This is the eighth in a series of ongoing posts featuring the diverse range of trucks and vans that strike NYC streets:
Chilean street art pioneer Cekis
Kwaz in Midtown Manhattan
NYC’s prolific UR NewYork and KA in Downtown Brooklyn
NYC graffiti artists Sevor and Ideal
Veteran writer Wane in East Harlem
The Royal KingBee in Midtown Manhattan
Brooklyn’s Dek & Glue 2dx
Photos by Lenny Collado, Dani Mozeson, Tara Murray & Samantha Sabatino
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Singapore native Sheryo and Aussie’s the Yok are back in New York City. And that is a cause for celebration! After gracing Long Island City’s 5Pointz with their wondrous whacky characters, they got busy at the Bushwick Collective.
At 5Pointz
Sheryo at the Bushwick Collective on Friday afternoon
Sheryo and the Yok in the early stages of the Bushwick Collective wall
The Yok back at the Bushwick Collective on Saturday
Sheryo back at work on Saturday
The cast of characters — as of late Saturday
Photos by Tara Murray
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This is the third in a series of posts showcasing NYC’s stylish stickers that surface on an array of public surfaces:
UK artist, Paul Insect
French artist Franck Duval aka FKDL in Bushwick, Brooklyn
The ever-present Crasty
See One in downtown Manhattan
Baser sticker collage in Chelsea
SkinTone on Manhattan’s Upper West Side
Reka in downtown Manhattan
2Esae in Chelsea, Manhattan
Photos by Lenny Collado, Dani Mozeson and Lois Stavsky
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Huge fans of Sen2’s masterful artworks on an array of surfaces — from canvases to walls — we were delighted to have the opportunity to visit his South Bronx studio and pose a few questions to him.
When and where did you start getting up?
I first started hitting walls in Puerto Rico – where I grew up – when I was about 15. That was back in 1986.
What inspired you at the time?
I used to spend my summers with family in NYC up in the Bronx. There I discovered pieces by Daze, Crash and Seen. I also started noticing pieces in magazines by writers like Hex and Slick,
Have you a formal art education?
No. The streets have been my teacher. One’s experience is the best teacher.
Besides the 4Burners, have you belonged to other crews?
I learned a lot from Tats Cru when I was a member a number of years back. But I am no longer with them. And when I was in Puerto Rico, I painted with BWS.
What about collaborations? Have you collaborated with other artists on specific pieces?
When I’m in my studio, I generally work alone. But I’m currently working with KingBee for an exhibit of our works that opens on Friday, April 12 at Gallery 69 in Tribeca.
How do you feel about the movement of graffiti into galleries?
I feel it’s a great opportunity for artists. It opens the doors for many of us.
Besides Gallery 69, where else have you exhibited?
My artwork has been featured at the Smithsonian, at the Volkinger Hutte Urban Art Biennale 2013 in Germany and at Miami Art Basel. I’ve also been in other galleries abroad.
Have you any favorite cities?
New York City. The Bronx. That’s where it all began. But I also love Madrid, Spain and San Juan, Puerto Rico.
Why do you suppose graffiti is held in higher esteem in Europe than it is here?
There’s no unity here, and that’s part of the problem. We don’t work as a group to present ourselves in a way that will gain us respect and recognition. Every writer has too much pride.
Any thoughts about the graffiti/street art divide?
I like street art, but I will always consider myself a graffiti writer. Everything that I do is rooted in graffiti. And I’d like to see graffiti writers have the same opportunities that street artists have.
Who are some of your favorite writers?
There are many. Among them are: Bio, Beacon, Kem5 and KingBee.
And does anyone — in particular — inspire you these days?
The late Dare TWS from Germany.
What percentage of your time is devoted to art?
100%. I’m all in. Just about all the time – from early morning until late at night.
Any other passions?
I’m also a soccer fan. And I love spending time with my family.
How does your family feel about what you do?
They’re 100% behind me. My wife loves what I do.
Your art seems to be always evolving. Your work that was on exhibit at Fountain certainly blurs the lines between graffiti and fine art. Could you tell us something about that?
It all started with wild-style. Then I began to incorporate 3-D elements. And, more recently, my influences have been pop art and abstract art. Everything I do, though, is inspired by graffiti, and all of my current works have graffiti elements in them.
