Street Art NYC | From the streets of New York

Modern Hieroglyphics: A Curated Collection of Conversations with Artists from all around the World

January 12, 2015

The following guest post is by Houda Lazrak, a graduate student in Museum Studies at New York University.

Presenting a distinctive global perspective on art, music, fashion and culture, Modern Hieroglyphics — readying now for the release of its second issue — premiered this past summer. Co-founded by adventurous designer Jack McKain and West Coast-based artist Chor Boogie, the 156-page publication features fascinating interviews with ten talented artists, along with dozens of photos.

Tapping into graffiti history, the term Modern Hieroglyphics was first coined by San Diego-based Blame One. The term was then popularized by Chor Boogie to define his personal style. Finally, it was re-adapted to serve as the title and theme for this magazine’s spirit – a belief in the inherent power of visual communication through pictures and pictographs.

The interviews, conducted by McKain, are first rate. Meres One, for example, recounts his experience as curator of Long Island City’s 5 Pointz, along with his tenuous fight against gentrification and the whitewash of the iconic legal graffiti space. In another interview, Noah Scalin describes his Skull-A-Day project. To challenge his creative capacity and test his commitment abilities, the artist embarked on a one-year venture to fashion a skull image from different materials every day. Scalin describes how he garnered an online following and transformed what was a personal project into a public one – a creative commitment that, he confesses, became addictive.

All of the interviews are accompanied with strikingly beautiful images and end with links to relevant social media. To promote the role of photographers in the creation process of Modern Hieroglyphics, the publication also includes clear photo credits and devotes the final page to photographers’ contact information.

Certain to appeal to us street art and graffiti aficionados, Modern Hieroglyphics is a widely creative platform that exposes the talents of international artists through captivating imagery and engaging text.

Note: In addition to its website and Facebook page, you can also follow Modern Hieroglyphics on Instagram as it readies for the release of its second issue.

Photos: 1. cover and 3. Shaka (close-up) courtesy of the publisher; 2. Meres One by Dani Reyes Mozeson as featured in Modern Hieroglyphics

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“The Future Is Now” Continues through January 20 at 60 Orchard with Art is Trash, Jamie Martinez, Iena Cruz, Kimyon Huggins, NDA and more

January 11, 2015

Featuring a diverse range of artists – many active in the streets – the Future Is Now continues through the 20^th at 60 Orchard Street on Manhattan’s Lower East Side. While visiting the exhibit soon after it had opened, I had the chance to speak to Kimyon Huggins, who along with Kennedy Yanko, curated it.

This show is wildly eclectic – featuring a broad range of visions and styles. Can you tell us something about this exhibit’s title? Its mission? What does it all mean?

The Future Is Now references a new form of Dadaism, where artworks of varied styles from artists of different backgrounds come together in a cohesive fashion.

Is there any common theme to these dozens of artworks?

It’s all an ode to the 80’s – to punk rock and its DIY sensibility.

How did you choose these particular artists? There is quite a range here, with many active on the streets.

They are all people that Kennedy Yanko and I know – urban artists whose artworks represent the theme of the exhibit.

And what about this space, 60 Orchard?

It couldn’t be more perfect. A space like this on the Lower East Side is where “the future is now.”

The Future Is Now remains on view through January 20 at 60 Orchard Street between Hester and Grand on the Lower East Side.

Photos

1. Francisco de Paja aka Art is Trash

2. Joseph Conrad-Ferm

3. Ross Brodar

4. Jamie Martinez

5. Iena Cruz

6. Kimyon Huggins

7. NDA

Photos 1, 4 and 5 by Tara Murray; 2, 3, 6 & 7 by Lois Stavsky

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Ewerdt Hilgemann’s “Implosion” Sculptures on Manhattan’s Park Avenue and at Jersey City’s Mana Contemporary

January 10, 2015

After six weeks of polishing a five-foot–tall marble cube to perfection back in 1982, German sculptor Ewerdt Hilgemann rolled it down a steep slope. He liked what he saw, as its mangled, contorted forms represented “the ultimate beauty of creation.” And since 1985, Hilgemann has been forging sculptures using a unique vacuum process, which “implodes” geometric shapes causing the material to deform according to natural laws.

