Opening Friday evening are two concurrent exhibits curated by Icy and Sot. Artworks of 35 NYC street artists will be on exhibit in Tehran, while we New Yorkers will be treated to a gallery show of 10 Iranian artists at 58 South Sixth Street in Brooklyn through Monday. Here is a sampling from this groundbreaking cultural exchange:
El Sol 25 in Tehran
CK1 in NYC
Alice Mizrachi in Tehran
Mad in NYC
LNY in Tehran
FRZ in NYC
Images courtesy of Icy and Sot
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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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Nick Kuszyk‘s impeccably-crafted robots are among NYC’s most seductive images. With their bold colors and expressive movements, they brilliantly enhance our urban landscape. I had the opportunity to speak to their creator, R. Nicholas Kuszyk aka RRobots, shortly before he left for his one-month residency in Jaffa, a seaport town on the outskirts of Tel Aviv.
When and where did you first get up?
It was back in 1993 in the suburbs of DC.
Had you any preferred surface or spot back then?
I hit whatever walls and trains I could.
Who or what inspired you at the time?
Cycle and Cool Disco Dan were among my main inspirations.
Do any early memories stand out?
My friend’s older brother had a black book and a copy of Videograf. It seemed monumental. I was 12 years old when I discovered another reality.
How did your family feel about what you were doing?
My parents didn’t know what I was doing. But my family has always been supportive of my art. My mom is an interior decorator and my sister does cool drawings.
Were you ever arrested?
No. I never got caught.
Most of us here identify you with your signature robot. Can you tell us something about it? When was it born?
It was born in 2000, and my first legal robot wall surfaced in 2002 in Richmond. Since then, it has traveled to over a dozen cities in the US and abroad to Berlin, London, Prague and now to Tel Aviv.
Why a robot? What does this robot represent?
I like its simplicity, its universality. It’s up to you to decide what it represents.
How do you feel about the movement of street art and graffiti into galleries?
It’s fine.
Is there anyone with whom would you like to collaborate?
Satan.
Are there any particular cultures that have influenced your aesthetics?
The skateboarding culture and graffiti.
Do you work with a sketch in hand or do you just let it flow?
I always have a general idea of what I will be painting. But I don’t prepare sketches.
Are you generally satisfied with your work?
It depends.
Do you have a formal arts education? Was it worthwhile?
Yes. I studied art at the Virginia Commonwealth University School of the Arts. It was definitely worthwhile, as it widened my perspective.
How has your work evolved in the past few years?
It has become more geometric, and the robots are becoming less central to my pieces and more integrated into them.
How do you see the role of the artist in society?
The artist is here to educate and to entertain. And the street artist has a distinct role – to increase property values.
Note: Nick’s exhibit, consisting of artwork created during his one-month residency, opens tomorrow, Thursday, June 5 at SAGA, a new space for art in Jaffa.
This interview was conducted by Lois Stavsky; photo 1 in Williamsburg, Brooklyn by Lois Stavsky; photo 2, courtesy SAGA; photo 3 at Welling Court in Astoria, Queens by Tara Murray; and photo 4, courtesy SAGA
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These past few days have been busy at the Bushwick Collective. New walls have been surfacing daily and the Collective has launched its first indoor exhibit. Here’s a bit of what we captured yesterday and Thursday:
Vexta‘s mural — as seen yesterday — and Vexta at work here
Adam Fu at work yesterday
Sexer‘s newly completed mural
Solus — in from Dublin — at work yesterday
Vers at work yesterday
FKDL — in from Paris — checks out his progress
FKDL inside the gallery
Jerkface begins
Jerkface inside the gallery
Also on view in the gallery — located at 426 Troutman Street — in the heart of the Bushwick Collective are works by: Blek le Rat, Solus, Rubin 415, Chris Stain, Dan Witz, Zimad, Joe Iurato, Sexer, Beau Stanton and Atom. And at tomorrow’s block party you can see and celebrate it all with live street art, bands, food trucks, a beer tent and giveaways.