How do you feel about the role of the Internet in all this?
I like it. It keeps me up with what’s happening – both on the streets and in the galleries.
What do you see as the role of the artist in society?
To share with others one’s personal interpretation of the world.
What’s ahead?
Just getting better and bigger for me and my family.
Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky
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This is the eighth in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:
Italian artist Alice Pasquini at the Bushwick Collective
Jordan Betten in Chelsea
Alice Mizrachi at Welling Court in Astoria, Queens
Lady Pink at Welling Court in Astoria, Queens
Mor in Chelsea
Photos by Lois Stavsky
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For years, wheatpastes featuring Jason Mamarella’s iconic Dint Wooer Krsna, along with its many variations, were part of NYC’s visual landscape. Although stickers featuring the eccentric, but lovable, character continue to surface throughout the boroughs, Dint Wooer Krsna, as we’ve come to know him, has largely disappeared. While checking out Jason Mamarella’s current exhibit – ending Saturday evening – at 17 Frost, we had the opportunity to ask him a few questions.
When was Dint Wooer Krsna born?
At about the same time MySpace was born. When I joined, I did not want to reveal my identity. And so I created Dint Wooer Krsna.
So he’s had quite a long run. What happened? It seems that his presence in the streets has certainly diminished.
Definitely. It’s been awhile since I’ve hit the streets with anything other than stickers. I’m older and ready to move on to other things. Besides, the streets no longer call out to me the way they used to. They were far more interesting when I first began hitting them.
What about the artists getting up here in NYC these days? Do any interest you?
Not all that many. I like what Bäst is doing. Other favorites include: Ana Peru, Jos l and Matt Siren.
Any thoughts about the move of street art into galleries?
I have no problem with it. It’s a different experience. What I show in galleries is almost always distinct from what I share on the streets.
What do you see as the role of the artist in society?
It is to present new ideas that aren’t widely accepted.
What’s ahead?
More painting. Collaborations with Street Grapes. Toys. Animation.
Sounds good!
The final viewing of the organization of celestial coincidences by Jason Mamarella is Saturday, March 30, 2013, from 7 to 10 pm with special guests: Dint Wooer Krsna, Street Grapes & Jos-L. Peru Ana Ana Peru will be screening movies in the theater at 17 Frost Street Gallery, Williamsburg, Brooklyn. L train to Lorimer. A small number of limited edition books, featuring a wide array of Jason Mamarella’s images, are still available.
Photos by Lois Stavsky
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The first in a series of “Blackbook Pieces and Tags” features the work of veteran writer Louie Gasparro aka KR.ONE. Over 30 years ago, KR.ONE was hitting the trains; these days he continues to make his mark on a range of legal surfaces from black books to canvasses to huge buses. His work will be featured in the upcoming Flip the Script Book Release and Art Show at Reed Space at 151 Orchard Street on April 4 and in a solo exhibit at 5Pointz on Saturday, May 11.
KR.ONE writes Kashmir 172
Forty Deuce
The Lost Art of the Tag
New York City Tag Style
DoomVader
2Mint
All images courtesy of Louie “KR.ONE” Gasparro; the first image is KR.ONE for SAGE RTW
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An original member of Melbourne’s legendary Everfresh crew, James Reka graces public spaces in dozens of cities throughout the globe with his splendid, surreal – ever evolving – aesthetic.
When and where did you start getting up?
I started when I was in high school. Back in 1999. I was doing traditional graffiti at the time — just wrecking shit with a bunch of local guys.
Ah! So that explains your name! What stirred you to hit the streets back then?
I was inspired by what I saw catching the train to school every day. And I grew up in the suburbs with the whole hip-hop and skateboard culture. I also loved the thrill of doing something illegal.
We associate your street art with characters rather than with traditional graffiti. When did characters become an essential part of your work?
By 2001-2002 I was already into characters. I always felt happier with characters than with traditional graffiti.
Have you a formal art education?
I consider myself a self-taught artist and I’m proud of that. I did, though, take some courses in graphic design.
Have you any preferred surfaces? Spots?
I like anything with character that already has texture. I love abandoned places, particularly those with character and history.
Any favorite cities?
I’d say New York City and Berlin. I like cities with history.
What percentage of your time is devoted to art these days? Any other passions?
