street art

Dozens of first-rate writers and muralists from NYC and beyond brought their tantalizing talents to East Harlem’s 44th annual Graffiti Hall of Fame this past weekend. Walls and cubes fashioned in a wide range of styles graced the now-lengendary schoolyard on 106th Street and Park Avenue. The dynamic production pictured above was painted by graff masters Delta, Syerok, Taste One, Blaze and Part One,   Several more images of artworks captured this past Sunday afternoon follow:

Graffiti veteran Skeme also known as 3 Yard King

BedStuy Walls co-founder and curator Miki Mu 

The wonderfully talented NJ-based Will Power does the late Nic 707

NYC-based, Japan-born hip-hop culture enthusiast and artist Shiro

East Harlem-based, Sweden-born graffiti writer and graphic designer Scratch

Harlem-based Brazilian American multidisciplinary artist Phes at work

The masterly Queens-based artist Chris Cortes

The prolific Bronx-born graffiti writer Cope 2 in collaboration with French artist Jaek El Diablo

Note: Keep posted to the Street Art NYC Instagram and Threads for more images of artworks that surfaced in this year’s Graffiti Hall of Fame.

Photo credits: 1-6 & 9, Sara C Mozeson; 7 & 8, Ana Candelaria

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On the final weekend of June, the now-legendary Welling Court Mural Project launched its 14th Annual Street Art Festival in Astoria, Queens under the curatorial direction of Alison C. Wallis. Photographer Ana Candelaria was there to capture the action and share it with us. Featured above is the famed graffiti pioneer and graphic designer Stash at work on a wall painted collaboratively as a tribute to the late innovative graffiti writer Col Wallnuts. Several more images — all courtesy of Ana Candelaria — follow:

The prolific veteran writer Wane at work

Graffiti artist and designer Epic Uno at work 

Bronx-based painter and art educator Depoh at work

Brooklyn-based artist and BEDSTUY WALLS founder & co-curator Miki Mu at work with mural by East Harlem-based Scratch to her left

Artist and educator Katie Reidy at work celebrating the “rise of the woman”

The hugely inventive Sweden-based artist Delicious Brains bringing his talents to NYC

More walls will be beautifying Welling Court and its nearby blocks in early fall. Sign up here to stay informed regarding upcoming events and volunteer opportunities.

Photos by Ana Candelaria

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Continuing through February 23, 2025 at the Saar Historical Museum in Saarbrücken, Germany, is “ILLEGAL. Street Art Graffiti 1960 – 1995,”  the first museum exhibition anywhere to focus solely on illegal graffiti.  I recently had the opportunity to pose a few questions to its curator, Dr. Ulrich Blanché, a Heidelberg University art historian who specializes in global graffiti and street art.

When did you first become interested in illegal markings? And what ignited your interest at the time?

Growing up in a house in the middle of nowhere in Bavaria with no neighbors within a kilometer, I was an easy victim for anything urban – ruin porn, street art, graffiti. While studying in Australia, my friend Shanu told me about stencils and Banksy. I was hooked.

What are some of the principal factors that motivated you to curate this exhibit?

My spirit of contradiction. Many street art and graffiti surveys act as if illegal art on the street is something that comes exclusively from NYC and Paris. As if the rest of the world was a blank canvas before we were enlightened/colonized by US street art and style writing graffiti. Unfortunately, many US/UK researchers/curators seem to read only English sources. And it seemed appealing to me to counter the old accusation that illegal street art and graffiti cannot be shown in a museum. Hence: an exhibition with only illegal works. I did not show the usual thing – new, legal works that barely survive on the old illegal street credibility of their creators.

Can you tell us something about the process of curating it? What were some of your main challenges? 

People seem to love “originals,” — whatever that is actually. One challenge was that there were often hardly any preserved illegally created originals, or you would have to spend a fortune to transport them. Another main challenge was that I was on my own in the curation process and in approaching artists/collectors. I missed student assistants I had worked with before.

How did you decide which artworks/artists to feature in the exhibition?

