Notoriously difficult canvases, NYC shutters continue to attract both global and local artists. Here are a few current ones:
Bristol native Nick Walker in Manhattan’s Meatpacking District
{ 0 comments }
street art
Yesterday was a busy day in Bushwick, as artists from across the globe, along with locals, transformed the visual landscape of some of the neighborhood’s key spots. Here are a few images captured in the late afternoon:
Australian artists Dabs & Myla
Brooklyn-based designer Matt Dobbs
{ 0 comments }
Cake’s poignantly elegant women have been part of New York City’s visual landscape for the past five years. Earlier this month, three large ones surfaced on East Third Street off the Bowery. Soon after, we posed the following questions to Cake:
Your women have been captivating us for years. They are at once beguiling and perturbing. Are they women you know? Tell us something about them.
These women are all women I know and care about. They are: my mother, my sister, my niece, my Grandma Olga, my friend, Emily, and girlfriends of friends. And a lot of the time, some of the women end up having a part of me in them, which can’t be helped, as they all – somehow – feel autobiographical. I rarely paint men, but when I do, it’s usually my brother, Jeffrey.
At what point did you choose to use the streets as a canvas? And why did you decide to do so?
Right when I was finished with grad school, I joined in on the street stuff. It was pretty immediate and was just what I needed at that time. It was a place where I felt at home, and it was fun and natural. I haven’t wanted to leave since.
{ 0 comments }
Brooklyn-based artist See One has been busy gracing a huge wall outside the Running Rebel Studios at 6 Charles Place in Bushwick with his distinct aesthetic. Earlier this week, we caught up with him in his studio and had the opportunity to ask him a few questions.
When did you first start getting up in public spaces?
I was 17 living in Florida. We moved from Queens when I was 10, but graffiti had already had its impact on me. It had slowly worked its way into my blood.
What motivated you to hit the walls?
I started drawing when I was two years old. All the walls and floors of our home bore the markings of my oil-based crayons. As I grew older, I focused on black books, but wanted to go bigger and bigger and reach more people. Hitting huge walls was a natural progression.
What was your style like at the time?
When I first started getting up, my letters were good but I was really into characters. I’ve always loved cartoons.
How has your style evolved?
I wanted my art to stand out. I have an overactive imagination. I’ve always drawn characters but needed a secondary distinct style. I call the style “Shards” because it reminds me of broken shards of glass. This evolved into a style of abstract graffiti, my current focus.
How did you get your name?
My first tag was Focus, because I always needed glasses to focus. But I didn’t quite like the ring to it. So I took my birth date, 10/19, and in Roman numerals, the first three numbers are written CI. This became See One.
Have you had any formal art education?
No. I was never really good at school. I am self-taught.
Who or what have been your main influences?
My main influences have always been comic books, character design, and early graffiti. Japanese animation has also had a strong impact on my aesthetic. And, of course, comic books like X-Men, Teenage Mutant Ninja Turtles and Bone were among my first inspirations.
Any favorite artists?
Many, many. Among the comic artists: Joe Mad, J. Scott Campbell and Jeff Smith. In graff: Seen, FX Crew, Futura, Cost and Revs. Among street artists, my favorites include: Space Invader, D’Face and London Police. I also love Tomokazu Matsuyama and Takashi Murakami.
Any artists you’ve recently checked out?
I’m looking forward to seeing Doze Green’s work at the Jonathan LeVine Gallery and I’m also into Remi Rough and anything by Jose Parla.
What about galleries? We’ve seen your work at Mighty Tanaka and at Dorian Grey. How do you feel about the gallery scene?
I used to hate it because it seems to be all about who you know. I’m getting used to it, but I wish it were easier to get my work into galleries. It’s difficult to get a response from most galleries.
You seem to fuse both graffiti and street art elements into your pieces. Have you any thoughts about the graffiti/street art divide?
I think of Street Art as Graffiti’s little brother. A first-rate graffiti writer has to have the ability to improvise skillfully on a variety of surfaces while enduring the risks of getting up. Most street artists do their work in a studio setting and face far fewer risks in pasting their work up or stenciling it onto surfaces. Like most little brothers, Street Art is resented by his big brother, Graffiti, and his big brother’s friends.
Interesting! ‘will have to think about that! Have you ever been arrested?
No. I’m semi-careful. I’ll usually find a lookout when I can.
Have you collaborated with any artists?
My most recent collaboration was with 2Esae and Ski of URNewYork.
How do you see yourself in the future?
My goal is to grow and attain recognition as an artist, so that I can have the means to further develop my vision and reach a larger audience with my work.