Just about all of my time is devoted to art these days. I think about it every second. If I weren’t making art, I’d be making electronic music.
How do you feel about the movement of street art into galleries?
I’m fine with it. Selling my art in galleries provides me with the income I need to fund my projects on the streets.
What about working with brands? Is it something you would do?
Working with brands can taint your image. But I’m okay with it, so long as I believe in the brand.
You have exhibited your work in dozens of galleries. We are so glad that you continue to maintain such a strong presence in the streets. What motivates you to do so?
I love surprising people and sharing with them my representation of the human form. When my work is out on the streets, it reaches lots of people and opens their eyes to another way of looking at things. And that’s important to me. I also love working on a large scale and using my surroundings to my advantage.
Have you any thoughts about the graffiti/street art divide?
It’s easier for street artists to get their work into galleries, and it’s understandable that graffiti artists would resent that.
We’ve noticed just how much your art keeps evolving. Your current style and choice of colors are quite distinct from last year’s. Your flow is looser. We’re curious about that!
Well, I’m rarely satisfied. And I’m always trying to expand my vision. My focus now is less about the figure and more within the figure. I find that using natural, earthy colors gives my work a more human element.
How do you feel about the role of the Internet in all this?
Mixed. On the positive side, it’s a great promotion tool, as it makes it easy for an artist to get his work out. On the other hand, it make it all too easy to access information. It’s too easy to know what other artists are doing.
What’s ahead?
Traveling. I’d like to visit Brazil and I’d also like to paint in more rural areas and on larger walls. And I’d like to focus more on fine arts.
Good Luck! And we’re looking forward, of course, to your next visit to New York City.
Photos by Dani Mozeson and Lois Stavsky; the second image is of artwork currently on exhibit at Bold Hype Gallery, 547 W. 27 Street in Chelsea
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Fueled by their love of art and their passion to promote the art they love, Brian Jerkface and Iman Johnson are busy curating some of NYC’s coolest art events. On a recent visit to their current art show at NoBar at 608 Nostrand Ave. in Brooklyn, we had the opportunity learn a bit about the two talented young men and their upcoming projects.
How did this all begin?
Brian: We both love street art and we wanted to share our love with others in alternative settings. It’s great fun, and it’s also a way to help artists, particularly those who work in public spaces, make a living. Only by selling their art can they continue to pursue their passion.
Do you have a formal art education?
Iman: I attended Cooper Union. My degree is in architecture.
Brian: I studied painting and graphic design at the School of Visual Arts.
Have you any favorite artists?
Iman: My all-time favorite artist is the British painter Francis Bacon. I also love Lebbeus Woods, a conceptual architect, who was one of my teachers at Cooper Union. And I love what See One is doing on the streets.
Brian: I love the Cubist style of the Spanish painter Juan Gris. He’s a definite influence on my work. Among those artists who work on the streets, I have many favorites. Among them are: NoseGo, Phetus and Bishop.
What attracted you to street art and graffiti?
Brian: I grew up listening to hip-hop, and I fell in love with graffiti. When I was about 16, I picked up a spray-can. I was also into skateboarding.
Iman: Yes, it was the entire culture that drew us in.
What do you see as the future of street art?
Brian: As it continues to make its mark in both sanctioned and unsanctioned spaces, I see it as getting better and better all the time.
Iman: Yes, it seems to be in an ideal place right now. While becoming more acceptable, it’s still on the edge and is almost certain to remain so. Most of it will continue to push against authority.
Your current art exhibit here at NoBar is wonderful. What is the appeal of this particular setting?
Brian: It’s a wonderful spot, and the neighborhood is easily accessible. We love the mix of people it attracts, and it is street art-friendly. It allows us to feature live painting at our openings – something we both love.
What’s ahead? Any other exhibits coming up at NoBar?
Brian: Yes. Cosbe will be painting live here for our next exhibit on Friday, March 29. And Deps is among the artists we are featuring in our show opening April 26.
That sounds great! What about other venues? Anything else coming up elsewhere?
Brian: We are in the process of curating a skate deck exhibit featuring dozens of artists – including Bishop, Phetus and Col Wallnuts – that will open on April 20th at the Loom Gallery on Flushing Avenue in Bushwick.