At once tough and sensuous, a series of Hilgemann’s seven stainless steel sculptures surfaced on the streets of our city this past summer. We were mesmerized! Opening tomorrow at Mana Contemporary is Panta Rhei, an exhibit featuring six of Hilgeman’s sculptures installed outside the Mana Glass Gallery and inside the building’s lobby.

Cube Flower, as seen in early fall on Park Avenue

Dancers, close-up, as seen in early fall on Park Avenue

And at Mana Contemporary, as seen yesterday in the icy snow

The artist

And his wondrous smaller works as viewed indoors at Mana

Also opening tomorrow at Mana Contemporary are: Making Art Dance, curated by Jeffrey Deitch; John Newsom: Rogue Arena and David Levinthal: Hitler Moves East.

The opening events are free and open to the public. You can RSVP here for free transportation from NYC. Shuttle service to and from the event will be provided every half hour starting at 12:30 PM from Milk Studios (450 W. 15th Street) and returning every half hour from Mana starting at 2 PM.

Photos: 1-5 and 7 by Dani Reyes Mozeson; 6 by Lois Stavsky

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Subway Trains on NYC Walls with: Damien Mitchell, Downer Jones, Bella Amaral, Danielle Mastrion, Dek 2DX, Shiro and Cern

January 8, 2015

We’ve been noticing more and more subway trains on walls down in Brooklyn and up in the Bronx. Here’s a sampling:

Damien Mitchell for the Bushwick Collective

Downer Jones in Bushwick

Bella Amaral in Bushwick for JMZ Walls

Danielle Mastrion in Bushwick for the Dodworth Street Mural art project

Dek 2DX in the Mott Haven section of the Bronx

Shiro in Bushwick for JMZ Walls

Cern in Williamsburg

Photos: 1, 2, 4 and 6 by Lois Stavsky; 3 by Tara Murray; 5 by City-as-School intern Zachariah Messaoud and 7 by Dani Reyes Mozeson

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Martinez Gallery Brings “Free Radicals” to ALL CITY — An Uptown Space Where Graffiti and Medicine Coalesce

January 6, 2015

While visiting the Free Radicals graffiti exhibit at ALL CITY this past Friday, I had the opportunity to speak to noted Martinez Gallery director Hugo Martinez who — together with Dr. Juan Tapia — envisioned and helped realize this wonderful space that serves as a graffiti art gallery, arts center and pediatric clinic.

What an amazing venture this is! A pediatric clinic, a dynamic art gallery and lounge all sharing the same space. Whose concept was this?

It was Einstein’s. “After a certain high level of technical skill is achieved, science and art tend to coalesce in esthetics, plasticity and form,” he once stated. There is a natural synthesis between art and medicine, and a health clinic is an ideal setting to realize it.

What made this extraordinary space possible?

2.5 million dollars and seven years.

Who were the main forces behind it?

I work with Dr. Juan Tapia, a pediatrician and former graffiti artist known as C.A.T. 87. We were inspired to observe and measure evidence-based results of fusing two seemingly antithetical concepts.

How did you two come to collaborate?

I met Juan over 40 years ago when I was a student at City College and he was a Warlord for the neighborhood division of the Young Savage Nomads gang. In 1972, we co-founded the United Graffiti Artists (UGA) as an alternative community to the established art world. Juan then went on to earn his GED and attend college and medical school. We have since collaborated on many community-based art and health projects. And in 2008, we established the ALL CITY Foundation.

Can you tell us something about the ALL CITY Foundation?

It is a community-based health and arts collaborative that has brought together a network of medical practitioners, artists and designers to create and run coordinated health and art programs for youth in New York City.

Your current exhibit, Free Radicals, is a remarkable representation of various works in different media by a range of prolific artists.

Yes. All of the artists in this exhibit have established all-city reputations, most in NYC and a few in other large cities.

Why did you choose this particular space on the corner of 135^th Street and Broadway? It is quite impressive.

It is close to City College, where UGA was first established. And the lay-out of the building, the former Claremont Theater – a 22,500-square-foot landmark that was the first theater to show photoplays — is perfectly designed for our purposes.

What’s ahead?

A range of programs, activities and revolving art exhibits.

Note: Free Radicals continues through March 31 at 3332 Broadway at 135th Street in Harlem. All artworks are for sale. You can follow the Martinez Gallery online at martinezgallery.com and on Instagram at instagram.com/martinezgallery. You can also visit the space with NY1 and check out this recent story in the New York Times.

