The rooftop of the former Seward Park High School on Manhattan’s Lower East Side has evolved into one of NYC’s most enticing graffiti canvases. Following is a sampling of what we saw this past Sunday as Rooftop Legends, curated by New Design High School dean, Jesse Pais, celebrated its sixth anniversary.
Graffiti pioneer Part One
Smoke
Style masters Shank aka Dmote, Wane and Aplus
Photos by Lenny Collado and Tara Murray
{ 1 comment }
Back in 2012, Chicago-native Shawn Bullen brought his wonderful talents to Bushwick. This past weekend, I had the opportunity to meet up with the gifted artist who has just returned to NYC after spending several years in San Francisco.
When and where did you first get up in a public space?
When I was 17, I got hold of some Mean Streak markers and started tagging the mailboxes in my Chicago neighborhood.
What inspired you to get up?
My friends were doing it, and it seemed like a fun thing to do. I didn’t really think about what I was doing, and I certainly didn’t take it seriously. I also wasn’t very good at it!
Do you remember when you first became aware of graffiti?
There was a graffiti wall in New Hyde Park that I used to pass almost every day. But I didn’t quite get it! I thought, “Why would anyone write something that nobody else could read or understand?”
Once you began getting up, did you ever get arrested?
I was arrested twice. The first time, I had climbed on top of a nearby fruit and vegetable stand to write my name. I was caught on camera, and I ended up having to turn myself in. Ironically it led to my first paid gig as the owner of the space offered me $200 to paint his truck.
What was the riskiest thing you ever did back then?
My friend and I would crawl across train tracks lined with live wires through dangerous neighborhoods.
Why did you do that?
To get to rooftop walls that we liked along the Green line.
How did your family react to all this?
My mom was hot happy that I was breaking the law, but she was always confident that what I was doing would lead to something.
Do you have a formal art education?
I can’t remember a time when I wasn’t drawing! But, yes, I studied Photography throughout high school. And then I studied Photography and Drawing at Columbia College in Chicago before transferring to NSCAD, the Nova Scotia College of Art and Design. But I didn’t graduate. I left after two years.
Why was that?
I noticed that most of the graduates were working in coffee shops. Few had jobs related to art. I had also felt that I had learned enough.
How you feel about the role of the Internet and social media in this scene?
I think the Internet is a beautiful tool that allows us to share our work with others. It is difficult, though, to keep up with social media, and I know that I need to focus more on my Instagram account. I can get lazy!
Are there any particular cultures that have influenced your aesthetic?
Growing up on the South Side of Chicago, I was exposed early on to the hip-hop culture. Undoubtedly, it has influenced my aesthetic. And when I paint, I almost always listen to hip-hop – Kenye West, Jay Z, Drake…
Have you any favorite artists?
So many! To name a few…Kehinde Wiley, Chuck Close, Basquiat, Aryz, the Etam Crew, and – of course – Michelangelo hasn’t been topped yet!
That’s quite a diverse group! Do you prefer working alone or would you rather collaborate with others?
From ages 17-22, 90% of what I painted was with my crew, the IDC Art House, but these days I feel more and more that I like making my own decisions.
Do you generally work with a sketch-in-hand or do you just let it flow?
It depends. I love to freestyle. It is so much fun. But for commissions I often have to present a sketch first.
Are you generally satisfied with your finished piece?
It’s never as good as I’d imagined it to be, but since I can’t spend years on it, I’m generally proud of myself.
Have you exhibited in galleries? Any thoughts about street artists and graffiti writers showing in gallery settings?
Yes, I’ve exhibited in several shows, both solo and group. I don’t have a problem with street artists exhibiting in galleries. All artists need as much exposure and financial support as they can get. And I have only respect for artists who have moved onto the fine art world.
What about the corporate world? Any thoughts about that?
I have mixed feelings about it. Clearly not all corporations are evil. And, yes, I’ve worked with corporations. Corporate gigs, in fact, make it possible for me to survive as an artist. And why shouldn’t corporations support artists?
And do you work full-time as an artist?
Yes! From age 18 on, I was either teaching art or doing art.
What inspires you these days?
I’m interested in exploring people’s ideas as to how we can save the world. I’m intent on uncovering solutions to problems that affect us all.
How has your artwork evolved in the past few years?
I think much more about concepts, and I continue to paint on a larger and larger scale.
What do you see as the role of the artist in society?
It’s up to each artist to decide his or her role. I see my role as making life better. I want use my art to make people feel better. I would love to change someone’s life with my painting!
What’s ahead?
I want to paint! I’d like to create at least one piece of public art in every country in the world. And I’d love NYC to be my home base!
Interview conducted and edited by Lois Stavsky; photos courtesy of Shawn Bullen, SHAWNBULLEN1@GMAIL.COM
Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.
