public art

Speaking with Multi-Media Artist Michael Alan

July 23, 2014

A multi-media artist who translates energy into mesmerizing artworks, Brooklyn-based Michael Alan is also the founder and director of Living Installations, where human beings are transformed into living art images. Michael Alan’s art has been featured in nine New York solo shows, over 200 group shows and in over 200 living installations. We were delighted to interview this gifted, prolific and passionate artist.

How did you first get into art? What inspired you?

I’ve been into art for as long as I can remember. My first inspirations were the Muppets and baseball. As a kid, I would draw cartoons.

Could you tell us something about the subject of your artwork these days? And the process?

My subjects are often people I observe while sitting here in McCarren Park. I try to read their energy. I start by drawing a particular person’s body with a pen. And then when I’m back home, I often add watercolor or markers as I interpret the energy that I’ve felt.

What about your Living Installations? What was the initial idea behind them?

I wanted to create a space where people could come together in a positive way. I wanted people to feel that they could accomplish whatever they set out to do. And I also wanted them to know that they don’t have to follow any pre-determined path.

How has your family responded to your passions?

They’re proud of me. My mom actually participated in some of my performances.

What percentage of your waking hours is devoted to your art these days?

Including music, about 95%.

Can you tell us something about the role of music in your life?

When I’m working at home, I listen to music. And I always have music playing during my living installations. Music and art become one.

Have you collaborated with any other visual artists?

I’ve collaborated with my cousin Moody and with a few fine artists including Alex Katz.

How do you feel about the role of the Internet in the art scene?

If it weren’t for the Internet, I don’t know if I’d have a career.

Do you have a formal arts education? And was it worthwhile?

I have a BFA from the School of Visual Arts. As an art student, I received lots of positive feedback and, yes, that did make a difference.

What’s the riskiest thing you’ve ever done? And Why?

After damaging my spine at the Dumbo Arts Center, I continued moving and dancing. Why? Because I was ignorant. Also – setting my hat on fire while performing in Spain was quite risky.

Were you ever arrested?

A few times. Once the cops assumed that I was going to use a mask I had made for an installation to rob someone. And assorted materials – like photocopies of living installation projects – that the cops have found in my car have also led to arrests.

What inspires you these days?

Different people I meet and the energy they give off. Things that happen and how they make me feel – like my grief over the death of my dear friend DG.

Are there any particular cultures you feel influenced your aesthetic?

I’ve been influenced by indigenous cultures, punk, new wave, African art, growing up in NYC and everything I’ve seen at the Museum of Natural History.

Do you work with a sketch in your hand or do you let it flow?

I work from line drawings.

Are you generally satisfied with your work?

Making art — in general — satisfies me. And if a drawing doesn’t work for me, I will somehow reuse it.

How has your work evolved in the past few years?

It is more mature, smoother and freer. I’m always learning in art, just as I’m learning in life. Art is life.

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

To touch as many people as possible and to set people free.

What’s ahead?

I can’t even think about it. If I could, I’d be scared. But I know that I will keep going. More art and more struggle. And currently I’m at work on “The Muppets Take Manhattan,” a Living Installation for children.

Have you any message to others?

Whatever you do, push yourself and work hard at it. Working hard and creating art have kept me sane.

Interview conducted by City-as-School intern Travis Hicks with Lois Stavsky; images courtesy of the artist.

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Speaking with Tone MST

July 18, 2014

Characterized by bold strokes and a vigorous flow, Tone MST‘s graffiti surfaces mostly in Brooklyn. Lenny Collado aka BK Lenny had the opportunity to interview him earlier this year:

When and where did you start getting up?

I was in the sixth grade back in 1992. I was making my own markers at the time and practicing on 200-page packs of paper that I used to rack from the corner store. I had to make my own markers because I was dead broke.

How did you make your markers?

I took men’s Brute deodorants, popped off the balls and emptied the containers. I then filled the containers with ink. I cut up my school’s black board erasers to serve as felt tips. It was markers until ’94. That’s when I started street and train bombing.

