street art

The following post is by Houda Lazrak:

While visiting Santiago, Chile in late December, I sat down with Santiago-based architect and street art/graffiti expert Sebastián Cuevas Vergara. We met a few blocks from one of Santiago’s main urban landmarks, Plaza Baquedano, now known as Plaza de la Dignidad or Dignity Square — the main site of Chile’s protests against social inequality that erupted last October following a hike in subway fares. 

Every Friday afternoon, thousands gather in Plaza de la Dignidad to express their frustration with the high cost of living, rising rents, government corruption and an unsustainable social welfare system. The walls in the vicinity are plastered with protest posters, tags, graffiti, wheatpastes and other varied urban interventions.

Sebastián shared some of his thoughts and observations about the current state of public space in Santiago:

So much has changed here since I last visited Chile in 2013. What are you up to at the moment?

I am currently teaching a street art class at the Faculty of Architecture and Urbanism at the University of Chile. This a particularly pertinent moment to be talking about people’s relation to public space in view of all the street art that has surfaced since the social crisis started.

Yes, it does seem extremely relevant.

I have a thesis: Santiago is the city with the most diverse graffiti in the world at the moment. There is poetic graffiti, urban graffiti, feminist graffiti, political graffiti…

And so many posters too!

The languages of the streets are changing. When the protests started, designers started making posters: a simple, straightforward, immediate response. Posters and graphics have been part of Chilean identity since the 1970s, so this was quickly picked up again.

Is this happening mainly in the city center?

It is concentrated in the center of the city. This is where it has the most significance, near ‘zona cero’ where the protests surface every Friday.

How have the graffiti and street art changed in Santiago since the social revolution erupted?

There are several changes. First, many artists are no longer signing their works. The personal nature of graffiti is not of essence now. Artists are, instead, giving their art to the movement. This is particularly interesting, because the graffiti scene in Santiago is very competitive. Second, works are much larger in scale because artists are collaborating. Third, performance art is integrated into the protests and with the graffiti and street art. Finally, feminist street art is now at the forefront. The work of groups like the Chilean feminist collective LASTESIS has gone viral.

How might what is happening now affect the future of public space in Chile?

The significance of the writing on the walls is now taken more seriously. The city is now asking,” Do we erase the graffiti or maintain it?”

People in Chile didn’t really understand that public space belongs to them — rather than to the police and to the politicians. Now it has been returned, and they are occupying it. There were more than one million people protesting. One way to occupy this space is through graffiti. On the first two days of the revolution, everyone was doing graffiti everywhere. And many building owners were saying, “We want to maintain the graffiti to show our support to this social movement.” Owners now have the choice of whether to keep the graffiti or not. In the past, the municipality would have automatically erased it. It’s a huge change. 

Since the military dictatorship that emerged in the 1970’s, public space has been restricted and surveilled. This is now changing. All these expressions are now happening in Chilean public spaces, even if the police tries to stop them.

Has what is happening here impacted the mainstream art establishment?

There is less trust in art institutions, because change is happening outdoors. The art that people want to see is now happening outside of museums.

Are there some works that have surfaced on the streets that are particularly prevalent?

Matapaco, the dog who became a symbol of Chilean revolutions. He was a stray dog that marched with protestors and defended them against police forces. Lots of images of him are appearing in the street. People in Santiago are also putting bandanas on their dogs in solidarity. There is also Museo de la Dignidad, a group that is installing golden frames around what they think are there best street art works made in direct response to the social situation.

Did you participate in the protests?

I created an intervention, LibreCircular, in Plaza Italia, where the main protests occurred. I collaborated with artists to paint a large circle on the ground that represents the right to circulate in the city.

To me, the most important value of public place is free circulation and people’s right to it. The Chilean government took this away from us when they imposed a curfew in Santiago last October. This intervention was a response to it.

How did people react to this particular intervention?

People’s interaction with the piece was super interesting. Some sat down to take photographs right in its center; cyclists held a night protest where they rode on the circumference of the circle over and over again; and protestors also started a fire in it.

What are some of your thoughts on the current state of affairs?

Well, there are a lot of social issues in Chile. There is no affordable healthcare or education, and things blew up.

This moment is political, but also cultural. People are trying to appropriate cultural powers. With new generations and new ideas, Chile has woken up. And artists are now playing a political role.