Photos of Vexta, Adam Fu, Solus and Vers by Lois Stavsky; of FKDL, Sexer and Jerkface by Dani Reyes Mozeson; gallery images of FKDL and Jerkface by Houda Lazrak
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This is the fourth in a series of occasional posts featuring images of children that surface on NYC public spaces:
Joe Iurato in Bushwick
Danielle Mastrion at the Bushwick Collective
Chris Stain at the Bushwick Collective
Stinkfish in Bushwick for the Juicyartfest
Icy and Sot in Crown Heights, Brooklyn
Zimer in Bushwick for the Bushwick Collective
Photos of Danielle Mastrion and Zimer by Dani Reyes Mozeson; of Joe Iurato, Chris Stain, Stinkfish and Icy and Sot by Lois Stavsky
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Imagination in Space – a group of talented artists repurposing the use of city space as an alternative to traditional galleries – brought their vision to the East Village this past Tuesday. In partnership with London-based We Are Pop Up and NYC-based watchmaker Martenero, The Allies have launched their model of “borderless creativity” at 37 East First Street. Among the works featured are quite a few of interest to us street art aficionados. A small sampling follows:
UK graffiti pioneer Inkie
London-based Elmo Hood
Brooklyn-based Misha T
From the launch with noted culture critic Carlo McCormick in attendance (bottom, right)
And a close-up of the backyard — — transformed by Columbia’s Graduate School of Architecture students — the setting of its daily morning yoga classes
Also on view and for sale are works by NYC-based photographer Joey L, illustrator Sam Spratt and multi-media artist Yazmany Arboleda, along with Martenero‘s customized automatic watches and selections from Heidi Gardner’s esoteric jewelry designs. Perceiving its space as an alternative to traditional galleries, The Allies aims to transform city spaces into pop-up galleries — more vibrant and accessible than traditional art-sales venues. You can visit the space through Tuesday at 37 East First Street.
Photos of Elmo and backyard by Dani Reyes Mozeson; all other courtesy of The Allies
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Barcelona-based Txemy creates innovative, colorful images composed with lively lines and strokes. Muro is best-known for his fanciful characters — in a variety of uncanny situations — that make their way onto city walls. The current exhibit — “Universal Weapons” at Exit Room NY — features a range of intriguing work from both Spanish artists, including some beguiling collaborations. Here’s a sampling:
Txemy and Muro, Untitled, Mixed media on paper
Txemy, Tiro al Aire, Spray paint on paper
Muro, Alphabet “H,” Mixed media on paper
Txemy and Muro, Untitled, Mixed media on paper
Txemy, Weapons, Spraypaint on paper
Final photo by Rachel Fawn Alban; all others by Lois Stavsky; image on Exit Room door by Icy & Sot.
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Argentinian stencil pioneer Cabaio recently brought his distinct aesthetic to NYC. A few weeks back, I discovered him at work at the Bushwick Collective and was mesmerized by his stunningly intricate, brightly hued stencil work.
When and where did you first get up on a public surface?
I began in Buenos Aires in 2001.
What was your inspiration at the time?
In the midst of an economic crisis, there were too many ads in public spaces. They seemed to be everywhere. And I didn’t like looking at ads. I saw my artwork as an alternative way of using public space. And then in 2003, during the invasion of Iraq, I was further inspired to use public space to transmit messages. The global political situation — at the time — motivated me to make my own mark.
Have you any favorite surfaces or spots?
I like rough surfaces, and I always seek the right context for a piece. I particularly like quiet spots.
Have you ever been arrested?
About seven years ago, the cops took my tools away from me. But these days I feel free to paint just about anywhere. Street artists have become the new pop stars!
How does your family feel about what you are doing?
At first they thought I was too old to be doing this. Now they are proud of me.
Do you have a formal arts education?
I studied architecture for one year.
Have you any thoughts about the graffiti/street art divide?
I don’t feel it. They are both cool art forms. There shouldn’t be a divide.
What about the movement of street art into galleries? How do you feel about that?
I have no problem with galleries, as long as the people there respect our work.
Have you shown your work in any galleries?
Yes, I’ve exhibited in Buenos Aires, São Paulo, New York City, Washington DC and in Indonesia.
What about corporations? So many seem eager to embrace the aesthetics of street art these days.
If they respect our work and use it honestly and pay us well – then it’s all good!
Are there any particular cultures that have influenced your aesthetics?
I’ve been influenced by Argentinian culture and by Japanese comic culture.
What do you think of the role of the Internet in all of this?
It’s certainly a revolution, as it can provide us all with unlimited information.
Have you any favorite artists – stencil artists, in particular?
I like Blek Le Rat, the stencil pioneer. I think Banksy is amazingly clever. And I love the São Paulo-based duo Alto Contraste.
What do you see as the future of street art?
It will only continue to get stronger.
And what about you? What’s ahead for you?
I will never allow myself to feel comfortable. My art continues to evolve with more emphasis on its aesthetic element and far less on its political one. I will continue to always challenge myself.
Interview conducted and edited by Lois Stavsky. First photo — of Cabaio at work the Bushwick Collective by Lois Stavsky; all others courtesy of the artist
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Brooklyn-based RAE — whose folksy sculptures, stickers, paste-ups and paintings on NYC streets always delight us — recently returned from Ethiopia. And we had some questions for him:
What took you to Ethiopia?
