Films

As COVID-19 was raging back in 2020, Dripped On The Road, a traveling artist residency program, brought 14 murals to Indiana, Pennsylvania. Within two weeks, the artists transformed the town’s visual landscape, while embracing and uplifting its residents. In the course of their remarkable residency, they learned first-hand about Indiana’s distinct history and painted murals that utterly reflected it.

Featuring resident artists Damien Mitchell, Sarah Rutherford, Evan Lovett, Riiisa Boogie, along with program directors and artists Ramiro Davaro-Comas, Jonathan Neville and Denton Burrows, the acclaimed documentary “Small Town Big Canvas: An Indiana, PA Story” — directed by OWLEY Studios — chronicles these two weeks.

Not only did the seven artists uplift the town’s spirit and enhance its appearance, but they also conducted workshops with youth using non-toxic spray paint and upcycled materials. And they planted trees that “will live on even after the murals are gone.”  Sustainable painting practices and environmental responsibility are essential, the documentary affirms, to Dripped On The Road‘s mission.  We are cautioned that one needs to be mindful of the environment when painting public art.

“Small Town Big Canvas: An Indiana, PA Story” brilliantly captures the mutual respect and appreciation that developed between the artists and the members of the Indiana community as the project evolved. The artists clearly “felt the pulse of the people,” and the Indiana residents showered them with gratitude in return.

Founded in 2016,  Dripped On The Road artists have have painted over 100 murals and traveled over 12,000 miles.“Small Town Big Canvas: An Indiana, PA Story” is a moving, impressive ode to its multiple missions and a particular paean to this distinctly vital project. It is also a model for public art that too often becomes too commercial.

Note: The NYC public premiere of “Small Town Big Canvas: An Indiana, PA Story” was held on April 27 at the Anthology Film Archives, featuring resident artists Damien Mitchell, Sarah Rutherford, Evan Lovett and Riiisa Boogie, followed by a Q & A moderated by UP Magazine editor T. K. Mills. We are looking forward to further showings in the NY metropolitan area.

Images:

  1. The crew in front of Denton Burrows‘ mural
  2. Evan Lovett
  3. Sarah Rutherford
  4. Damien Mitchell
  5. Riiisa Boogie
  6. Jonathan Neville w/ Indiana, PA youth
  7. Damien Mitchell

Post by Lois Stavsky and and City-as-School intern Antonio Gomez; all photos courtesy Dripped On The Road.

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Tracing the emergence of graffiti from an underground subculture into a legitimate profession, Duality: A Graffiti Story — directed by Ryan Dowling — focuses on the struggles and successes of five noted graffiti artists. In the Buffalo 8 documentary feature film, legendary writers Meres One, Dual, Sloke, Jaber and Never1959 share their challenges and ventures as they reflect on their personal journeys in this ever-evolving culture.

Many graffiti writers — who were initially deemed as vandals for their tagging and illegal interventions — now earn wide recognition and respect for their stirring murals that grace cities across the globe. Their aesthetics have made their way inside and outside a range of upscale properties from luxury hotels to major corporations — who court them to enhance the “coolness” of their brands.

Once working mainly clandestinely, these artists now foster community, as they share their talents openly with others — who are eager to learn from their skills or simply observe and photograph them as they paint. And as their artwork begins to blur the lines between graffiti, urban art and fine art, it also increasingly finds a home in galleries.

Among the film’s recurrent themes is the artists’ addiction to getting up and their deep love for graffiti. “I’ll probably never ever not want to write my name on something. It’s an addiction for sure,” states Dual. “It’s amazing that there’s that opportunity to bridge the gap from doing illegal graffiti to doing commercial work with big companies.”

Among the many highlights of Duality: A Graffiti Story is the account of the vast achievements and horrific demise of Long Island City’s 5Pointz— as related by its curator and founder Meres One and advocate Marie Cecile Flageul.

Several screenshots from the riveting documentary follow:

NYC-based Meres One, founder and curator of the iconic graffiti mecca 5Pointz — whose talents continue to make their way onto walls, huge canvases, lightbulbs and varied corporate settings.