I tried to identify the earliest ones and the game changers. If the show would travel, I would include some more, for instance Flint Gennari (NYC), Valie Export (Vienna), SZ group (Moscow) and Tsang Tsou-Choi (Hong Kong). I tried to rewrite street art history in some cases – Brazilian stencil graffiti artist Alex Vallauri was earlier and had more impact worldwide in the early 1980’s than Blek le Rat. Art punk stencils by Crass influenced Banksy and Robert del Naja before they had even heard about Blek. There was a worldwide illegal street sticker campaign before OBEY, done by Cavellini from the 1970s onwards, etc. Among my other discoveries were 10 unknown SAMO© graffiti from 1979 in NYC and the first guy from Germany interested in Keith Haring. So new things about old hats and newly found old things that challenge street art or graffiti history —  at least in details. Graffiti is not just style writing from NYC; we also show L.A. Cholo graffiti, Philly graffiti or Pichação from Brazil – not all are common in overview shows. I tried to show large works so they can appeal in a physical way, and I tried to show developments on walls, not just work in mint condition, photographed the second the artist drops the can.

What is the central focus of the exhibition?

The concept is “hits and rarities.” To give an overview from the 50’s until the 90’s. I tried to identify the earliest examples, the ones who had a huge impact and some who should have had more impact. We start with Guy Debord, Ted Joans and of course Brassaï and end with Banksy’s first documented work on the street. We’re putting a spotlight on the Paris-Cologne-Zurich triangle because a lot was happening there and because the museum is in the middle of these cities, and another spotlight on the connections between street art, graffiti and music.

What would you like your viewers to walk away with?

I’d like the viewers to walk away with the thought that street art and graffiti did not start with Banksy. And that street art and graffiti stem not only from protest art or gang graffiti; it is far more complex. An audience interested in contemporary art would be amazed how many familiar names worked illegally, too: Christo/Jeanne Claude, Walter Dahn, George Condo, Valie Export, Daniel Buren, etc. Conceptual art, performance art, pop art, Fluxus, Mail Art are deeply interconnected with what we call street art today. And that early street art graffiti was more female than you’d expect.

How has the response been to the exhibit to date?

We were on German national TV and radio with the exhibition, as well as on several local and regional media. The response was very positive. Saarbrücken, however, is not Hamburg or Berlin. I think the bilingual catalog and the 3D scan of the show will reach quite a few people internationally, as well. For myself, it is great when people like Daim, Chaz Bojorguez and John Fekner say it is a great show!

Images:

1. Bando and Doc in Paris, 1984; photo, Claude Abron

2. CanTwo in Wiesbaden, 1988; photo, CanTwo

3. Alex Vallauri in Lower Manhattan, ca. 1982-1983; photo, Claudia Vallauri 

4. Vampirella in Amsterdan, 1985; photo, Vaselka M aka Vampirella

5. Book cover featuring Vampirella, photo, Vaselka M aka Vampirella

Interview with Dr. Ulrich Blanché by Lois Stavsky

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On the weekend of June 15, First Street Green Art Park was home to dozens of legendary artists, first-rate photographers, and graffiti aficionados as they came together to pay tribute to Fun Gallery co-founder Patti Astor, who had passed away in April. The first art gallery in Manhattan’s East Village to feature the works of such noted artists as Futura 2000, Lady Pink, Lee Quinones, Kenny Scharf, Keith Haring, and Jean-Michel Basquiat, Fun Gallery ran out of a small storefront  but had enormous impact.

The mural featured above was painted by 5POINTZ founder and the wonderfully versatile artist Meres One. Several more images captured last week in this event curated by Kate Storch, Jimmy NYC and Crime79 follow:

Lower East Side native and former Keith Haring collaborator Angel Ortiz aka LA2

Veteran writer Dezo, TC5 with Kate Storch on left

The prolific Japanese writer, muralist and designer Shiro One

Uptown-based designer, painter and muralist Al Ruiz

The legendary graffiti pioneer Stash

 Veteran East Harlem-native writer and painter Delta2

NYC-based photographer Matthew A Eller, Segment from larger wall of photos featuring Patti Astor in a range of settings

Photos: Lois Stavsky

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The 13th Annual  Bushwick Collective Block Party brought a wonderfully diverse array of local, national and global artists to Brooklyn’s iconic outdoor gallery. The huge, beguiling dog featured above was painted by Denver-based Patrick Kane McGergor against a deftly-executed cityscape crafted by multidisciplinary artist Chris Haven.