{ 0 comments }
We recently had the opportunity to meet up with Apostrophe founders and curators — Sei and Ki Smith — and find out a bit about their plans for 2016:
Just what is Apostrophe?
Apostrophe began as a gallery and performance space in Bushwick in 2012, and it has since evolved into a series of pop-up exhibits and events. As a collective, it is designed to offer exposure to artists while sparking a creative energy that can be experienced by everyone. Our last exhibit, Subway Show, took place at the Kosciusko Street stop on the J train. The subway passengers, along with anyone else who came by, were treated to art, music, a comedic performance and refreshments!
What about its name, Apostrophe?
Our concept came before the name. The name was inspired by the title of Frank Zappa’s eighteenth album Apostrophe’. It suggests an inclusive fusion of energies.
What is Apostrophe’s current mission?
The mission of our current project Base 12 is to highlight the art of twelve talented artists in a dozen diverse, unconventional settings, while making their art accessible to folks who might not otherwise see it. When art is shown exclusively in gallery settings, its audience can be limited.
What kinds of alternative settings are you referring to?
Of the nine upcoming pop-up shows here in NYC, three will take place on subway platforms, three in museums and three in parks. They will all engage passersby in non-traditional ways. Details will be announced the day of the event via Instagram and Facebook.
That sounds great! How did you select the artists?
Some had participated in exhibits in our former Bushwick space; others we met through friends. And some we discovered through our open call for submissions. We’ve all gotten to know one another, and we all work well together. Once a month we come together, and we critique each other’s artworks. We love not only the works of the artists we are showing, but their energy, as well!
Do you both have a formal art education?
We both went to art school, but neither of us finished. We grew up, though, in a family of artists and have always engaged in art-related projects here and abroad.
What’s ahead?
In addition to what will be happening here in NYC, we are planning three exhibits and events abroad: at Alan Istanbul in Turkey; at corretger5 in Barcelona, and at a gallery space — to be announced — in London.
It’s all very exciting! Lots of luck! We will definitely keep posted to your Instagram.
Interview by Lois Stavsky with Houda Lazrak
Photo credits: 1 Lois Stavsky; 2-4 courtesy of Apostrophe; 5 Tara Murray
3 James A Reyes, My Shorty
4 Sei Smith, Half Portrait No. 5
5 James Rubio, Black Flowers, close-up of public art work
Apostrophe’s Base 12 will also feature the works of Caslon Bevington, Ryan Bock, Morell Cutler, Alana Dee Haynes, Kolter Hodgson, Charlie Hudson, The Love Child, Julia Powers and Bruno Smith
Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.
{ 0 comments }
Founder of the much-loved Robots Will Kill, Staten Island-based artist Chris Rwk Chillemi’s creates delightful character-driven artworks that find a home on the streets, in galleries and — most recently — on WAT-AAH!‘s premium bottled drinking water. I was delighted to interview him.
When did it all begin? When did you first get into graffiti?
It was back in 1988 in Huguenot, Staten Island. I was 11. My brother and his friends started doing graffiti back then, and I would tag along and photograph it. About two years later, I began doodling on public surfaces.
We associate you with your hugely lovable, iconic characters. What was the inspiration behind them?
Letters didn’t hold my attention for all that long, as I’d always been so interested in cartoons and comics. I loved Gary Larson, Jim Davis and Disney stuff. Their styles were all different, but they all had really strong imagery and messages. My first illegal piece, in fact, was the wizard from Hagar the Horrible with a spray can doing a throw up! I can still remember the colors!
What about Robots Will Kill? Can you tell us something about its origin?
Back in 1999, while on a fellowship in Vermont, I came upon a friend, Chris Rini, painting a giant cellphone holding a man! That’s when I came up with the notion that “robots will kill.” If you do something too much and too often, it becomes robotic, and you lose your love for it.
Robots Will Kill – that began with you – has evolved into an informal global collective. Who are some of its members?
At first it was just me. Then Kevin and a bit later Veng joined. Since, we’ve collaborated with such artists as Peeta, ECB, Flying Fortress, JesseR. OverUnder and Mike Die.
Would you rather paint alone? Or do you prefer to collaborate with others?
I love both. In my studio, I’d rather work alone. But I love painting with others outdoors as it pushes me to another level.
Any thoughts about illegal vs. legal graffiti?
Ideally — what begins illegally evolves into something legal.
You’ve exhibited your work in dozens of galleries. How do you feel about showing in formal settings?
It’s great. There are lots of folks who would never notice my work on the streets. But when it’s in a gallery, they will have to pay attention to it.
What about the graffiti/street art divide? You seem to successfully straddle both.
Street artists need to respect graffiti writers. They don’t always do. They need to learn the history.
What about the corporate world? How do you feel about sharing your talents with private comporations?
Things aren’t black and white anymore. It’s not a matter of us vs. them. I don’t mind working for a corporation, so long as it’s an ethical one. The corporate world makes money. Why shouldn’t we artists benefit from it?