Photos

1. Kaput, Noxer and Giz

2. Noxer

3. False and Navy8

4. Navy8

5. Soviet, close-up

6. Various artists, as seen from the outside looking inside

Interview and photos by Lois Stavsky

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NYC Shutters – Part VIII: Sweet Toof, Darkclouds, Ben Eine, Ramiro Davaro, Kashink, the Drif and Buff Monster

January 5, 2015

This is the eighth post in an occasional series featuring artwork on NYC shutters:

Sweet Toof on the Bowery for the LISA Project

With Darkclouds

Ben Eine in the Mott Haven section of the Bronx

Ramiro Davaro in the Bronx for the Tag Public Arts Project

Kashink in Bushwick

The Drif on the Lower East Side for the LISA Project

Buff Monster on the Bowery

Photos 1, 2, and 7 by Tara Murray; 3 and 4 by Lois Stavsky; 5 and 6 by Dani Reyes Mozeson

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Riding the Train from East Tremont to Brighton Beach with: Pulse, Praxis, TAKI 183, Nic 707, Skeme and Michael Cuomo

January 2, 2015

Nic 707‘s InstaFame Phantom Art continues to share a range of art — from tags by legendary writers to works by global artists — with NYC subway riders. Here are some images captured on a recent ride from East Tremont in the Bronx to Brighton Beach in Brooklyn.

Veteran UK graffiti writer, Pulse

Bogota native Praxis

The legendary TAKI 183

Praxis

Nic 707

Graffiti pioneer Skeme of Style Wars fame

Mulit-media artist Michael Cuomo

Nic 707

Michael Cuomo

Photos by Lois Stavsky

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Anna Matos on WallWorks NY — A New Gallery Space in the South Bronx

December 31, 2014

Founded by John Matos aka Crash and Robert Kantor and directed by Anna Matos, WallWorks NY is a wonderful new gallery space at 39 Bruckner Boulevard in the South Bronx. While visiting its current — and final — unofficial exhibit, Open Gallery, we had the opportunity to speak to Anna.

When did WallWorks NY open?

We had our first “unofficial” opening exhibition, First Taste, on September 12. Its focus was on promoting street art and graffiti as a viable art form within galleries and museums. Among the many local and international artists whose works were featured were: Daze, Futura, Nick Walker, Stash and TATS CRU members: Bio, Nicer and BG 183. This was followed by Point. Focus. Click. featuring photos – that had never been exhibited before — by such photographers as Henry Chalfant, Martha Cooper, Joe Conzo, David Gonzalez, Lisa Kahane, Francisco Reyes II and Ricky Flores.

This current exhibit, Open Gallery, introduces us to many new artists.

Yes. It’s our final show before our official opening next month. Along with works by emerging local artists in Open Gallery, are artworks in various media by artists from around the country – many of whom had never exhibited their works in a gallery setting before.

How have these “unofficial” openings gone?

The response has been great. And the success that we’ve achieved so far is more than we could have imagined!

Why did you choose to open a gallery in the South Bronx?

Why not the South Bronx? Its history is so rich, and hopefully we will encourage people to visit it.

What is WallWork’s NY’s mission?

In the experimental and explorative vein of Fashion MODA, we want to exhibit new and exciting work from both emerging and established artists.

How did this space come to be?

My father, Crash, had dreamed for a long time of opening a gallery, and I loved the idea of directing one. On our trips into the city, we repeatedly passed this empty space on Bruckner Boulevard – that we saw as a potential site for a gallery. After discussing it with an art dealer in Paris last summer, my father said, “Let’s do it!” And then a partnership with entrepreneur Robert Kantor made it possible for my father to realize his dream.

What experiences and skills do you bring to your position as gallery director?

I grew up around art. As a child, I regularly accompanied by father to his studio – where I would sit and draw. For a long time, in fact, I thought I would be an artist. But as a senior in high school, I discovered that I was more interested in the concepts behind the art than in creating art. I then majored in Art History with a double minor of Philosophy and Black Studies at Fairfield University, and after graduating from college, I studied Art Business at FIT. And in addition to several internships, including one as Special Project Manager the Jonathan LeVine Gallery, I served as a liaison for my father, assisting him in everything from creating a strong social media presence to installing and selling art. I see myself as someone who is committed to each artist’s personal development and financial success — as well as to the success of the gallery.