I had connected with the non-profit organization H2 Empower Inc that had recently completed construction of the first community library in the town of Hosanna.
What was your role there?
I worked with kids building sculptures out of found objects and painting the walls outside.
Those of us who follow you on Instagram had the opportunity to witness an exhibit, as well – with goats in attendance!
Yes, we staged an exhibit in the living room of the home of a local family we met in town.
How did it all culminate?
We successfully raised funds to furnish an empty, unused wing of the Alemu Woldehanna Community Library with tables, chairs and a computer station. That financial goal has been met, and the furniture making will soon be in production.
Who will be involved in the next step?
The students at the nearby School For The Deaf in Hosanna, Ethiopia will be making the furniture.
It all sounds great! Welcome home!
Photos courtesy of the artist
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With its vibrant colors and swooping shapes, Chor Boogie’s art is charged with a sumptuous intensity. Earlier this year he shared his visions with us New Yorkers at 5 Bryant Park. It was a great opportunity to speak to him and find out a bit about this talented artist.
When and where did you first get up?
I began tagging in Oceanside in San Diego, California in 1993.
Who or what inspired you at the time?
I liked the illegal aspect of it. I had no particular inspiration. But I looked up to Phase2, Riff 170 and Vulcan.
Do any early memories stand out?
Getting arrested. It happened when my father was moving from one house to another. He trusted me to hold down the house. But one night I decided to invite a bunch of graffiti kids over. By the end of the night, six or seven of us got together and started tagging down this huge highway. We were wasted, drinking OEs and doing all sorts of stupid things. I got the idea to hit the wall closest to the freeway, so I climbed down. All of a sudden, police came racing down the highway for us.
What was the outcome?
I was arrested along with Bash, a writer who ratted me out giving the police my name and everything. I was faced with a judge that was ready to put me away for some time. Luckily, I had my grandma. She hooked me up with a criminal lawyer who managed to get the judge switched. And he managed to get a judge for my case who loved art. This judge requested that I bring my portfolio to court. When she saw it, that’s all she could speak about. While the prosecuting lawyer was badmouthing me, all she could do was look at my art. She ended up giving me three years’ probation, a $500 fine and no community service. She also said that I had to paint a mural for the holidays — that I had to paint it and show her a picture of it when I returned to court. I returned with a picture of Santa Claus.
How did your family and friends feel about what you were doing?
My friends were writers so it was cool. My mom was cool about it too. She had my back. But I had to keep it a secret from my father. He found out eventually. He was not thrilled.
Any thoughts about the graffiti/street art divide?
I don’t use the word “graffiti.” I call it Modern Hieroglyphics or Street Romantic Voodoo. Graffiti sounds dirty. Graffiti is a government term that had nothing and has nothing to do with our art form.
What about the movement of street art into galleries?
It’s already been there. People just want to act as if it’s a new thing.
Where would you like to paint?
I’d like to paint anywhere. But if it was the end of the world, I’d have to say Australia. It’s all the way out there in the middle of nowhere. It’s the land down under.
Do you prefer working alone or in collaborating with others?
Alone mainly. Collaborating can be interesting. Sometimes it’s fun. Sometimes it’s b.s. It can be a hassle. But I’ve had good collaborations.
With whom would you like to collaborate?
I’ve painted with Phase2 and that was a dream. I’d like to paint with Vulcan. I would have gotten down with painters like Gustav Klimt, Salvador Dali, Michael Angelo and Caravaggio, if they were still with us.
What inspires you these days?
Music.
Are there any particular cultures that have influenced your aesthetics?
The hip-hop culture.
Do you work with a sketch in hand, or do you just let it flow?
No. I stopped using sketches ten or twelve years ago.
Are you generally satisfied with your work?
Yes! I don’t leave it until I am.
When you look back at what you did in the last few years, how do you feel?
How can I not feel good? I feel grateful about everything coming my way.
What do you think of the role of the Internet in all of this?
The Internet is one more tool of communication. I have nothing against it.
Do you have a formal arts education?
No. The street was my sketchpad.
What’s the riskiest thing you’ve done?
If I tell you, somebody’s going to jail.
What do you think is the role of the artist in society?
He’s the rat in the rat race trying to get the cheese.
What percentage of the time do you devote to your art?
One hundred percent.
Interview with Chor Boogie conducted by Lenny Collado aka BK Lenny and edited by Lois Stavsky; photos 1-3 at 5 Bryant Park by Dani Reyes Mozeson; 4. Wynwood, Miami; 5. Beacon, NY and 6. Washington DC by Lois Stavsky
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