What is the riskiest thing you’ve ever done?
I play it safe. I’m not a risk-taker. When I was in high school, my tag was ND – No Drugs…Never Drunk…Never Dull! I’ve been straight edge my whole life.
How does your family feel about what you were doing?
My family has always been supportive. When I was a kid, they built a wall in my backyard, so I could practice!
You have a 9-5 day job here in Manhattan and you live in Staten Island. How do you manage to find time to do so much great art?
My weekday schedule is tough. I have to wake up at 6am to leave my house at 7, and I’m often not back home until 7 in the evening. I then have to help my son with his homework. I generally don’t begin working on my art until 10pm, and I don’t get to sleep until 2-3am.
Wow! That is a rough schedule. When you work, do you sketch first or do you just let it flow?
About 70% of the time, I work from a sketch.
Are you generally satisfied with your finished piece?
Yes – but my satisfaction is increased when I get a positive response to it from others.
Have you any ideal work environment?
I need background noise, so that I don’t overly think about what I’m doing!
Do you have a formal art education?
I earned my Associate degree at FIT and a BFA in painting from Hunter College.
Do you feel that you benefited from it?
Definitely, as so many elements – from choice of colors to spatial design — are involved in creating a first-rate piece.
Are there any particular cultures that have influenced your aesthetic?
The comic book culture, the sci-fi one and the graffiti culture. I’ve also been inspired by hot-rods and the urban culture, in general.
What is the source of your inspiration these days?
I’d say my family, my friends and my personal experiences.
How has your work evolved in the past few years?
It’s become more personal. My use of layers and colors has become more important to me. And when I paint, I tend to take my audience into consideration more than I used to.
How do you feel about the role of the Internet in all this?
I think it’s amazing that something I do here can be seen minutes later by someone in Australia. But I also think we’ve been oversaturated with blogs and Instagram.
Have you any feelings about the photographers/bloggers in the scene?
On the positive side, they help get artists known. But I don’t think much thought goes into much of what makes its way out there.
What do you see as the role of the artist in society?
He’s a muse for the general public. Without art, there’d be a lot less for folks to see, feel, think about and talk about.
What do you see as the future of street art and graffiti?
There’s too much going on right now, and too many people trying to get into the game. And so it is likely to fizzle out. But those who are true will survive its fallout. And what will emerge will be even stronger.
What about you? What’s ahead for you?
I will continue to do what I do. Create, paint and get my stickers out there!
Note: Chris will be a featured artist of WAT-AAH!’s upcoming exhibit in Chicago on July 18-20 as part of WAT-AAH! Taking Back the Streets art campaign, which connects today’s leading street artists with the brand’s mission to fight childhood obesity and promote healthy hydration among kids and teens. Joining the likes of Kenny Scharf, Swoon, Shepard Fairey, Haze and Chicago-based POSE, Chris has created a one-of-a kind WAT-AAH! label design featuring PHA’s “Drink Up” drop, as well as an original piece of art (shown above) that becomes featured in the brand’s traveling art campaign, which has been touring the country since its launch in NYC this past February. For more information, visit wat-aahstreets.com and follow @wataahstreets.
Interview conducted and edited by Lois Stavsky; photos: 1. and 8. Dani Reyes Mozeson; 2. Original artwork created for WAT-AAH! Taking Back the Streets art Campaign. Chris RWK. I Tried to Stop. 36″x48″. Mixed media. Image courtesy WAT-AAH! 3. With Veng, Tara Murray; 4. – 6. Lois Stavsky 7. Limited edition bottle design for WAT-AAH! Taking Back the Streets art campaign. Image courtesy WAT-AAH!
{ 2 comments }
Born in Canada, Lady K-Fever is a NYC-based interdisciplinary artist, art educator and curator. A recipient of numerous grants, she currently works with the Bronx Museum of the Arts, the Studio Museum in Harlem, the Bronx River Arts Center and the Laundromat Project.
When and where did you start getting up?
I started bombing in Vancouver, Canada in the early 90’s. I got up all over the city. No block was safe.
What inspired you back then?
In 1992, I found The Faith of Graffiti at a thrift shop and bought a bootleg copy of Wild Style. I immediately fell in love with graffiti. I was also into skateboarding at the time, and I was a member of the Riot Grrlzs: The Vancouver Chapter. We were invited to create an installation for an exhibition “Artropolis 1993.” We collaborated to create a graffiti-inspired tag wall about human rights.
What spurred your interest and engagement in social issues?
I was inspired by activism of the Black Panthers and counter culture of the 1960’s & 70’s.
What about graffiti crews? Did you belong to any?
My first crew was the one I created with some of my friends in Vancouver, the ILC crew: The Independent Ladies Crew. I have since put down with lots of other crews: CAC, TLV (the Latin Vandals), IBM, and WOTS. Right now I am down with KD-TDS-INDS.