Images courtesy of the artist and Lenny Collado
{ 2 comments }
Born in 1983 outside of Paris, JR has achieved worldwide recognition for his enormous photographs of everyday people that have been pasted on a range of surfaces all over the world. Among JR’s numerous awards and grants is his recent “Inside Out Project,” which has turned the walls of New York City into an open-air photo gallery. This past weekend, JR was busy over at the High Line in Chelsea pasting his huge portrait in tribute to the Lakota people, an original Native American tribe.
Photos by Joshua Geyer
{ 0 comments }
5Pointz, New York City’s aerosol art Mecca, officially launched its tenth season this past Saturday. Veteran writers, newbies, break-dancers, graff lovers, hip-hop aficionados and tourists, along with curious passersby, all came together in celebration. Here are some scenes:
Native New Yorker Demer has been an active graffiti writer since the early 80’s, beginning with NYC subway trains. These days his work is featured worldwide in print, in exhibits, on movie screens and on walls. Early Saturday he was busy at 5Pointz.
Active on the streets of the Bronx and beyond, aerosol art master Sien aka Sien Ide collaborated with Bronx native and acclaimed artist Eric Orr, one of the first writers to incorporate symbols into graffiti and to collaborate with Keith Haring.
Break-dancers shared their talents, as well.
A number of long-term walls, including those by the Madrid-based Ego Crew and Paris’s 2rode, also greeted visitors.
And, of course, there were new pieces by Jonathan “Meres” Cohen — under whose direction, relentless commitment and curatorial vision 5Pointz has attained international acclaim.
Although the threat of closure looms, that didn’t seem to be on anyone’s mind on Saturday.
Photos by Lenny Collado and Dani Mozeson
{ 0 comments }
Huge fans of Jaye Moon’s beguiling Lego installations that surface throughout NYC, we are delighted that two new ones have made their way to Chelsea streets this past week.
“Jerry” alludes to influential NYC-based art critic, Jerry Saltz:
And one more variation of the artist’s signature houses constructed from Lego and Plexiglas:
Images courtesy of the artist
{ 0 comments }
We’re great fans of your wondrous characters that have found a home on the walls of our city. Who are these characters? Are they inspired by folks you know?
No. They’re straight from my head. They’re kind of a mix-up, I suppose, of different comic characters inspired by a range of sources from Marvel comics to Warner Bros cartoons.
When did you first start getting up in the streets?
About two summers ago. OverUnder got me into it. We started painting together, and he sort of encouraged me to start putting up work. I was drawn to it right away and got hooked.
Does the ephemeral nature of it bother you?
No. It actually helps me develop my work at a faster pace. There are just so many ways your work can get destroyed. Instead of getting frustrated, I try instead to not treat each piece as a precious object, and that frees me up to work more. If I was to get too worked up about everything that didn’t last, I’d be depressed all the time.
Have you any favorite spots?
Not really. I almost never make a piece with a spot in mind. Coney Island, the Bronx and Philly are all spots I’d like to do more work in.
Any fears when you’re getting up?
I tend to move around a lot, so when I’m up high I’m always a little concerned that I’m going to do something stupid like walk off a ledge.
Have you ever been arrested?
I did end up spending one night in jail. I got chewed out by the Sergeant at the Bed-Stuy precinct who said ridiculous crap – like, “How would you like it if I tagged all over you!?” The whole thing was kind of ridiculous.
I guess they just don’t get it! When did you first come to NYC?
I was actually born here. But I grew up mainly in Portland, Oregon. Then six years ago, I came to NYC for the summer. And I never left. I just feel like this city is more to my pace than the West Coast. I’m much more productive here.
We’re certainly glad you stayed! Have you any favorite artists?
Some of my favorite comic artists are Robert Crumb, Jack Kirby and the Hernandez Bros.
What about printmakers? Any favorites?
Quite a few. Ben Shahn and Saul Steinberg come to mind. I like anything with a heavy line that is a bit sloppy. It makes the work more relatable to me.
You’re quite a prolific painter. Have you had a formal art education?
Well, I recently went back to school to finish up my undergraduate degree. I was about half way done, and figured I should probably finish it up.
Do you feel it has had a positive impact on your artwork?
I have mixed feelings about it. In a lot of ways school sort of slows the creative process down. I’m definitely making more work now that I’m back in the real world.
Have you exhibited your work in any galleries?
I was in a three-man show at Pandemic Gallery a while back. It was with my friends, Labrona and OverUnder. It was stressful for me because I spent a long time worried that I was going to look like a fool. Those other guys are really solid, and I didn’t want to be the weak link. In the end it came together, but I remember thinking after it was done that I didn’t want to do that ever again! I’m beginning to think it’d be cool to try it again at some point, though.