Did you have any preferred surfaces back then?

I liked the train ads in the subway stations, because I would write on them smoothly with my home-made markers.

Any major influence at the time?

My major influence at the time was Ski MST. He was rolling with writers and he got me acquainted. I was a loner for the most part. He got me to rack paint, and we would vibe off each other for style. We would rack cans on Steinway Street and go to the freight yards to empty out the cans.

Any particularly memorable events?

There was nine of us — Ski MST, Dope, Neke, Cloke, Vare, Pane and a couple of others. We all set out to do a lay-up in the tunnel between 36^th street and Queens Plaza and video tape it. One of us hid the paint and a video camera in a sandbox where the tunnel workers kept their supplies. We scoped out the station for a while before setting out on the mission.

How did you guys get into the tunnel?

Some of us through the hatches on the streets above and some through the station. We started catching wreck on the two trains that had parked between the stations. As everybody’s painting them, Pane, Cloke and me went to the other car and started on some bubble letters. Just as we started, one of the train’s lights turned on and began to move into the station. I saw too that the police had made their way down towards us.

So what did you do?

We bounced. When I got out of that station, I must have run about a mile before my lungs gave in from the burn. It was a thrill like no other, and I enjoyed it. I loved bombin’!

Were you in any crews at the time?

I only push MST.

What was the attitude of your parents and your friends towards what you were doing?

My mother hated it, so I lied to her. I built a compartment in my closet to keep supplies. She would find my cans and throw them out. My friends would always point out how dirty I was.

Any thoughts on the graffiti/ street art divide?

It’s a thin line. Both project the same language and image, but they take different avenues. It’s like a GPS. All get to the same point, but through different avenues. The concept of graffiti needs to be explained to people who don’t understand it. Street art is a different entity. I like when the two are combined, like what Shepard Fairy and Cope do when they collaborate. I will say that street art is an extension of graffiti. It originated from graff.

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

I think it’s dope! It’s progress — a positive thing. My gallery, though, is the streets. But if a gallery asks, “Hey, Tone, can you put a show together?” I’m flattered and take it as a step forward.

Do you prefer working alone or collaborating with others?

Both! When I started bombing early on, I would do so alone with my Walkman on. I would listen to WKCR with Bobbito Garcia and Stretch and Tag. At one point, I was a vandal. They called me a vandal. But I didn’t get up as much as I wanted to. I didn’t do it to get status. I didn’t go all city, but I love what I did. It was who I was.

Did you have a formal arts education?

I never pursued art school.

What is the source of your inspiration?

I’m inspired by Hip-Hop – rhyming and making beats.

Any particular artists who inspired you?

My influences are Hush, Gaze, Sub 5 and Emit of Sports Crew, MQ and Frantic and Free5. Giz from Queens also made impact on me. And there was Teck BS, Smith & Pink, Ve, Slash and Web13.

Do you work with a sketch in hand or do you do free hand?

It’s fifty, fifty. It depends on the situation.

What are your thoughts on the Internet in all of this?

The Internet is a tool, a means to communicate. Someone in Australia can get a look at what you’re doing here in NYC. But I think that graffiti has also been exploited because of it. It wasn’t meant for the masses, and the Internet made it accessible to everyone.

How has your work evolved throughout the years?

I’ve improved and honed my techniques. My pieces have gotten better.

Are you generally satisfied with your work?

I’ll say there’s always space for improvement.

Interview conducted by Lenny Collado and edited by Lois Stavsky. Photos 1 (collab w/KA), 3, and 4 (combo) courtesy of the artist; 2 (collab w/UR New York), 5 & 6 by Lois Stavsky; 7 (collab w/Shiro and Yes One) by Dani Reyes Mozeson

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“No Longer Empty” Brings “If You Build It” to Sugar Hill, Harlem with Rául Ayala, Moses Ros-Suárez, Carlos Mare, Radcliffe Bailey, Scherezade García, Brendan Jamison & Mark Revels and more