Any early graffiti memories?
I’ll always remember the first three-color piece/bomb I did on my own. It was all about timing. It was in 1996 in downtown Vancouver, and I had hidden behind a car. I started to paint in the shadow of the car and hide when traffic was coming by. It was a thrill, and I wanted to do more.
When did you first get up in NYC?
My first time painting here was in 2001 at The Phun Phactory before it became 5Pointz. While there, I met so many people and artists who have helped me along my path. I am so grateful that there was a place like that – a place for the global graffiti movement to connect and blossom in New York City.
Have you ever been arrested?
Pleading the 5th and the 4th.
Have you exhibited your works?
I began exhibiting my work in galleries in 1993 in Vancouver. In NYC, I have exhibited at the Bronx Museum of the Arts, El Museo del Barrio, Longwood Art Gallery, The Corridor Gallery, Andrew Freedman Home and MoMA.
What percentage of your time is devoted to your artwork?
100 percent. All day. Every day. It’s my life. Life is my art. My art is the facilitation of my experiences as a creative human on this planet. I am inspired and find inspiration all day long.
Have you made money from your work?
I sell pieces, do commissions, apply for grants and residencies, teach and consult with museums and arts organizations, speak at schools and conduct workshops. Hustle is hustle.
Any thoughts about the so-called graffiti/street art divide?
The boundaries continue to blur. I thought we all fought hard for graffiti to be considered “art”. A writer is a writer; an artist is an artist. Both are valid and beautiful and all artists have the right to decide how they want to be identified. What I do not like is the dogma and the prejudices that arise. If graffiti and street art are ultimately forms of freedom of expression, then what really is going on?
Do you prefer working alone or working with others?
Both. I like working alone, and I like the interaction that happens when artists work together. I go through phases.
Do you have a formal arts education?
Yes and no. I studied fine art in high school and in college, but I formally went on to major in Theatre. I worked as a studio assistant with a Canadian pottery artist and as a scenic painter on film/TV sets to gain art trade skills.
What is the riskiest thing you’ve done?
I have done a lot of risky things. On my last day in Toronto, I did a bridge piece along a highway in downtown Toronto. I wrote the name Lady K Fever in huge letters on the whole bridge. As I was finishing, I saw a set of police lights flash across the highway. I ran and hid all the way home. That was my exit from Toronto.
Are there any particular cultures that have influenced your aesthetic?
I’m influenced by all cultures. I go through inspirational phases. I love texture and color. I like to work with Indian, African and Mexican fabrics and designs. Music is also an influence – its sounds, beats and lyrics.
Are you generally satisfied with a finished piece?
Yes and no. Sometimes, I just have to walk away and move on to the next.
How has your work evolved throughout the years?
I continue to refine my style and explore concepts.
How would you describe the role of the artist in society?
The artist’s role is to tell stories through personal and collective reflections and responses and to raise questions. The artist is a messenger of universal truth who challenges others to see and acknowledge what they might not want to
Interview with Lady K-Fever conducted by Lenny Collado and edited by Lois Stavsky; photo credits 1. Lenny Collado; 2. Tara Murray; 3 – 5. courtesy of the artist
{ 0 comments }
Old School New York City writer George Colon aka AIM SSB credits graffiti with having saved his life in the early 70’s. Decades later, he is back in the game — this time with a message beyond his name.
When and where did you first get up?
I was living in Williamsburg, on South 3rd Street off Bedford. It was in 1970. I was 10 years old. I remember looking at a clean wall in my hallway building and thinking. “My name would look good there!” I started off using shoe polish.
What other surfaces did you hit up back then?
Other hallways, mailboxes and telephone booths. The city became my playground. Soon I was hitting trains and station walls.
What inspired you to keep tagging?
I saw how much it was embraced at Art and Design, the high school I attended at the time. And it gave me something to do.
Have you any early graffiti-related memories that stand out?
Seeing phenomenal handstyles — such as those of Super Strut, Stay High and Super Kool 223.
Did you generally go out alone or did you get up with crews back then?
Two of my classmates at Art and Design took me up to the yards up at Baychester and Parkchester. Once I discovered them, I was on my own! But then in 1972, I went on to form SSB, one of the largest crews in NYC. We SSB members saved each other’s lives. And graffiti saved us all, by giving us a voice and offering us an alternative to the drugs, gangs and violence that were everywhere around us.
How were you known at the time?
I gained popularity as AIM-SSB, but I was also known as OH-222 SSB to confuse the cops.
What did AIM stand for? How about SSB?
AIM was an acronym for Artist in Motion and SSB for Soul Stoned Brothers.
Who were some of the other SSB members?
There were many: Lee Quinones, Shadow, CAM, Do, Rise, Bang 2, Taxi, Fear, Toke, Bomb-One, Jazz, Jazz 2, Pace, Don1, Dime 139 and more.