On the site of citizenM New York Bowery hotel where Meres painted this stained glass-inspired piece

Houston, Texas-based Dual, best known for his wheat pastes — whose body of artwork includes everything from meticulously-made tape collages to sign painting to huge commissioned murals that beautify cities

Dual, The Rice Box River Oaks Mural

Austin, Texas native Sloke — who, in addition to painting, curating and mentoring youth — has produced murals for a range of companies including Apple, Facebook, Nike, Google, Red Bull and Time Warner

Sloke mentoring young man on the art of graffiti

West Coast-based Jaber (ala El Ninja Blanco) — who has been making his mark on the streets since the early 9o’s and now does — among other things — design for major fashion companies and film sets

Jaber, Along the tracks

Los Angeles-based Never1959 — who is best-known for his large scale murals on buildings around Los Angeles

Never‘s 50-foot high mural that parodies the 1958 Orson Welles film noir “Touch of Evil” 

The premiere of this splendid homage to graffiti will take place tomorrow, October 19th, in Austin, Texas. And beginning Oct. 21, it will be available on Amazon Prime, AppleTV/iTunes, Google Play, Vudu, and YouTube movies.

And you can check out the trailer below:

All images courtesy Buffalo 8 

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While street art is too often used as an avenue to gentrify neighborhoods, it can also serve – as depicted in Spencer Wilkinson’s award-winning documentary film ALICE STREET– as a tool to empower, energize and unite members of diverse communities in their struggle against gentrification.

In 2013, Chilean studio painter Pancho Peskador joined forced with Chicago-born aerosol artist Desi Mundo to create a four-story mural at 14th Street and Alice Street in downtown Oakland.  Painted directly across from Hotel Oakland Village, a facility that provides affordable housing and services to hundreds of Chinese seniors, and the noted Malonga Center, a venue for African drumming, culture and dance performances, the mural — designed with direct input from the folks served by the neighboring sites — represented downtown Oakland’s diverse cultures.

But by then gentrification had aggressively reared its ugly head. Local folks were concerned about being economically and culturally displaced as rents feverishly increased, along with condominiums to house the wealthy. And soon after the hugely impressive mural was completed, the news came that another development would be under way that would block the its view.

ALICE STREET brilliantly documents the people’s fervent and largely successful struggle against unbridled corporate greed, as they fight to preserve their culture and their neighborhood. It is an ode to the power of public art to not only enhance but to transform our lives.

This weekend ALICE STREET will be in NYC with the Architecture & Design Film Festival for two special screenings at Cinépolis Cinemas to be followed by discussions.

Photos courtesy of ALICE STREET

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Currently living between Paris and Los Angeles, Belgium-born filmmaker Cedric Godin was recently in New York City for the US premiere of his award-winning film, “X art,” at the Chelsea Film Festival. After viewing the insightful film and panel discussion featuring Patty Astor, Henry Chalfant, Enrique Torres aka Part One and Nick Walker — moderated by Marie Cecile Flageul — we  posed a few questions to Cedric.

What inspired you to produce this film?

I had just completed my first film, PTSD, and had returned from California to Paris. I wanted to get back to work as soon as possible, and as I was seeing street art exhibitions and events everywhere, I decided to do a documentary about the street art movement and culture. Even though I had followed the movement since 2012, I never really thought of doing something on it until I returned to Paris from California.

What is the significance/meaning of your film’s title, “X art?”

After I decided to do a documentary, I started to research the street art culture. Rapidly, I realized how complex the world of street art is. So many artists, techniques, movements, markets… It appeared to me that as street art is such a huge subject, it would be an interesting challenge to get people to better understand it. I had a working title but after a few months “X art” came, as the X suggested “the unknown,” “the transgression,” “the X factor” and more.

So I chose the letter X to start  from “the unknown” —  in order to learn and digress to a point where it would become clearer for an audience and hopefully awaken within viewers the curiosity to investigate the culture on their own after seeing the film.