July 12, 2014

Presented by No Longer Empty in partnership with Broadway Housing Communities, If You Build It features a range of artwork in different media by more than twenty local, national, and international artists. Located at 155^th Street and St. Nicholas Avenue in Sugar Hill on a site designed by architect David Adjaye, the exhibit — along with an impressive array of events and programs — continues through August 10. Here is a sampling of the artworks that can be seen on the site’s grounds and in future apartments:

Rául Ayala, A Blaze of Glory

Moses Ros-Suárez, seated on sculpture he fashioned — one of four structural models of bridges

Carlos Mare aka Mare139, 8th FreeStyle Archityper

Radcliffe Bailey, From the Cabinet: Fire Music — fashioned with recycled piano keys

Scherezade García, Cathedral/Catedral, made up of stacked inner tubes/life savers ‘dipped’ in gold paint “so as to resemble a temporary alter or monument to immigrants and their aspirations”

Brendan Jamison and Mark Revels, Sugar Metropolis — composed with half a million sugar cubes

The exhibit is open Thursday–Friday 3–7pm & Saturday–Sunday 1–6pm & Wednesday by appointment.

Photo of Rául Ayala by Lois Stavsky; all others by Dani Reyes Mozeson

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Back to Jersey City with Alice Pasquini, Mr. Mustart, Li-Hill, Ekundayo, Sean Lugo, and Case Ma’Claim

July 7, 2014

In my meanderings around Jersey City this past year, I came upon a number of first-rate murals by a wonderful array of artists signed Savage Habbit, along with the artists’ signatures. Just who or what is Savage Habbit? I found out this weekend as Inez, its founder, gave me a tour of Savage Habbit’s walls and answered some questions about its mission:

Just what is Savage Habbi t?

It is foremost a blog that was founded in 2011. It is dedicated to showcasing the best art that has made its way onto the streets across the globe. Among Savage Habbit’s missions today is to bring more street art to our local community.

What motivated you to launch Savage Habbi t?

I wanted a blog that represented the art that I love, and the only way I could do that was to start my own.

And what about the murals?

I’m a New Jersey girl. I was born and raised here. I wanted to walk around my neighborhood and see art in my community. And I wanted to give back to my state. These murals benefit everyone!

When did your first mural surface?

Last year — in 2013.

What has been your greatest challenge?

Finding walls.

You seem to have facilitated quite a few murals. How do you find the artists?

Some contact me, and others I contact when I see that they are in town.

What’s ahead?

There are five confirmed walls. Savage Habbit’s next wall will feature Nanook and Mata Ruda.

And what about the name “Savage Habbit?” What does it represent?

The name is derived from a Wu Tang quote: Ricochet Rabbit had a habit, he was a savage. We are savagely passionate about our habit, art!

That sounds right! We look forward to seeing more art on the streets of Jersey City.

Brief interview and photos by Lois Stavsky

1. Alice Pasquini, close-up

2. Mr. Mustart

3. Li-Hill at work yesterday

4. Ekundayo

5. Sean Lugo

6. Case, MA`CLAIM, close-up

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The Wallnuts, SHYE131 and Trans1 in Long Island City

July 5, 2014

One of the most dynamic graffiti productions in town can be found in Long Island City off Queensboro Plaza. Showcasing the talents of the Wallnuts, UK-based artists SHYE131 and Trans1, the murals exude an exuberant, infectious energy. Here are a few close-ups from the pride of the neighborhood:

Manny Muse, Wallnuts

Chester Wallnuts

Been3 Wallnuts

Col Wallnuts

SHYE131

Trans1

Photos by Lois Stavsky

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Up in Inwood with Crane, Zeso, 1port and Just WF

June 26, 2014

One of Upper Manhattan’s gems is the wall on 207^th Street and 10^th Avenue, directly off the 207^th Street stop on the 1 line. Under the direction of South Bronx native Crane, who works up in Inwood, its murals are always changing and always worth checking out. This past Monday, Crane was joined by Zeso, 1port — in from France — and Just WF aka Just One. Here are some more images captured that day:

Crane at work early in the evening — after a day of work

1port at work adding his touch to Zeso,’s mural

1port

Just WF

A source of pride to local businesses and residents, this wall is one of three in Inwood under Crane’s curatorial management.