What is the riskiest thing you did? And why did you do it?
Laying on top of a train while it was running from the Bowery to Essex Street. I was with Chino 13 at the time, and we did it to escape the TA rats.
How did your family feel about what you were doing?
When I first started drawing, my mother encouraged me. She would buy crayons and pastels for me. But when I got into graffiti, my mom was concerned. She’d say things like, “Why are you getting paint on your sneakers?” But they didn’t pay all that much attention to what I was doing.
Have you ever been arrested?
About a dozen times. Mostly for tagging and stealing. I would run fast, but not fast enough.
These days, about what percentage of your time is devoted to art?
Not enough. I do about two pieces a week, but my day job as a recovery coach and a motivational speaker takes up much of my time.
When you do work, do you sketch first or do you just let it flow?
Both. About 70% of the time I work with a sketch.
Are you generally satisfied with your finished piece?
Absolutely!
Do you have a formal art education?
Just the year and a half I spent at the High School of Art & Design. I’m largely self-taught.
Are there any particular cultures that have influenced your aesthetic?
There are Greek and Italian influences. My father is Italian, and I’m inspired by Greek graffiti.
What inspires you these days to engage with the graffiti culture?
The eagerness of young people to learn about it. I love their innocence and ability to explore. My organizations, Imagine Ink and United We Paint, promote graffiti and urban arts events for folks across the generations.
Do you prefer working with others? Or would you rather paint alone?
When I was younger, I preferred to work alone. But I’ve recently enjoyed collaborating with Orlando Rine Torres and Sexer.
Any thoughts about the graffiti/street art divide?
I really can’t answer that. I’d like to learn more.
Why do you suppose the “art world” has been so reluctant to embrace graffiti?
Graffiti was originally seen as a threat. The defacing and destruction of property was perceived as an “uprising.”
How has your work evolved in the past few years?
I’ve diversified my styles and am more open, in general.
How do you feel about the role of the Internet in all this?
It’s an asset to the movement; it gets our work out there.
Have you any feelings about the photographers/bloggers in the scene?
I feel positive about them. They give us exposure.
What do you see as the role of the artist in society?
To awaken awareness within others.
What do you see as the future of graffiti?
My hope is that it can be taught on many levels and used in a positive way.
What about you? What’s ahead for you?
Continuing to create art and educating others about graffiti.
Interview conducted and edited by Lois Stavsky; all images courtesy of George Colon; the final image is a collaboration between George Colon and John Paul O’Grodnick
{ 5 comments }
Back in the 1960’s, Flint Gennari was getting his name up, without even realizing that what he was doing was a precursor to modern graffiti. It was wonderful to have an opportunity to meet up and speak with this graffiti pioneer.
When and where did you first get up?
It was back in 1966. I was nine years old, and I was traveling and camping cross-country with my family during our summer vacation. I was already aware of the mindless scribing on the bathroom walls. I’d seen “John loves Mary,” “For a good time, call…” Why not write something profound or, at least, interesting — since you have a captive audience? I started writing sayings and signing them FLINT. Anything that caught my fancy would work — something from a fortune cookie, a great lyric from a song or a quote that offers advice. It didn’t matter that people didn’t know what to make of it. I had a secret identify, and it kept me busy.
Gee! You must have been quite precocious! And what about your name? What inspired you to start writing your name in public spaces?
I had been learning about World War II in school, and I became obsessed with the phrase, “Kilroy was here.” Who was Kilroy? And why did he write his name everywhere? Like Kilroy, I liked the idea of advertising myself. I had hearing and speech problems, so I couldn’t understand much of what was happening in the classroom. This made me me a loner, but I found something that could make me part of the world. I was sensitive to social change. It was the 60’s. Things were changing, and I wanted to be part of it.
Did any particular writers or artists inspire you?
There were no writers at the time. Graffiti – as we’ve come to know it – didn’t yet exist. I was influenced by Madison Avenue ads and slogans. They would bombard you with whatever they were trying to sell. The artist Peter Max was commissioned to make art to be placed on mass transportation. He always made his name the centerpiece of the work and placed his art — angels, butterflies, fairies etc — around his name. Was he smart? I think so.
What about your name? How did you acquire the name “Flint?”
I spent lots of time – as a kid — with Marvel comic books and movies. These characters were cool; they would do what they wanted. I became a real James Bond fan. And so I took the name of Flint, the master spy who spoofed James Bond.
How did your family feel about what you were doing back then?
They hated it. They hated the name “Flint,” but it was my given name. I gave it to myself. Yes, I was the black sheep of the family and I was always in trouble.
What about crews? Did you join any crews?
As time went by, many more writers started in Brooklyn. Scooter and Dino Nod lived in the same apartment building two blocks away. And Flip One lived In the other direction — one block away. Erasmus High School was nearby, along with Mico, Mani and Wicked Gary. Dino Nod was the president of the ExVandals — the first-ever graffiti crew — and I ran with him. Then with my writing partner, LSD OM, I founded the Rebels. Future Rebels members included writers such as Shadow and Zephyr.