Iman: And we have a number of events coming up in Studio J, our Long Island City space – including a group show, a solo show by Phetus and a kids’ class in street art.
Wow! So much happening! How do you get the word out?
Brian: We get the news of our events out on Instagram and Facebook. We also hand out flyers.
Good luck! We are looking forward to your next event!
Photo of Phetus close-up by Lois Stavsky; Jerkface images courtesy of POPUP X NYC
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Approaching his 80th birthday, Allan Ludwig, aka Elisha Cook, Jr., can be found just about every day in downtown Manhattan photographing the writings on the walls. With a BFA Degree in Painting and a PhD in Art History from Yale University, he explains his passion for graffiti and street art.
How did the name Allan Ludwig become Elisha Cook, Jr.?
When I first started posting photos of graffiti on Flickr, I was advised not to use my real name. I chose to identify myself as Elisha Cook, Jr. because he is my favorite actor. The name stuck!
So that’s it! When did you begin working as a photographer?
Almost 60 years ago. I was in my 20’s.
What attracted you to the field?
I started drawing in my room as a child. But I had difficulty drawing faces. I never liked the way my noses looked. And when I tried to erase them, I’d end up making holes in the paper. It drove me crazy! I decided that it would be easier for me to capture a face with a camera.
Had you any influences back then?
When I was about 13, my neighbor Max Coplan, an accomplished photographer, taught me how to use a camera.
When did the writings and images that surface on public spaces begin to engage you?
In the early 80’s, I walked into a school playground on Grand and Baxter and discovered that its walls were filled with graffiti. I was intrigued. But as I only used black and white film at the time, my earliest photos of graffiti are in black in white, and I wasn’t documenting it regularly.
What spurred you to photograph the streets so methodically since 2000?
My neighborhood had begun to gentrify. Changes were happening rapidly. Overnight the rent on a local restaurant soared from $4,000 a month to $16,000. I wanted to document these changes. And as soon as I switched from black and white film to color, I began noticing street art.
Have you had any particularly memorable experiences while photographing graffiti and street art?
I once came upon a love letter written by a woman from England to Faile that was posted onto the building at 11 Spring Street. She had assumed, incorrectly, that Faile was one person and single. I photographed her love letter and posted it onto my Flickr photostream. When the woman discovered her letter online, she asked me to remove it – which I didn’t. But the story doesn’t end there. She had just returned from Zambia with a love potion. She decided that the time was right for her to visit NYC to meet Faile. She would set up a meeting to buy a print from him. Surely, the love potion would work!
Did it? What happened? Did she ever meet Faile?
She did, but she encountered an unanticipated problem. When she inserted the love potion into her mouth, it distorted her speech and facial expression. She did meet the object of her love, but she decided against using the love potion. And that’s the end of the story.
Wow! What is it about street art and graffiti that has so captivated you?
It’s the thrill of discovery. There is something magical about it. I also love its inclusiveness and democratic nature.
Have you any thoughts about the street art/graffiti divide?
Most of the street artists I’ve met were trained in art schools, while the original graffiti writers didn’t have any kind of formal art education. And when the street artists started making their mark on the legendary building at 11 Spring Street off the Bowery, the writers felt that they were not getting enough space or respect. I remember walking by one day to discover the entire building sprayed all over with silver paint. There definitely is a divide.
What about your perception of the divide? What differences do you see?
Graffiti is a highly refined art. It is beautiful. The first generation of writers created an entirely new aesthetic. They invented a whole new language. Yet few people can understand it and appreciate it. Street art is far more accessible.
There are many folks out there who consider the illegal writings that you photograph vandalism. Have you any thoughts about that?
It’s a non-issue. It’s meaningless. It’s a political fiction invented by politicians and lawyers and the police who enforce it. It has no validity.
How do you feel about the move of street art and graffiti into museums and galleries?
The commercial world sucks the credibility out of graffiti and street art. It takes it out of its natural setting.
How do you feel about the role of the Internet in all this?
I think it’s wonderful. It makes everything even more accessible. I have Flickr contacts all over the world.
What do you see as the future of graffiti and street art?
I see it as the most important international movement in world art since American pop art. It’s here to stay.
All photos by Elisha Cook, Jr. Except for first two BilliKid paste-ups of Elisha, images capture NYC’s legendary building at 11 Spring Street, 2006-7
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