Photos 1 and 3 by City-as-School intern Travis Hicks; photos 2, 4, and 5 by Lois Stavsky

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Florida-Based Boy Kong Brings His Playful Aesthetic to NYC Streets and to the Cotton Candy Machine

June 24, 2014

Orlando, Florida-based artist Boy Kong recently left his mark in NYC. His delightfully fanciful aesthetic has made its way to the exterior of rag & bone on Elizabeth Street in Manhattan and to the shutter at 175 Roebling Street in Williamsburg, Brooklyn. A selection of his distinctly crafted individual pieces can also be seen at Cotton Candy Machine, 235 South 1^st Street in Williamsburg, through this week.

On Roebling Street in Williamsburg

And a sampling of what’s on view at at Cotton Candy Machine

Photos by Dani Reyes Mozeson

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Ad Hoc Art’s Fifth Annual Welling Court Mural Project — Part II: Cern, R. Robot, KR One, Ryan Seslow & Cake, Mr. Prvrt and See One

June 23, 2014

Following are a few more images from Ad Hoc Art’‘s wonderful Fifth Annual Welling Court Mural Project, along with a brief interview with its director, Garrison Buxton.

Can you tell us something about the birth of the Welling Court Mural Project? When and how did it all begin?

Jonathan Ellis, a Welling Court resident, came up with the idea for the project over five years ago. He had his wife, Georgiana, were looking to improve their block. We were introduced through a mutual friend who suggested they contact me.

What was the first mural to go up? And when was the first festival held?

While visiting from Poland in 2009, M-City painted Welling Court’s first mural. The first festival was held in June 2009.

What was the community’s response to it?

The response was wonderful. The entire community participated and loved it. Just about everyone prepared food to share and loved how the artists transformed their neighborhood.

And now five years later, it’s even more wonderful than ever.

Yes, when we first began, 44 artists participated. This year there are over twice as many, including members of the community. We’ve continued to keep it grassroots.

How far in advance do you begin organizing each year’s festival?

We usually start in February, but we want to begin planning earlier.

What would you say is your greatest challenge?

The mere organization and the delegation of the different responsibilities.

The vibe here is wonderful. What a great model you are for other communities!

Yes! It’s about the power of art to create positive social change.

Photos by Dani Reyes Mozeson and Lois Stavsky

1. Cern

2. R. Nicholas Kuszyk aka R. Robot

3. Louie “KR.ONE” Gasparro

4. Ryan Seslow and Jennifer Caviola aka Cake

5. Mr. Prvrt

6. See One

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Ad Hoc Art’s Fifth Annual Welling Court Mural Project — Part 1: Cekis, Alice Mizrachi, John Ahearn, Icy & Sot, LMNOP, KingBee and Toofly

June 15, 2014

Engaging a diverse array of artists, along with local residents — including dozens of children — the Welling Court Mural Project represents the best of the street art fests. Here are a few more images captured yesterday, as it celebrated its fifth year at Welling Court in Astoria, Queens:

Alice Mizrachi aka AM

Making Art

John Ahearn with a temporary addition to mural created earlier by Dennis McNett

Icy and Sot

LMNOP

The Royal KingBee

Toofly

Check back here later in the week for Part II of this post and a brief interview with Ad Hoc Art’s director, Garrison Buxton.

First image is of Nelson Rivas aka Cekis at work; photos by Dani Reyes Mozeson and Lois Stavsky

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Speaking with Billy Mode

June 10, 2014

A master of bold, abstract graffiti-inspired art that fuses elements of mathematics, science and design, Baltimore-based Billy Mode is a frequent visitor to NYC. Here he has graced walls in Brooklyn and in Queens with his strikingly stylish aesthetic, often in collaboration with fellow Baltimore native Chris Stain. I recently had the opportunity to speak to the talented artist:

When and where did you first get up?