How did you go about choosing/deciding which artists to focus on?

They had to have a career, a real social or political message in their work, a continuity in their journey and an artistic goal. It was important for me that the artists had enough experience on every level to be able to transmit their passion, techniques and journey to as large an audience as possible.

When did you begin filming “X art”

I started to meet with artists in 2016.

In the film there is a focus not only on the artists and their artwork, but also on the art market. Why did you choose to turn your lens on this aspect of the scene?

Simply because these days, you can’t avoid the financial aspects of things. Fortunately or unfortunately, the market has a big influence on how artists develop their careers. Of course, there are pros and cons, but I wanted to give the audience an idea of what’s happening. From there they could visit galleries, events and auction houses and form their own opinions on the subject.

Did anything in your findings particularly surprise you? In what ways may have making this film personally impacted you? Do you find yourself paying more attention to street art and graffiti?

Of course, I do pay more attention. It is funny to see how my eye, three years later, is more “educated.” When I see a painting or a wall, I can recoup more information to understand and form an opinion on that particular piece. I have also learned how to be a good collector.

What were some of the challenges you faced in seeing this project through?

The usual challenge of being an “indie” filmmaker… time and money. Fortunately, the world of street art is a very generous world for the most part. 99% of the artists were just amazingly helpful. My friend and partner Olivier Le Quellec, a street art fan, financed the project with me. Dotmaster and Ben Eine, two famous UK-based artists, offered to design the poster. Eric Brugier, the French gallerist, connected me to several artists who themselves connected me to more. I think you can’t get into this world if you are not well-connected, but once you are in, you feel like a family member.

How have viewers responded to it?

Amazingly! The most touching thing is when people come up to me and say they have learned something; some are even motivated to further research artists or elements they weren’t aware of.  To me, if filmmaking has a purpose. It is to learn and to transmit.

What would you like your viewers to walk away with?

The will to go deeper into the subject  —  to read, to research, to see events, to meet artists. And we have an incredible chance to be able to do it.

What’s next?

Ideally to secure distribution for “X art,” as I humbly think that this little film has its cultural role to play. I’m currently working on a TV show and a feature film. I work in so many directions these days that I couldn’t tell you what is going to happen next…I will let you know very soon!

Congratulations on “X art.  We certainly hope it is widely distributed and, yes, we are looking forward to what’s next!

Images:

  1. Film poster designed by UK-based artists Dotmaster and Ben Eine
  2. Cedric Godin
  3. Film clip featuring Ben Eine and Pure Evil
  4. Parisian graffiti artist Nasty
  5. Patti Astor, co-founder of the legendary FUN Gallery
  6. Henry Chalfant, noted American photographer and videographer, whose current exhibit, Art vs. Transit, 1977-1987, at the Bronx Museum is a must-see!
  7. The famed UK-born street artist Nick Walker at “X art” Chelsea screening

Photo credits 1, 2, 4 – 6 courtesy Cedric Godin; 7 Ana Candelaria 

Interview questions: Houda Lazrak, Ana Candelaria and Lois Stavsky

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Under the masterful curatorial direction of Orit Mizne aka myhovercraft, an abandoned factory building in South Tel Aviv has been transformed into a strikingly stylish street art Mecca. The image pictured above was painted by Tel Aviv-based Solomon Souza, who has recently left his mark here in NYC. Several more artworks that I recently captured from the former factory’s exterior follow:

Mexico City-based Libre 

Shimon Wanda and Shir Lamdan

Elad Greenberg and Yarin Didi

Ana Kogan

Zivink and Erezoo

Other artists who participated in this project include: Michal Rubin, the MisSK, Imaginary Duck and Revzzz.