What’s ahead?

Our official launch takes place on next Saturday, January 10, with Ikonoklasts, featuring never-before-seen works by three legendary NYC artists: A-One, Dondi White and Rammallzee. Following Ikonoklasts will be our first solo show featuring works on canvas by Nicer of TATS CRU.

That sounds wonderful! We are looking forward!

Interview conducted by City-as-School intern Zachariah Messaoud and edited by Lois Stavsky; photos by Lois Stavsky

Photos

1. TATS CRU

2. Anna Matos, gallery director

3. Such Styles

4. Buz163

5. Funqest

6. John Paul O’Grodnick

7. Stephanie Burr

Note: Open Gallery continues until January 7 at 39 Bruckner Boulevard in the Bronx.

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B-U-S-H-W-I-C-K: Spelling It Out at the Bushwick Collective: Sexer, June1, Sheryo & the Yok, Dasic, Billy Mode, Eelco, Crash and Zimad

December 29, 2014

With Sheryo and the Yok completing the missing letter — S — , the B-U-S-H-W-I-C-K mural at the Bushwick Collective is now complete. Here are some images:

Sexer at work after completing the letter ‘B.’ Letter ‘U’ by David Louf aka June1 to its right

Sheryo and the Yok, the letter ‘S’

Dasic Fernandez at work on the letter ‘H’

Billy Mode at work on the letter ‘W’

Eelco ’Virus’ Van den Berg, the letter ‘I’, with Bushwick Collective founder and curator Joe Ficalora to its right

John Matos aka Crash, the letter ‘C’

Zimad at work on the final letter, ‘K’

With some additions

Photo credits: 1, 4 & 7 by Dani Reyes Mozeson; 2, 3, 5, 6 & 8 by Lois Stavsky

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Italian Artist Nemo Tibi Amat on Carrots, Burqas, NYC and more

December 28, 2014

Back in September, a huge orange carrot surfaced on the streets of Williamsburg. We soon discovered it was the work of the Italian artist Nemo Tibi Amat, whose distinctly curious aesthetic was on view at Exit Room NYC at the time. Eager to find out more about it all, we posed some questions to her.

Why a carrot? What does the carrot represent?

Because it makes me smile, and it makes other people smile. I think of it as a kind of Carrot Therapy. Also, the carrot fits wonderfully into our urban architecture. It can be vertical or horizontal; it can be whole or chopped. There will always be a place for it.

When was your carrot first born?

Everything was born some years ago. At the beginning, I used to paint a fat radish instead of the letter O when I wrote my name. Then when I began doing rollers, I replaced the letters with the carrot. Even a child who can’t read can recognize a carrot.

What about the carrot on a cross that I saw over at Exit Room? What does that represent?

It’s the sacrifice. Anyone who aims to change the world by fighting against the system — with his or her own powers — is a Jesus on Earth. He wasn’t the only one crossed, as so many were, are and continue to be in many other ways. He’s just the most famous, because apparently his father was a god! The real crucified carrots that I use represent the inevitable decay of the body. After death, there is no resurrection.

And your burqa? It’s such an intriguing, powerful image. What does it represent?

Since I began painting — back in 1995 — I’ve had to deal with hiding and covering myself. I’m fascinated by the relationship between one’s interior self and the exterior world. And I love playing with the concept of protecting your body by hiding it. Covering your face can be a choice, but sometimes it is a necessity — a rule that others impose on you. Through my burqas, masks and balaclavas, I also tell stories that range from personal experiences I’ve had with real people to secret urban legends. If you scratch away the plasticine on my scratch card artworks, you can win my face.

What about your characters? Can you tell us something about them?

The characters themselves tell me how to draw them. You would have to ask them.

What is like being a female in a male-dominated world?

I don’t think about it. If you know who you are and where you are, you can manage just about everything going on around you. Most of the time, I paint on my own, and most of my friends are guys. I think I’m lucky, as I feel free from those mental prisons that a lot of girls feel enclosed in. I don’t, though, support the feminist way of thinking as it only increases the separation between us.

What is your impression of NYC?

Everything is really messed up, and I do love it.

Interview by Lois Stavsky with assistance by Daniela Croci aka Zoe; Photos 1, 2, and 5 courtesy of the artist; 3 and 4 by Lois Stavsky

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