Were you influenced by these other writers? Did meeting them affect your style?
It was when I met these other writers that my sayings changed. I started writing more for them, and messages like For Those Who Dare, For Ladies Only, Bad but Not Evil and The Time Will Come... started turning up.
What is the riskiest thing you ever did?
Every time a writer gets up, he is taking a risk. But probably the riskiest thing I did was climbing down from the el to avoid the cops.
Do you have a formal art education?
I attended the High School of Art and Design, the greatest “writing” school out there. In the lunch room we all sat at the “Writers Table,”passing around our black books and refining our tags. In fact, Art and Design is where I met Al Diaz and influenced him and Basquiat to write messages.” On a more formal level, I took some classes at Pratt and at the International Center of Photography. But I’m largely self-taught.
You are an active photographer as well as an artist. At what point did your focus shift to photography?
I stopped hitting train stations and most public surfaces in 1976. And the following year, I began a 10-year project of photographing a drug addict. But even as a young child – before I could afford a camera – I loved photography, and I would borrow my father’s camera to photograph my friends. There was a time when it became a choice between doing pieces or photographing my friends doing them. This is how the video footage for my graffiti song came about. I remember when my friends Flip One and Dime139 asked me to hit the yards. I ended up doing more photography than hitting that day, but this was 1975 already.
Have you exhibited your work in gallery settings?
Yes. I’ve exhibited both my graffiti and photography. Before I graduated from high school, my work had won a Scholastic Art Award and was exhibited nationally. Then in 1998, Hugo Martinez, the founder of the United Graffiti Artists (UGA), saw my tag behind me at B&H photo, where I was working at the time, and gave me an exhibit at his gallery in Chelsea. That opened my eyes to how big graf had become: I had no idea! Since, I’ve exhibited worldwide and was featured in Born in the Streets at the Fondation Cartier in Paris.
Why do you suppose the Europeans are more receptive to graffiti than we Americans?
Europeans have always understood and respected art, particularly art that’s a bit out of the mainstream. Just look at how receptive they were to jazz musicians!
What percentage of your time is devoted to art?
All of it, though most of it is focused on my photography business. I’d like more time to focus on my own art. I do get orders for canvases and water colors all the time.
Any other passions?
Music. I play the guitar and I write songs. I was the rhythm guitarist for the Ex Vandals Band. Stan 153 played bass; wicked Gary was on percussion and Bama/Amrl was the leader and on drums.
Any thoughts about the graffiti/street art divide?
It’s all a means of expression, and we influence each other. It means something special, though, that we graffiti writers are a part of New York City’s history, and that we writers have invented a new American art form which is still evolving. But I’m not a purist. I think Banksy is terrific.
How do you feel about the role of the Internet in all this?
It’s great. I’m seeing and enjoying new things all the time. And it goes without saying how easy it has become to showcase what you are doing to a much bigger audience.
Have you any feelings about the photographers and bloggers in the scene?
It’s all good.
What do you see as the future of graffiti?
At the beginning, graffiti was considered nothing more than vandalism. When you became a writer, you entered a brotherhood with benefits. You belonged to a family of like-thinkers who, along with you, were creating something — without knowing exactly what. I’ve had life-long friendships with many of the pioneers such as Tracy 168, Stayhigh 149 (R.I.P) and Taki 183. Back in the day, we never would have imagined just how influential graffiti would become – that it would impact everything from fashion and marketing to the “art world.” Graffiti will continue to evolve, and its influence is likely to increase.
Interview by Lois Stavsky with Richard Alicea; all photos courtesy of the artist; first photo, Flint and Tracy 168.
{ 4 comments }
Brighton native Frank Malt aka Steam 156 has been active in the global graffiti scene for over 30 years – first as a graffiti writer in the UK, and then as a passionate documentarian of graffiti and street art around the world. Within the past two years he has published two highly acclaimed books, 100 UK Graffiti Artists and Street Art London. I recently met up with him in NYC.
When did it all begin?
I started in 1984 in Brighton as a b-boy. NYC’s Rock Steady Crew — that visited London in 1983 — and the hip-hop videos I saw on British TV turned me on to the break-dance culture. And from that I moved on to graffiti.
What surfaces did you hit back then?
Mostly train lines. My first hit was an electrical box off the train tracks.
Were you ever arrested?
I was chased lots, but I’m a good runner. And I like the adrenalin rush.
Have you ever shown your work in a gallery setting?
I only got involved with producing artwork for a few gallery shows. It was not really something I enjoyed doing that much. One of the shows I put together with a friend was called Icons. It was around 17 of the best British graffiti artists and I also managed to get two legendary New York artists to come over: Iz the Wiz RIP and Sar — both leading figures in the crew the Master Blasters. The show was back in 1992.