Photos by Lois Stavsky

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Featuring music, art, video and performance, Women To The Front is an immersive experience celebrating and showcasing women in the art world. Curated by Zoe Croci and Sara Catalan, it presents a range of works in a variety of media by over 30 female artists, many who are familiar to us street art aficionados. Pictured above is by Brooklyn-based multidisciplinary artist Gigi Bio. Other featured artists include:

Philadelphia-based digital artist Makeba Laurent does Lauryn Hill

Japanese painter Mina Hamada

Paris-based Daniela Yohannes, Oculus Sea

NYC-based performance artist Terry Lovette

FAITH XLVII and Dane Dodds, directors, AQUA REGALIA HONG KONG 2017, still from video 

The event — whose mission is “to inspire and empower new female-identified generations and anyone who enjoys good art” — takes place this Thursday evening, November 16, at Superchief Gallery, 1628 Jefferson Ave. in Ridgewood, Queens. There will also be a special premiere of “Dumb Dumb” music video featuring talented female rapper Cipherella directed by Zoe map, along with live art and complimentary drinks. Free to Arts Club members, admission is $10.

All images courtesy Zoe Croci

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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A contemporary of Keith Haring and Jean-Michel BasquiatRichard Hambleton, the Godfather of Street Art, began making his mark on the streets of his native Vancouver in the mid-70’s. His Image Mass Murder Art — a recreation of crime sceneshit the streets of 15 major cities throughout Canada and the US from 1976 through 1979. In the 80’s, his iconic Shadowman paintings surfaced across NYC and through Europe, including the Berlin Wall. He has since attained legendary, though infamous, status. To coincide with the highly anticipated World Documentary Premiere of SHADOWMAN by Oscar-nominated director Oren Jacoby, a historical selection of paintings by Artist Richard Hambleton his now on view at Woodward Gallery.

 Woodward Gallery Windows, Shadow Jumper, center with Shadow Head portraits to the right and left

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Dancing Shadowman

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Wide view, as seen through Woodward Gallery windows,  featuring the Marlboro Man to the left of Shadow Man portraits on paper 

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Another variation of the Marlboro Man as seen from the outside

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At the Tribeca Film Festival

shadowman

With a rare public appearance by the elusive Richard Hambleton

hambleton-at-tribeca-film-festival

Woodward Gallery is located at 132A Eldridge Street off Delancey on Manhattan’s Lower East Side. Visitors are invited to observe Richard Hambleton’s works from the outside and through gallery windows, as Hambleton intended in his vision. Special viewings are available by appointment. The artworks remain on view through May 5th.

Images courtesy Woodward Gallery

Note: Hailed in a range of media from Wide Walls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Focusing on legendary writers of 1967 – 1972, Wall Writers is a comprehensive, feature-length documentary on graffiti “in its innocence.”  Conceived and directed by Roger Gastman and narrated by legendary filmmaker John Waters, its NYC premiere will take place this Friday evening at SVA Theatre.  A brief interview with Roger Gastman follows:

You’ve authored several key books on graffiti and have been deeply involved in its culture. What spurred your initial interest in graffiti? And how old were you at the time?

I was 13 years old and living right outside of Washington DC. A lot of my friends all had tags, and I needed to have one also. It was all around me. Everyone was doing it, and if you went downtown, you saw it everywhere. Names like COOL “DISCO” DAN covered the streets and the metro walls.

Your current project — Wall Writers — is an extraordinarily comprehensive documentation of the early days of graffiti. What motivated you to undertake this project?

I was working on the History of American Graffiti book with Caleb Neelon and I honestly got sick of everyone BSing the year they started writing. I knew enough about the history to know when I was talking to legit people and when I was not. I figured so many of these people have never told their stories I might as well film them. I had no intention of producing this film. I was just documenting.

rocky-184-and-stitch-1-circa-1972-photo-courtesy-of-rocky-184

Can you tell us something about the process? How long did you work on it? What were some of the challenges you encountered?

I worked on the film on and off for 7 years. But it feels like my entire life. On projects like these some of the hardest part is finding photos and footage and other pieces of the puzzle that help you tell your story. The process would usually be to let it take over my life for 2-4 weeks at a time then go back to real life for a few months and dive back in. I could still be digging – but had to call it at some point. I know there is more out there and I hope someone discovers it.