It was around 1984-85 in Baltimore. I was 11 or 12.

Who or what inspired you at the time?

Most of my friends at the time were older than me. My friend Eric Meek and I went to see Beat Street at the Grand Theatre in Highlandtown when it first came out. We were so hyped that we were doing backspins and such in the theatre while the movie was playing! Soon after, Eric got hold of a copy of Subway Art by Martha Cooper and Henry Chalfant. I’ve been grateful for these two introductions to the movement ever since.

Had you any preferred surface or spot at the time?

When I first began, it was mostly alleyways with Pilot markers and spray paint. But I soon moved on to rooftops. It was fun and I quickly became addicted to the adventure of it all.

Were you ever arrested back then?

I was caught bombing a bus. But nothing major happened. I got community service.

How did your family and friends feel about what you were doing?

My folks were cool. I was basically a “good kid.”

Have you any thoughts about the graffiti/street art divide?

There is a divide, but I don’t think about it. If it’s good, it’s good. It doesn’t matter whether it’s graffiti or street art.

What about the movement of street art into galleries?

I’m fine with it. I’ve been exhibiting in galleries since the mid 90’s. Galleries offer us artists a different way to share our art.

Why do you suppose graffiti is held in higher esteem in Europe than it is here?

Arts in general are more celebrated there. Plus I think the hip-hop culture is embraced differently In Europe. It is viewed more positively.

Do you prefer working alone or collaborating with others?

I enjoy both. Collaborating is fine — so long as I don’t have to compromise too much and lose too much of my own concept. Collaborations can’t be forced.

Your collabs with Chris Stain are among our favorite pieces. Is there anyone else with whom you’d like to collaborate?

I’ve thought about collaborating with Joe Iurato and Rubin. To me a good collaboration is when the works balance each other out. One of my favorite exchanges was with one of my best friends, Pat Voke. He always made me want to push my limits and seek out deeper meanings in the work process. I hope to collaborate with him again.

What inspires you these days?

Letter forms continue to inspire me; structures, in general, inspire me. When I sit down to work, I try to expand on what I’m developing — so it continues to grow. My graffiti background influences my desire to be inventive and contribute to the movement.

Are there any particular cultures that have influenced your aesthetics?

They’re not quite cultures, but I’m increasingly influenced by the fusion of mathematics and science.

Do you work with a sketch in hand or do you just let it flow?

These days I do have a sketch in hand which helps with the layout. When I do a more traditional graffiti style, I prefer freestyling it.

Are you generally satisfied with your work?

About 80% of the time! I’m always looking to improve.

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

We live in the future. Information travels faster than ever which, I think, allows for exponential growth. I do enjoy seeing artistic developments happening daily. But I have noticed that regional styles have been diluted. The grass roots of graffiti culture have been slowly changing, and so have the rules of etiquette.

Do you have a formal arts education?

I do have a BA from Maryland Institute College of Art (MICA), but I always credit my graffiti background as my formal training. I’ve been very fortunate to have good friends to learn from and grow with.

What’s the riskiest thing you’ve done?

Bombing in daylight on super visible spots!

What are some of your other interests?

Sleep, and when I’m not injured, skating pools.

What’s ahead?

I intend to do more murals and conjure mathematic visual formulas into reality. I will keep on expanding!

Interview conducted and edited by Lois Stavsky; photos 1. At Welling Court in Astoria, Queens with Chris Stain by Lois Stavsky; 2. At the Bushwick Collective by Dani Reyes Mozeson; 3. In Cobble Hill, Brooklyn with Chris Stain and Cre8tive YouTH*ink members — based on a Martha Cooper photo by Lois Stavsky; 4. At the Bushwick Collective by Dani Reyes Mozeson; 5. At the Bushwick Collective by Lois Stavsky; 6. At 17 Frost for OutDoor Gallery book launch by Lois Stavsky

Keep posted to our Facebook page for images of Billy Mode’s new mural, done in collaboration with Chris Stain, for the 5th Annual Welling Court Mural Project, opening this Saturday, June 14.

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