Do you have a formal art education of any kind?
No. I hated school. I was always a rebel. I got kicked out when I was 15, and I never went back.
Any particularly memorable experiences from back in the day?
The experience that always stays in my mind happened on one of my first visits to NYC back in around ‘88/’89. I had a guy show me around the Bronx. And when we reached the 238th Street Bridge, we jumped over the fence and got onto the Amtrak lines. I immediately started taking photos of all the graffiti there. Before I knew it, a whole gangs of guys came out from behind the wall throwing rocks and bats at us. I took off running down the tracks, while a huge Amtrak train was tooting its horn for me to get off the tracks. I ran as fast as I could to the next bridge and managed to get over the fence to find a subway station to get me back downtown. I survived.
We’re glad you did! Is there much of a graffiti/street art divide back in London?
Absolutely. Unlike graffiti, street art gets lots of positive exposure and gets picked up by galleries. Banksy kicked it off and pulled others into the scene. Street art has taken over London. It speaks to many more people than graffiti does. And most graffiti writers dislike street artists, and this gets acted out on the streets.
How do you feel about NYC’s current graffiti scene?
I guess it has changed a lot from the early days when I was coming to document the scene here. I remember I found a guy who was willing to drive me around every street in the Bronx for two days so I could take photos. It was pretty incredible back then. I found so many walls, handball courts by Seen, Cope, TKid and all those amazing FX walls. I know they had a big clean-up, but no doubt New York is still the place to be. It’s incredible how much goes on here.
Any thoughts about the role of the Internet in all this?
For me the Internet was good and bad. It was good, because I did not have to queue at the post office to send photos overseas. Everything became so much easier. I used to spend a fortune on postage costs, because I was trading photos with so many writers around the world back then. The bad thing was — I guess — it took the excitement away from hunting to find graffiti. To me part of the buzz and excitement was to see the wall fresh — to hunt it down without seeing it on every media site before the paint had even dried. I love seeing new graffiti before I have seen it online.
How do you feel about the current crop of bloggers and photographers?
There are too many jumping on the bandwagon. Many don’t bring any information. And far too many people who know nothing are putting out books. There’s the potential for exploitation.
Who are some of your favorite artists who work on the streets?
Revok. He’s brilliant. Other favorites include: Risk, Vulcan, Aroe, Smug, Roa, Cope2, TKid, TATS Cru. Too many people to name — so many talented people out there in the scene.
What do you see as the future of graffiti?
Who knows? I just think it will become more and more technically advanced. It will always keep evolving.
What’s ahead for you?
I just want to continue to pursue my passion and share it with others. I have a new book due out next year with an amazing line-up of European artists. I can’t say too much about it at this point, so stay tuned!
It all sounds great! Good luck and keep doing what you’re doing!
Interview by Lois Stavsky; photos courtesy of Frank Malt.
{ 1 comment }
Active on the streets of NYC for over 30 years, James Sexer Rodriguez has also achieved wide commercial success as a designer. His works on canvas, fusing elements of graffiti and realism, have been exhibited in galleries in NYC, the Caribbean and in Europe. His upcoming exhibit, Urban Convictions, will feature his new works — alongside new paintings by Zimad — this Friday evening at Rogue Gallery Chelsea, 508 West 26th Street.
When and where did you first get up?
I started tagging in notebooks when I was about 10. By the time I was 13, I was hitting the walls in the South Bronx with tags. And within a short span of time, the tags evolved into pieces.
What inspired you?
My ex-brother-in-law was a writer with B.A. (Bronx Artists), and my entire neighborhood was a breeding ground for writers.
Have you any early graffiti-related memories that stand out?
We used to steal ink from the supermarket and make our own markers. I remember spilling the ink all over myself, as I was getting ready to go bombing.
Did you represent any crews?
I was president of BA (Bronx Artists); other crews I represented include OTB, SYB, SSB and12 Disciples.
Have you ever been arrested?
I was caught several times, but booked only once – for a misdemeanor for public defacing. Basically, the police didn’t want to do the paper work, and so they just let me go. Things were different back in the day and they actually let us finish the pieces.
How did your mom feel about what you were doing back then?
My mom was oblivious to just how illegal graffiti was, but she always knew where I was going and what I was doing.
What is the riskiest thing you did?
Painting pieces in a tunnel with a one-inch clearance between the train and the wall.
Why were you willing to that that risk?
I wasn’t thinking! I was looking for fame. You couldn’t pay me to do it now!
Do you work with a sketch-in-hand or do you just let it flow?
About 90% of the time I work with a sketch. What I do these days is largely conceptual, and it takes planning.
Are you generally satisfied with your finished piece?
I work on it until I am satisfied with it.
Have you a formal art education?
I went to Art & Design High School, where I was around writers like Doze, Crash and Seen, Paze, Size, Ence. I also attended FIT and did some courses at Parsons.