In this Part II of At the Bushwick Collective are several more images of artworks that have surfaced this month at the Bushwick Collective, curated by its founder, Joe Ficalora.

Miami-based Nate Dee, “Brooklyn Trogon”

Austin, Texas-based Taiwanese-American artist Candy Kuo at work on mural in collaboration with Wade Indeed

Completed mural by Austin, Texas-based artists Candy Kuo and Wade Indeed

French artist Enzo Yurrebaso, segment of captivating mural

Los Angeles-based Robert Vargas, segment of huge powerful mural at the intersection of Wycoff and Troutman

Connecticut-based Corey Pane, Portrait of wife, Kailah King, and baby daughter

Photos of artworks: Lois Stavsky

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Last weekend — as the Bushwick Collective presented its 13th Annual Bushwick Collective Block Party — a wonderful array of local, national and international artists shared their talents and visions with us. The captivating image featured above was painted by the masterly Chilean native artist Claudio Picasso aka CP Won. Several more images that we captured follow:

The delightfully versatile Carson DeYoung aka Deps One

The ever-clever gifted nomadic artist and designer Never Satisfied

The ingenious Peruvian native artist Sef

Sef captured in action

The legendary South Bronx-based Puerto Rican artist Sandro Figueroa aka Sen2

The indefatigable Bushwick Collective founder and curator Joe Ficalora to the left of Queens-based artist madvaillan

Photo credits: 1-4 and 6 Lois Stavsky; 5 & 7  Ana Candelaria

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Calle Libre, an urban art festival founded in 2014, has since brought dozens of luscious murals to the streets of Vienna, Austria. The brightly hued mural pictured above was painted by the Colombian artist Ledania for Calle Libre Festival 2023. Several more alluring murals painted for Calle Libre that we captured on our recent visit to Vienna follow:

Berlin-based Ju Mu for Calle Libre Festival 2021

Vienna-based Frau Isa for Calle Libre Festival 2023

Uruguayan artist AlfAlfA for Calle Libre Festival 2017

French artist Mantra for Calle Libre Festival 2017

The Weird Crew — comprised of German and Austrian writers — for Calle Libre Festival 2016

Italian artist Luogo Comune, “Entropy”  for Calle Libre Festival 2023

Photos by Lois Stavsky

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The streets of Budapest’s seventh district teem with a huge range of urban art. The brightly-hued image featured above — painted by the Spanish artist Okuda San Miguel — is a tribute to the Spanish diplomat Ángel Sanz-Briz, who saved the lives of thousands of  Hungarian Jews during the Second World War. Several more images of public artworks we captured in Budapest follow:

Neopaint‘s rendition of the Rubik Cube, invented by Hungarian native Ernő Rubik

Mosaic mural titled “Hesztia” created by Budapest-based artist Hegedűs Márton

A recreation by Szine Varos of the 50-year-old classic LGT Bummm! album cover originally designed by the highly acclaimed Budapest artist Kemény György

Hungarian artist and ALL CAPS COLLECTIVE member Gergely Void

  Budapest-based Balogh Attila for Tereza, a Mexican restaurant in Budapest’s  sixth district

One of many charming wheatpastes by the nomadic qWeRT

Photos by Lois Stavsky and Sara C. Mozeson

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Back in 2019, Amsterdam Street Art organized a street art festival, If Walls Could Speak, that produced ten captivating murals painted on a row of large apartment buildings in Platanenweg in East Amsterdam. We had the opportunity to visit these hugely impressive murals while in Amsterdam earlier this month. The alluring image featured above  — representing Amsterdam’s free spirit — was fashioned by Netherlands-based Niels van Swaemen and Kaspar van Leek, known collaboratively as  Studio Giftig. Several more murals painted during this groundbreaking street art festival follow:

German artist Case Maclaim

Australian artist Smug One

UK-based Dan Kitchener

  Netherlands-based Sjem Bakkus & IVES One 

Netherlands-based Leon Keer

German artist HERA of Herakut

Photo credits: 1 Sara C Mozeson, 2-7 Lois Stavsky

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From her strikingly expressive stickers and wheatpastes to her distinctly alluring mural art and paintings, Eye Sticker creates a wonderfully diverse range of visually seductive artworks. I was delighted to recently have the opportunity to interview the talented artist.