How has the response to Wall Writers been?

So far we have had packed theatres everywhere. It’s been awesome. People have really enjoyed the film. We are even doing a show at the MCA Denver in February where we bring the book and film to life.

bama-poses-in-front-of-his-painting-orange-juice-at-the-razor-gallery-1973-photos-by-herbert-migdoll

Wall Writers is premiering here in NYC at SVA Theatre Friday night. What can we expect? 

Friday is the big NYC premiere. I am very excited to finally show NYC the film. We will have most all of the NYC cast from the film there including TAKI 183, SNAKE 1, MIKE 171, SJK 171 and so many more. Come out and support!

It sounds great! And, yes, we’ve been waiting for it here in NYC!

Note: A pre-signed 350+ page companion book will be available for purchase. Tickets to Friday’s NYC premiere are still available here.

wall-writers-at-sva

Interview by Lois Stavsky; featured images include:

2. Rocky 184 and Stitch 1, circa 1972, courtesy Rocky 184

3. BAMA posing in front of his painting “Orange Juice” at the Razor Gallery, 1973, photo by Herbert Migdoll

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Directed by Queens-based filmmaker Raul Buitrago, the recently released GOUCH is a sensitive, gripping portrait of a Brooklyn graffiti bomber living a dual life. After viewing the short, insightful documentary — chosen as a Vimeo Staff Pick — I had the opportunity to speak to Raul.

What drew you to graffiti? You obviously have a deep understanding and appreciation of its culture.

Growing up in Eastern Queens in the 90’s, I was exposed to graffiti early on. Graffiti was part of the punk and skateboard culture that was all around me. And I found myself gravitating to it.

Gouch-graffiti-bomb-nyc

And what about this particular writer? Why did you choose Gouch? And how did you connect with him?

Gouch was one of my personal favorite graffiti writers while growing up.  His style and flow are incredible.  I’d known about Gouch years before I reached out to him.  He was featured in the legendary State Your Name DVD, and it was in that video that I first saw him in action. The footage was raw, gritty and true NY graff to the max. I contacted him via his Instagram in 2014.

Are there any issues regarding graffiti that particularly engage you? Any messages you wish to convey to your viewers?

As a fan and student of graffiti culture, I’m interested in its power to lure seemingly ordinary people. Its sway is amazing – and the way it always seems to call you back. So often, it becomes an obsession. I also find it very interesting that it can be glorified and vilified at the same time.  Graffiti has made its way onto advertisements, clothing and other forms of branding while some of its practitioners end up doing time in Rikers Island.  Graffiti is used for commercial purposes because it has that edge that can’t be found in other artistic realms.  It’s unfortunate that big companies are profiting off something that’s created through the toils and risks of people who have such a deep appreciation, knowledge and ability in something so historically rich.

Gouch-sprays-graffiti-nyc

Yes, that is unfortunate, and it is something I’ve thought about quite a bit.  It is — obviously —  graffiti’s aspect of illegality that gives it that edge…You clearly won Gouch’s trust. I imagine that might have been your greatest challenge. What were some of the other challenges you faced in producing GOUCH?

As it was my first documentary, I was learning how to do it as I was doing it!  I’d previously focused on music videos.  That was my greatest challenge.  Gaining Gouch‘s trust was actually incredibly easy.  Upon first meeting, we spoke about graffiti at length.  Because of my knowledge about the culture and my previous video work, he knew he could trust me. Other challenges I faced included coordinating schedules and making sure that his family was comfortable throughout the filming process.  It was important to me that they be comfortable with the finished project since it’s so personal.

Have you a formal education in filmmaking?

I studied Photography at NYU, but I never studied filmmaking. I’m a self-taught filmmaker.

Gouch-in-NYC

How long did it take you to produce GOUCH?

When I first met up with Gouch, I thought I would produce a two – three minute video. But it evolved into something far more, and I ended up working on it for one and a half years.