How do you feel about the role of the Internet in all of this?
Without it, I wouldn’t know who anyone is!
What’s ahead?
I’d love to travel and paint some walls in other cities. Maybe even go to other parts of the world. But locally, this is a good time of year to just knock on doors and see who’ll let you paint the side of their building!
Good luck! We sure hope those doors open!
Photos by Tara Murray & Street Art NYC
{ 1 comment }
Chilean native Nelson Rivas aka Cekis, one of the pioneers of the Latin American street art movement, began painting on the streets of his native city, Santiago, when he was sixteen. Since then, his artwork has graced the walls of a range of cities from Sao Paulo to Paris. Based in NYC for the last seven years, he has painted murals throughout Brooklyn and beyond. Recently, Nelson held his first open studio featuring the Fence Series, a series of paintings on the theme of immigration and the concept of self-imprisonment. While visiting Nelson’s studio last week, we asked him a few questions.
What inspired you to create the Fence Series?
Various personal experiences and encounters have sparked the concept of these paintings. When I moved out of Chile, I left behind almost everything I’d ever known: my family, my friends, and my career as a graffiti artist. When I came to NYC, I had no money, poor English language skills and hardly any friends. I had actually exiled myself from freedom and comfort, and I began to feel fenced in. It was a fence I had imposed on myself to enable me to grow as an artist. Once here, I met many immigrants with incredible stories. These people and their stories spurred me to further explore the theme of fences, particularly as they relate to immigrants.
How long have you been working on this particular series?
A couple of years ago, fences began to surface in my studio work. At first, they appeared as a subtle layer of texture, and then they gradually evolved into an essential element of my work. In the last six months, however, I started to play and experiment with fences as the main feature of my work. I started creating different colored fences, overlapping them, and intertwining them. I transformed the fence into a metaphor for imposed or self-imposed oppression, division, and the yearning for freedom.
How would you describe the process of creating your work?
The more I work and develop the concept, the more natural the process becomes. I don’t have any particular formula. If I did, I would start to get bored.
What materials do you primarily work with?
I’ve been working with lots of acrylic markers, acrylic house paint, spray paint, paper, wood and photos.
How has working in a studio been different from working in the streets?
I love painting on the street, but in NYC it is quite difficult to get new walls. It is easy to feel paranoid even when you are a legal resident. This is the main reason I started painting in the studio. I love painting murals, but I’ve come to enjoy the idea of experimenting, exploring and trying out new ideas on paper, wood or canvas. Also, when I work in my studio, I have fewer distractions. Then when I go outside, I apply some of the techniques I’ve developed from my studio work to my huge public works.
What’s next?
I’d like to continue painting at home and eventually share these latest pieces in a gallery setting. I recently received a grant to paint outdoor murals in Sunset Park later this spring. And I plan to travel abroad in the late fall to participate in a huge street art festival scheduled to take place in South America.
Good luck! We’re looking forward to seeing your outdoor murals in the months ahead.
Photos by Street Art NYC & Nelson Rivas
{ 3 comments }
Dain’s intriguing portraits have been part of NYC’s visual landscape for years. Curious about the man behind these beguiling images, we posed a few questions to the Brooklyn-based artist:
We are mesmerized by your portraits that seem to recurrently surface throughout NYC. We just love them. Who are these figures –mostly females — that greet us just about daily?
Thank you for your kind words. They are faces of eyes that speak to me.
Tell us something about the process of creating them.
I usually take the face of a woman and a match it to the body of a man. I mix in collage, spray paint, bright colors and some graff.
What about the dripping eye? We’re not sure what it represents.
I’d rather not say.
And why have you chosen to post your portraits in public spaces?
Unlike many of the massive murals that seem to be popping up like car ads, I still smile when I stumble upon a rusty old door way in the back alley of Chinatown and see some art.
When did you first start getting up?
I started by doing graffiti in grade school.
You are obviously taking risks, as the “authorities” haven’t been too kind these days to those artists who continue to use the streets as a canvas — especially when their work hasn’t been sanctioned. Any thoughts about that?
Not really. I’m adding beauty. I’m also selective about where I put up my work.
Have you a formal art education?
No. If that works for you, you got my blessings.
How do you feel about exhibiting your work in galleries? Your work looks fabulous on just about any surface in any venue.
Thank you again…you are kind I really enjoy bringing a taste of the streets to the galleries.
What’s ahead?
I’m working on a few projects, and I have a couple of shows coming up at the end of this year/early next year…hitting more streets!
Great! We’re looking forward.
Photos by Street Art NYC; all images from NYC streets, except for final one, which is from Leo Kesting Gallery, 2010
{ 7 comments }