What percentage of your time is devoted to art?
95% of it. I live off my art. My kids and my art are my life.
Are there any particular cultures that have influenced your aesthetic?
I wouldn’t say I’ve been influenced by any specific cultures. But life, itself, and growing up in the South Bronx and New York City have probably been my main aesthetic influences.
Any thoughts about the graffiti/street art divide?
I don’t like labels. I’m originally a graffiti artist, but I like street art. Street artists may use different techniques and tools, but they have given us all – including galleries — a new lease on life. Just look at all the attention Banksy and the art community have been getting since he began his residency on NYC streets!
How do you feel about that – the attention that Banksy has been getting?
It’s good. It keeps the art community healthy.
Why do you suppose the art world has been so reluctant to embrace graffiti?
Probably because of graffiti’s association with vandalism. It’s problematic to many.
Any favorite arists?
Certainly Picasso. He had so many styles and could do just about anything. Among graffiti writers, my favorites include Seen, Doze Green, Duro, Pase and Crash
How do you feel about the role of the Internet in all this?
It’s a blessing. You don’t have to have a million dollars to market yourself. The Internet has become a vital tool.
Have you any feelings about the photographers in the scene?
I am thankful for their coverage. But it’s important that they ask the artist’s permission and that they credit the artist whose work they are photographing.
What do you see as the role of the artist in society?
The artist has a responsibility to share his God-given talents with the world.
What do you see as the future of graffiti?
Graffiti is here to stay. It’s exciting and invigorating, and it is attracting an increasingly diverse following.
What about you? What’s ahead for you?
Well, after so many years of painting and striving for better and better, there’s only one direction for me: UP. I refuse to stop. I will continue to document my imagination and my emotions on whatever surface is in front of me. I love sharing my art.
Interview by Lois Stavsky; photo 1, close-up from Sexer’s new self-portrait, courtesy of the artist; photos 2 and 3, from Sexer’s solo exhibit at 5Pointz, by Dani Reyes Mozeson; photos 4 and 6, with Zimad at 5Pointz, by Lois Stavsky; photo 5, Sexer painting at 5Pointz, by Tara Murray
{ 6 comments }
Veteran NYC graffiti writer Al Diaz will be a featured artist this Sunday, June 16th, in the exciting Writing On It All project at Governors Island. We recently met up with Al who spoke about his early years as a graff writer on the Lower East Side and his text-based graffiti, rooted in his early collaborations with the legendary Jean-Michel Basquiat.
When and where did you start getting up?
Back in 1972 on the LES. I was 13. I hit mostly trains and trucks back then.
What was your tag at the time?
Bomb-One.
Is that because you were bombing lots?
No. That term didn’t even exist at the time. My friends gave me that name because I used to panic and blow-up.
What inspired you to get up back then?
My cousin was close-friends with Snake 1. And we spent a lot of time with him and other writers up at the Writers Corner 188 in the Heights.
Do you have a formal art education?
As a kid, I took painting and drawing classes, and I went to the High School of Art and Design.
Have you ever been arrested for graffiti?
Once they picked me up and held me over night in Coney Island. But, no, I was never arrested for graffiti.
Have you any early graff-related memories that stand out?
I remember when a truck driver caught me writing on a truck and beat the hell out of me, mangling my wire-framed glasses. It was probably not even his truck.
How did your family feel about what you were doing?
They hated it. Back then we were considered juvenile delinquents.
How did you transition into the word-play that you do today?
In 1977, I became friends with Basquiat. We met at City-as-School. I introduced him to writing on walls. We came up with the term SAMO (Same Old Shit). That was the beginning. What Basquiat and I did was soon picked up by the SoHo Weekly News and the Village Voice.
Any thoughts about Jean Michel Basquiat’s commercial success?
That’s the art market. It is what it is.
How do you feel about the movement of street art and graffiti into galleries?
Why not? I’m too old to be idealistic.
Who were some of your influences?
Jackson Pollock. I love his manic energy. Picasso, Charles Bukowski and Tom Waits.
Tell us something about what you are doing now.
In 2008, I started pulling WET PAINT signs off the subways, cutting them up and making anagrams from its letters. At first I did it just to entertain myself. But the project continued to evolve and three years later, in 2011, I began posting these redesigned, recycled signs back on the walls in the train stations.
How has your work evolved in the past few years?
I’ve always loved words and language, and I’m continually becoming more adventurous in my wordplay. I now have a list of almost a thousand words made from WET PAINT!
What do you see as the role of the artist in society?
I see my art as social commentary. The masses are generally asleep. It is the responsibility of the artist to wake them up.
You can register here to participate in Al Diaz’s WET PAINT project this Sunday from 12-3pm in the interior of an early 20th century house that had served as senior officer housing when Governors Island was a military base.
All photos courtesy of the artist
{ 1 comment }
