tenderness…” remains on view at The Bronx Museum until the end of this month. Located at 1040 Grand Concourse, the museum is open Wednesday – Sunday from 1 – 6PM. Admission is free.

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

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For several weeks beginning in late May, Will Power brought his massive love of hip-hop and splendid skills to the 150-foot tunnel along New York and Ravine Avenues in Jersey Heights. Working in collaboration with noted hip-hop documentarians Ernie Paniccioli, T. Eric Monroe and David Corio, Will painted a momentous mural paying homage to 45 hip-hop icons and to the photographers who so brilliantly documented them.

Captured above at the entry to the Hip-Hop Tunnel is the late legendary Tupac Shakur — based on a photo by T. Eric Monroe. Several close-ups from inside the tunnel follow:

Snoop Dogg, closer up; original photo, the late Chi Modu 

The late Big L; original photo: T. Eric Monroe

Slick Rick; original photo, Ernie Paniccioli

Lauryn Hill; original photo, Ernie Paniccioli

Big Daddy Kane; original photo, David Corio

Rakimoriginal photo, David Corio

Sponsored by the Jersey City Mural Arts Program, the hugely impressive mural — seen by thousands daily as they travel in and out of Jersey Heights — is a spectacular tribute to hip-hop culture.

Photos by Lois Stavsky

 

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Bringing a touch of the 1920’s to First Street Green Art Park on Manhattan’s Lower East Side, the prolific Brooklyn-based muralist Lexi Bella painted the image featured above last month on the occasion of FSG’s 2nd annual New Year New Murals & Clothing Drive.  What follows are several more faces fashioned by artists in NYC open spaces that I’ve encountered in recent meanderings around the city:

Moscow-born, NYC-based Urban Russian Doll in Manhattan’s Chinatown

Brooklyn-based self-taught Haitian American artist Alan Aine in Park Slope, Brooklyn

Bronx-native Andre Trenier in East Harlem with the 2021 Grandscale Mural Project

British-Israeli artist Solomon Souza in Crown Heights, Brooklyn

Photos: Lois Stavsky

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Self-described as a “NYC-based visually impaired Street-Pop artist with a vintage flair,” the lovely OG Millie primarily fashions infectious portraits of iconic international figures. Ranging from the Buddha to Biggie, they are customarily painted with brilliant hues onto vintage decorative mirrors, exuding a distinctly enchanting aura.

A wonderfully diverse sampling of the artist’s portraits were exhibited this past Wednesday at a reception held at Long Island City’s magical Paper Factory Hotel, celebrating the Queens launch of LG USA Mobile‘s impressive, new five-camera LGV40 ThinQ. Pictured above is OG Millie‘s rendition of the Buddha. Several more images follow:

The famed Brooklyn-based rapper Biggie Smalls

The legendary American rock guitarist Jimi Hendrix

The German-born brilliant physicist Albert Einstein

And all eyes upon her  — or the phone capturing her! –as she intently begins to paint live

Note: You can see the final piece painted live by OG Millie here.

Photos by Lois Stavsky

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Best-known for his interactive performance art and visual art that have been featured in a range of galleries, art fairs and museums, Miami-based artist David Rohn has recently taken his vision to the streets. In his new series, Street Peeps, he focuses on raising awareness of the issue of homelessness. While in Miami, I had the opportunity to speak to him:

When did you begin this project– with its focus on wheatpasting images of  yourself in various disguises representing street peeps?

I started three months ago.

Had you ever gotten up on the streets before you began working on this project?

Back in the 90’s, I did a series of boys’ heads based on an image that I had seen. I got them up in Miami – mostly on lampposts – Downtown and on the beach. One even made it into the bathroom of the Perez Art Musem, back when it was the Miami Art Museum. I painted the heads in different colors mixing guache paint with wallpaper paste.

What inspired you to do so back then?

I’d seen graffiti and wheatpastes up in NY, and I wanted to be out there.

What spurred you to hit the streets this time around? 

Between 2008 and 2014, I was represented by a gallery in Miami. After that ended, I wanted a way to share my vision — and concerns — with others. Things had tapered off. Getting up in the public sphere seemed like the most sensible way to accomplish this.

And why this particular project?

I feel very strongly about homelessness. I’ve seen it explode in recent years. It is appalling! And the income disparity is continually increasing. I’ve been interested in these two issues for awhile.

Each of your portraits is another rendition of you as someone who is homeless!

Yes! I’ve been doing portraits of myself since 2008 as part of my performance art.

Who exactly are these characters you are portraying?

They are inspired by homeless folks and street people I see when I’m out on the streets. The ones who are the casualties of gentrification. This city is changing so rapidly.

And what about the characters with the masks? Who are they?

They represents the power structure. The eilite – those who control our economic assets. The developers who can easily evolve into a monsters.

What about your relationship with the homeless?

For awhile, I was bringing them sleeping bags and cots. But these days, I bring loaves of day-old bread and bottles of water. And socks – white socks and gray socks. They choose which ones they want. These items are what they seem to need and want the most.

And how has this project – getting your portraits out there in public space — impacted you?

It’s been very liberating! It’s fun! And I like the idea of short circuiting the gallery system.

What’s ahead?

Creating and getting up more images suggestive of the homelessness crisis.

Interview conducted and edited by Lois Stavsky with photos by Lois Stavsky.

Special thanks to Andrew Ringler for introducing me to David.

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A member of the Pyramid Lake Paiute Tribe, Colorado-based Gregg Deal is an accomplished muralist, painter and performance artist. I first encountered his artwork awhile back on the grounds of the EBC High School For Public Service in Bushwick, Brooklyn. This past weekend, I met him down in DC at the Smithsonian Arts & Industries Building, where he was one of 40 artists featured in CrossLines, presented by the Smithsonian Asian Pacific American Center.

"Gregg Deal"

What spurred you to so fervently embrace your Native American identity?

I don’t know that I specifically embrace it. It is just one of my many identities. I am, foremost, a human being. I am also an artist, a husband and a father.

gregg-deal-portrait-face

You are sitting here in a tipi. What does this particular setting represent?

This tipi represents Washington DC. It is where museums, politics, sports and commerce all contribute to a view of Native Americans.

gregg-deal-tipi

What about the paintings inside this tipi? How did you decide which to include?

I had to include works that would be acceptable to the Smithsonian. They had to be safe. And so I chose identifiable stereotypes of Native Americans — the only image most others have of us.

And as today’s event progresses, you continue to cross out the mouths of your portraits with bold red lines.

Yes! That is because of voices our censored. We have not been permitted to speak for ourselves. I, myself, have been censored.

gregg-deal-censorship

What about your interpreter? You often speak through an interpreter.

That is because our lives — our experiences, feelings and thoughts —  are almost always interpreted through others. Authentic indigenous voices have yet to be heard or recognized.

gregg-deal-portrait-crosslines-smithsonian

You are certainly creating awareness of that here.

Photo credits: 1, 2, 4 & 5 Lois Stavsky; 3 Sara C. Mozeson; interview by Lois Stavsky

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