I’m so glad it worked out that way! Gouch – in all his complexity — is certainly worth knowing.  And the music by Jazzsoon that accompanies your film perfectly complements it. I find myself viewing it again and again!

gouch-with-child

You can view the film in its entirety here.

All images courtesy Raul Buitrago; interview with Raul 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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Aired last year in Italy, Sky Art’s underground documentary hit Graffiti A New York brilliantly chronicles the history of graffiti in NYC focusing on several key figures in the scene. After viewing the documentary, we had the opportunity to pose some questions to its producer and director Francesco Mazza.

You grew up in Italy. What spurred your interest in NYC graffiti? And how were you first introduced to its culture?

In the early 90’s a number of original graffiti writers from the Bronx moved to Italy looking to recover — thanks to the good weather and the healthy food — from the “crazy 80’s” in New York. They, maybe, needed what we now think of as a “detox” after the tumult.  At the time, graffiti writing had already come to the European consciousness through the movie Style Wars and the book Subway Art, but because of the influence of these newly migrated Masters, Italy, unlike the rest of Europe, developed a graffiti style akin to that of New York City’s.  It was the kind of style created by Phase 2, who moved to Italy himself, back in the 70’s. The walls of my neighborhood, Milano Lambrate, in the early 90’s looked exactly like those in the Bronx during the 70’s and the 80’s.

To us kids playing soccer in the street, those wall paintings were a sort of a mystery, and kids love mysteries. So, out of curiosity, we started asking questions to the older guys, and we all got involved.   From that point on, graffiti became an essential part of our lives — in our neighborhoods and in our identities as individuals.

graffiti-A-New-York-process-shot

What made you decide to produce a film on the topic? 

Having lived in New York for three years already, I was looking for a way to show the city to an Italian audience from a fresh and original perspective. I asked myself, “What do I know best?” The answer was clear: graffiti. I figured that behind the history of the graffiti movement, there was the history of the city itself. Really, graffiti writing could flourish only because of the terrible financial situation of New York during the 70’s. I always found it fascinating that all the crime and pain and blood of the 70’s spawned, at least, the most vibrant art movement the world has ever seen.

How long did the process take — from its conception to its completion?

The film itself took about a year to be made, but there are some elements of the history that I’d still like to add. I’m hoping for the opportunity to re-shoot some parts and add additional ones for a US release.  I’m searching for funding right now.  As great as it was to bring this to the Italian market, it has become clear to me that the documentary was the kind of record of a movement that deserves to be a part of the American canon, as well.  It’s about NYC. It documents the scene decade by decade. It’s really important to find a way to bring this history “home.”  Hopefully, I’ll find the financial backers; and due to the nature of the film, I’d love to partner with a museum, if possible.

graffiti-A-New-York

How did you decide which artists to include?

“Graffiti writer” is a label. When you look beyond the label, there is literally everything. Artists, addicts, entrepreneurs, fools, poets, murderers; you name it, I saw it. Right off the bat, you have to understand that you won’t be able to get close to everybody if you want to stay somewhat safe.  It’s also very hard to gauge the importance of the single artist. Is a graffiti artist important because he had or has a great style? Cool, but what if the said writer has done only a couple of hits and nobody in the community cared about him? And what if you focus on the quantity, but then the style of that writer — whose name was everywhere — literally sucked?

There was a balancing act.  I, of course, chose artists with historical importance, but I also reached out to the writers that I like and that inspired me when I was a kid. Fortunately, most of them were willing to help me with the project.  I also felt strongly about making sure women were represented in the film.  They were absolutely a part of the movement, but sometimes when history chronicles events, women don’t always get the due they deserve in the record.  It was important to me to not fall into that trap as a director.

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How did the artists respond to you?

