In this twelfth post in our new series, PUSHING IT FORWARD — featuring ILLicit creatives claiming space on NYC streets — we’re back to the Bronx. Pictured above is Avert — hunted down in Hunts Point. Several more images of Bronx markings follow:
The ubiquitous Cope2
Riot
Aster — whose tag seems to keep on surfacing!
And a treasure trove of markings on a freight spotted along the tracks in Mott Haven
Post by the Pushing It Forward Collective
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Born and raised in Queens, New York and based now in, Bari Italy, Cear One has left his mark not only in his native city, but in Central America and now in his current hometown in Southern Italy. I recently had the opportunity to interview him:
When did you first “get up?”
I started practicing tags when I was about 13 or 14. But I didn’t actually go outside with spray paint until I was 17. That’s when I did my first throw-ups and fill ins on Queens’ rooftops.
Where were you living at the time?
I was living in Flushing, but I also went around Astoria, Jackson Heights and other parts of Queens.
What inspired you to?
My uncle, the Original KR1, was a writer. He was a big influence. Graffiti magazines and videos also inspired me.
Were there any other artists out there who motivated you to “get up” when you first started?
There were many! Among them are: Zephyr, SP1, Cope2, Ces, Per, Sabe KST, Keep, Nato, Bruz and West Cost writers Saber and Revok.
And why did you continue to “get up?”
I loved the feeling of it. It’s thrilling. It’s kind of a rush – like a natural high. And when I get up, I feel like I’m getting a good workout!
Have you any favorite surfaces or spots?
With markers, I love a smooth surface. And with paint, I like corner spots — like hidden or abandoned areas. I love concrete, metal, doors, plastic, trucks, gates, old buildings, brick, cinderblock… Trucks are especially great because they move.
How do you choose your spots?
I go for the kinds of spots that are likely to last. Those are ideal.
What’s your earliest graffiti-related memory?
The pieces my uncle made for me as birthday presents. He’d write my name, and he’d add characters and backgrounds – all in graffiti style.
What is the riskiest thing you’ve ever done?
I guess it would be highway spots. While I’m painting, people are beeping , shouting or cheering me on. It’s very distracting!
What is the average amount of time you spend on a piece?
Doing an illegal piece could take up to 20 minutes or a half hour – depending on its size and details.
How do you feel when someone goes over you? And what do you do about it?
I don’t like it. I go back over them!
Have you had any memorable encounters while you were getting up?
Once when we were walking along the Long Island Railroad tracks in Queens, we didn’t hear the train coming or see the lights blaring — until it was seconds away. We literally dodged this train by maybe a minute, as it quickly zoomed by us.
Have you ever used any implements to defend yourself? If so, what were they? And what were the circumstances?
We once threw a sledge hammer at a conductor to back him off from coming out of the train.
Was there a singular moment when you realized that graffiti is a particular passion of yours?
I can’t say it was a single moment. It was watching graffiti videos and movies, reading Subway Art, going down to Canal Street for ink and supplies, checking out tags, doing them inside trains, going back home and practicing. I was kind of feeling that whole movement back then in 2000. it was an exciting time for me.
If you were offered the opportunity to do a legal mural for pay, would you take it?
Yes. I would, and I have in the past. I don’t frown upon legal pieces.
From your perspective, how welcoming has the graffiti scene been to diverse groups of people?
It’s always been a diverse crowd. Graffiti brings together people from all nationalities and backgrounds.
Would you rather paint on your own or with other writers?
I love painting alone. I might do a few pieces with another writer and then move on.
You’ve painted in here in NYC and now you’re living and getting up in Bari, Italy. Where else have you painted?
I’ve also painted in Costa Rica and Nicaragua.
What was it like to paint in those countries?
While in Costa Rica, I got interested in abandoned places – so that I could take my time without cops or other people bothering me. In Nicaragua, I painted in central places where everyone was partying and no one was paying attention, so I could sneak in and out of a space, without getting noticed.
And what’s it like in Bari, where you live now?
I like Bari because it’s metropolitan, and my art gets lots of views – many more than it could get in Costa Rica or Nicaragua.
What is your favorite paint? Caps? Colors?
Favorite paints are Rust-Oleum Painter’s Touch, Montana, Loop. As far as caps, Astro fat caps are amazing. Pink Dot cap , Orange Dot Cap, New York Fatcap. As for colors…I love shades of greens, blues, purples, pinks, oranges and reds. I also like black, white and silver.
What do you see as the future of graffiti, particularly illicit graffiti?
It will continue to grow. There are many new writers out there and they seem very dedicated.
What about your future? Where are you headed?
The passion to go bombing will always be with me. I’m always looking to improve my skills, and I want to be part of this movement’s history.
Interview edited for brevity and clarity by Lois Stavsky; all photos courtesy of the artist
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Rigorously researched and handsomely presented, City of Kings celebrates the rich graffiti culture that began on the mean streets of NYC in the late 60’s and has since evolved into a worldwide phenomenon. Curated by first generation graffiti artist and SAMO© partner Al Diaz, along with graffiti archivist and artist Eric ‘DEAL CIA’ Felisbret and graphic designer and arts educator Mariah Fox, City of Kings appeals not only to us graffiti aficionados, but to anyone curious about the history of an illicit art form that has not only become legitimized in the “art world,” but has impacted just about every aspect of our culture — from advertising to fashion design to education.