When and where did you first get up?

It was in 2020 on the streets of the Village, where I was living at the time. I put up a sticker of an eye. That was the first time I ever shared anything in a public space.

What inspired you to do so?

It was something that I’d always wanted to do. And during the pandemic, I finally had the time to do it. I love street art, and I wanted to be part of the scene.

And why an eye? What inspired that?

Picasso’s masterpiece Guernica inspired it. I was drawn to its eye.

Have you any preferred surfaces?

I love smooth surfaces – as smooth as possible – in high traffic spots. I like hitting the Williamsburg Bridge

Would you rather work with permission or without it when you’re out on the streets?

Without it! I love making art anywhere, but if what I’m doing is legal, it doesn’t feel like street art.

Does any specific work you shared on the streets stand out to you?

My most meaningful one was the Trump troll wheatpaste. I designed it back in 2020. It was the biggest street art piece I’d done to date and getting it out there made me feel like a real street artist.

What about experiences or encounters while getting up? Have you any particularly memorable ones?

Yes! I was about to put up a new piece at Freeman Alley late at night when a homeless woman with luggage approached me. Something about her terrified me. I started to run and she ran after me. I then tried to distract her by pointing to the sky. I said, “Hey, look at that!” She did and I quickly made my escape!

Do you prefer working alone or with others?

I generally like to work alone, but I like collaborating with other artists on stickers. Among the artists I’ve collaborated with are Chris RWK and ButtSup.

Have you exhibited your work in gallery settings? If so, where?

Yes! I’ve exhibited in several places. Among them are: 17 Frost, Artel, All Street, The Glass Box Gallery, 188 Allan Street and One Art Space.

Have you any particular cultural influences?

Urban architecture and urban life, in general, are my biggest influence. I used to work as an architect.

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

I like it! It gives me an opportunity to meet new people who have similar sensibilities.

And have you any feelings — positive or negative — regarding the engagement of graffiti and street artists with the corporate world?

I have no problem at all with it, so long as what is being promoted aligns with my values. It’s great for artists to get to do what they love to do and get paid for it!

How does your family feel about what you are doing?

They’re my biggest fans.

What percentage of your time is devoted to art?

100%. I also work as a designer.

Have you any other avid interests?

Vegan food.

How do you feel about the role of social media in this scene?

I hate that we artists need to engage with it.

Have you a formal art education? If so, do you value it?

Yes. I studied Architecture at Shenkar College in Tel Aviv. And I do value it because it helped me develop a good sense of design.

When you paint murals – as you’ve begun to do recently – do you work with a sketch-in-hand or just let it flow?

I work with a sketch, but I would like to be more spontaneous.

Are you generally satisfied with your finished piece? 

Yup! I won’t stop working on it until I am.

How important is commercial success to you at this point in your career?

At this point it isn’t important. Right now my focus is on gaining experience.

Are there any particular challenges that you’ve had to overcome these past few years?

Yes. I was sick with Lyme disease for over two years. It affected every aspect of my life, including my art. It made my art darker.

As an American/Moroccan/Israeli artist, how have the recent events in the Middle East impacted you?

It took me over a month to overcome the initial shock as to what happened in Israel on October 7. My entire body was in a state of shock. And once the reality had set in, I felt I had to get a message out on the streets. Inspired by the kidnapped posters I began seeing taped onto all kinds of surfaces, I designed my own featuring a real baby who had been kidnapped – covered by a strip of tape. I then began posting them in public spaces.

What’s ahead?

More solo shows and more large murals. It’s been wonderful to paint on the streets here in Downtown Brooklyn and to have the opportunity to engage with passersby who have shown me so much love!

Note: You can find out more about Eye Sticker and visit her shop here.

Eye Sticker interview conducted by Lois Stavsky with Rachel Alban and edited by Lois Stavsky

Photo credits: 1. 6, 7 & 8 Lois Stavsky; 3, 4 & 5 courtesy Eye Sticker 

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