Some of them were skeptical at the beginning, and they were absolutely right. When mainstream media talks about graffiti writing, they tend to create confusion. If we consider the art world, I think that after the 19th century, nobody considered an artist as someone who can only “make something look pretty.” Nobody thinks that Pollock, so to say, was an amazing artist because he could simply “make a canvas look pretty”; there was a complexity that was beyond — or sometimes even consciously lacking — beauty.  For some reason, all around the world, when media, or institutions, or public opinion deal with graffiti writers, they consider the graffiti writers’ work just on their ability to “decorate” a wall in a happy, colorful way. To me, and I think to all graffiti writers, there is, indeed, decoration. Maybe beautiful, wonderful decoration, but graffiti writing is also something else. Graffiti writing points right to the contradiction of contemporary society where we all matter. We all pay taxes and have the right to vote —  but, at the same time, to what degree do we really matter to the machine?  I think it’s a question everyone asks. As a result, millions of individuals decide to express their identity, their presence in the world by writing on a wall, consciously facing the consequences of their deeds.

When I walk in my Crown Heights neighborhood in Brooklyn and I see a portrait of a dragon on a shutter, I think, nice illustration, but nothing beyond that. When I see a rough tag on a wall, I don’t say, “Look at that! So pretty!” but I think about a guy or girl that, despite the risk of getting busted and sentenced to two years of prison, decided to face the challenge and put his freedom at jeopardy to have me see his name.  Now, what is more interesting, from a social/cultural point of view? The fellow who copies an illustration of a dragon and gets paid for that, or the one who takes the risk for free to screw up his life forever just to have one individual out of one hundred thousand reading his name?  I personally have no doubt about which is both more interesting and matters more.  So, the graffiti writers I contacted were really scared that I was another guy from the media industry with no grasp at all of the roots and the meaning of the movement. It took me a lot of time and efforts to gain their trust, but once they realized what I was talking about, they were really cooperative and with some of them I built great friendships.

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What were some of the challenges you faced in producing the film?

I served as writer, director, and executive producer. The network, Sky Art,  gave me a budget, and I was free to manage it however I liked.  But that was hard, because as a director, I always wanted more  — more days of shooting, more footage, more writers to interview — but as an executive, I had to put some limits. It was like being two different people at once.  Now that I can look back, I better understand the limitations I had and their effects on me. And an American alternative presentation — that wasn’t able to be made at the time —  is something important to pursue going forward, as much to “do right” by NYC.

Who was/is your target audience?

The original documentary targets an Italian audience who is fascinated with New York but doesn’t really have a knowledge of it, as well as everybody else who wants to know, once and for all, the real history of one of the most relevant artistic, cultural and, to a certain extent, political movements of the 20th century.  Now I need to broaden the reach beyond Italy.

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Will New Yorkers have the opportunity to view it?

Unfortunately, as of now, they don’t, and that’s a travesty.  That’s where my fight is now — finding a means to change that.  Everything about this movie is New York City.  The residents need this film.  It needs to be a contribution to their historical record.  Hopefully, I’ll find the funding for what is really a “preservation” project.  People aren’t around forever.  The interviews with important artists in Graffiti A New York, all in English, need to come “home.”

I certainly agree!  Graffiti A New York is not only a passionate homage to the roots of graffiti, but an essential visual and spoken record of a significant NYC era.  What’s ahead for you? Can we expect any more films on the topic of street art or graffiti?

Currently I’m working on a project for the Discovery Channel for which I hope to be able to announce details soon.  Later this year I’m doing a documentary on Stewart Brand and the Whole Earth Catalogue that I’m very excited about.  This fall I’ll be shooting a short project in New York again.  I’m also continuing to show Frankie: Italian Roulette, my short fictional film from last year, at festivals across the US.  Next up for Frankie is the Crossroads Festival in Jackson, MI on April 2. Even Frankie is about life in NYC and fighting to stay there, so — going forward —  it’s no surprise that I’ll, of course, continue to focus on the themes present in Graffiti A New York: art, actions of consequence, social responsibility of both the system and the individual, and, of course, the city of New York itself.  And, fingers crossed, we can make the US adaptation of Graffiti A New York.  That really must happen.

The questions for this interview were formulated by Lois Stavsky and Tara Murray after viewing the European market release Graffiti A New York.

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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