Spanning over six decades, a comprehensive illustrated timeline traces the history of NYC graffiti beginning in 1967 with JULIO 204, whose tag and street number captured the attention of his peers in Washington Heights/Inwood. Four years later, when fellow Washington Heights tagger TAKI 183 was profiled in The New York Times, graffiti went on to gain the attention of a wide, diverse audience.
By the mid-70’s, graffiti had evolved into a “firmly established cultural movement with clear principles.” Whole-car train pieces began to roll by and the publication of Norman Mailer’s The Faith of Graffiti lent validation to the art form. But by the early 80’s, Mayor Koch waged outright war against graffiti writers, accusing them of “destroying our lifestyle and and making it difficult to enjoy life.”
Yet despite the war against graffiti, key talented and passionate photographers, documentarians, filmmakers and curators increasingly began to celebrate the culture which continues to make its way not only onto public space but into galleries and museums worldwide.
In addition to the exhibition’s graffiti timeline, there is also a timeline of “Key Current Events,” such as the assassination of Martin Luther King in 1968, the election of NYC Mayor David Dinkins in 1989 and the outbreak of COVID-19. – all lending socio-political context to the graffiti movement. And homage is given to the many “Fallen but not Forgotten Players in the Game.” Included among those many writers are such noted ones as: A-One, Don 1, Dondi, Iz the Wiz, Sane 182, and Stay High 140. On view too are black books, graffiti paraphernalia and varied tools of the trade, along with videos, documentaries, recordings and first-person accounts.
Accompanying Part I of the exhibition is an invaluable catalog — published by Howl Arts — that includes: both the graffiti and the current events timelines; key essays by Al Diaz, Eric Felisbret, Mariah Fox and Chris Pape; a glossary of graffiti terms by Eric Felisbret, and learning tools and resources for educators by Mariah Fox. The catalog can be purchased at the gallery or by emailing books@al-diaz.com.
On view in Part II of the exhibition at the nearby Howl! Arts/Howl! Archive are original artworks of largely of graffiti tags by such pioneers as Coco 144, Lava 1 & 2, Noc 167, Snake 1 and Futura, along with photographs by several noted documentarians of the culture including Martha Cooper, Henry Chalfant, Charlie Ahearn, David Gonzalez and Flint Gennari.
Among those on exhibit by the legendary photojournalist Martha Cooper is her 1982 Bronx capture, DUSTER/LIZZIE: 2 top to bottom whole cars in straight letters and wild style.
While Part I — located at 6 East 1st Street — closes this coming Sunday, the 15th, Part II of the exhibition continues through January 29 at 250 Bowery. Both spaces are open Wednesday-Sunday, 11am-6pm.
Photo credits: 1 & 2 Lois Stavsky; 3 & 4 Rachel Fawn Alban, 5 © Howl Arts Inc & 6 © Martha Cooper
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Self-described as “100% Adrenalin,” the Berlin Kidz are notoriously known for their distinctive tags that have surfaced throughout their city since 2010. With a passion and determination — somewhat similar to São Paulo’s pixadores — they are fearless in the risks they take to get their distinct marks out on tall public spaces and moving trains. The photos featured here were captured by street art and travel photographer Karin du Maire while visiting Berlin earlier this year.
In blue and red, their primary colors — as evidenced in the following three photos:
And, occasionally, in white — if that’s what will give them visibility
While to some their work is an eyesore, to others it’s an expression of unfettered creative freedom. And for some live action: you can check out the following:
https://www.youtube.com/watch?v=CXvq2qzubuE
Photos by Karin du Maire
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As NET was getting ready for TAGSTRACTION, tonight’s unsanctioned exhibition on the streets of NYC, I had the opportunity to speak to him and find out a bit about it all.
Just what is TAGSTRACTION?
It is a mix of tagging and abstraction, blurring the lines between graffiti tagging, abstract expressionism and stylized signatures.
And when was NET born?
NET was born in 1987, but I’ve been tagging since I was a child.
Were you ever arrested?
I was arrested about fifty times for graffiti since I was 14.
Who are some of your inspirations?
There are many: Barry McGee aka Twist, Adam Cost, Jon 156, Al Diaz, Easy, Phantom 13 aka P13, Old English, Enx, Phil Frost and multiple Brooklyn artists.
You define TAGSTRACTION as “too hood for the nerds and too weird for the thugs.” Who is your audience?
Anyone and everyone who’s on the street with eyeballs.
How can folks see tonight’s exhibit?
The location will be announced one hour prior to the 7pm opening. Check out my Instagram for it.
And why did you choose an unsanctioned outdoor location for an art exhibit? Is there a message here? You seem to be on a mission of some kind.
My message is that you do not need the approval of the Art World to accomplish your goal. It is time for us to take it into our own hands.
Yes!
All images courtesy NET; interview by Lois Stavsky
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.
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Among the intriguing images that recently surfaced on the once-abandoned East Village trailer, curated by the Centre-fuge Public Art Project, is Balu‘s rendition of Ex-Vandal Flint Gennari’s photo of old school writer, Flip One. This past Sunday several legendary writers graced the trailer with their tags.
Balu captured at work earlier this month
Nic 707 — to the right of Al Diaz aka Bomb 1 tag
Nic 707, Snake 1, Coco 144, Rocky 184 and Flint
All photos by bytegirl
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