Sources like television and newspapers are no longer trusted, because they represent the state’s agenda. The agenda of the streets, the public’s agenda, is written on the city’s walls, and on Instagram. Hopefully, a new constitution will be written in the next months. I believe that the ideas that appear in the graffiti of Chile’s streets should be considered in the writing of  the constitution. Values are created in the streets, and graffiti is a participatory process that reflects these values. One of the most important values that came out of these protests is dignity.

Have you any ideas on what the impact of this social revolution may be?

It is hard to tell what the dimension will be, or if real change will happen.  But it is definitely the start of a historical process.

Thanks for speaking with us, Sebastian. We’ll be following Chilean news in the next months from New York!

Images

1 Photographer Bastián Cifuentes Araya‘s documentation of Chilean protestors’ head gear for the project: “Por qué nos encapuchamos” / “Why we get hooded.” The gear protects them from tear gas, and makes a political and artistic statement. 

2 Valparaiso-based stencil artist Mauro Goblin

3 Varied political graffiti in the historical, artsy Lastarria neighborhood in central Santiago

4 Varied political graffiti

5 Multidisciplinary artist Miguel Ángel Kastro, Chile, Octubre 2019

Varied political graffiti — featuring Matapacoa stray dog that accompanied Chilean activists during protests, and is now a symbol of the current social revolution

Serigrafía Instantáneaportrait of Camilo Catrillanca, the grandson of a Mapuche indigenous leader, shot in the back of the head by government armed forces in November 2018. Catrillanca’s image became emblematic of police brutality and crimes against Chilean civilians.

 Ricardo Pues, Homage to the ‘primera linea’ protestors featuring “Thank you” in several languages to those who have been at the front lines of protests since the 2019 manifestations started

Interview with Sebastián Cuevas Vergara and photos by Houda Lazrak

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Famed world-wide for its exciting night life, Downtown Las Vegas is also home to a rich array of murals fashioned by celebrated national and international artists. The image featured above was painted by the hugely talented Puerto Rican artist Alexis Diaz in 2013, the year that the annual Life Is Beautiful festival was born as part of “the major transformation of Downtown Las Vegas as a cultural hub.” What follows are several more images from the streets of Vegas captured on a recent visit by travel and street photographer Karin du Maire aka Street Art Nomad.

LA-native Tristan Eaton for Life Is Beautiful, curated by Just Kids, an award-winning, women-led art platform, 2016

 UK-based D*Face on the side of the Plaza Hotel & Casino for Life Is Beautiful, curated by Just Kids, 2017

Portuguese “trash” artist Bordalo II, for Life Is Beautiful, curated by Just Kids, 2018

Swedish artist Joakim Ojanen for Life Is Beautiful, curated by Just Kids, 2018

Chicago-based Kate Lewis, for Life Is Beautiful, curated by Just Kids, 2019

Photos by Karin du Maire aka Street Art Nomad 

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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The following post is by Street Art NYC contributor Ana Candelaria

Omar Victorious and I grew up together on the Lower East Side, but 20 years had passed since we’d been in touch. And then street art reunited us – first with the Street Art  Photography Show that Omar had curated back in August at Mikey Likes It Ice Cream in the East Village and then with his hugely successful roving Shooters Street Art Scavenger Hunt. Curious about the direction his life had taken, I asked him several questions:

Before launching Shooters Street Art, what had you been up to? 

I’d started a brand called End of The Weak, which has become the longest running open mic in New York City and has had huge global impact with chapters in Belgium, Africa, China, London and Paris. We just celebrated our 19th anniversary! Eventually, though, I had to shift my focus to my education, so that I could do more for my family. I attended  a vocational technical school and obtained my certification in Network Engineering, Administration and Hardware Support. I’m also a certified Project Manager Professional.

How has your Project Manager skill set impacted your current work related to street art? 

It carries over in terms of organizational skills. I have a goal. What must I do to execute that goal? A lot of people have ideas but don’t know how to go about executing them. I’ve gained many skills — including website design, photography and video production — that enable me to accomplish my goals. I can negotiate contracts, and I understand the role finance plays in business.

How did street art come to play such a huge role in your life?

I’m from the Lower East Side, East Village, Alphabet City. I’m downtown. I woke up to tags, graffiti, murals and spots that are bombed to shit. It was the landscape of my childhood. Around ten years ago, I started taking pictures with my Blackberry, and I started a blog. I, also, came up with two hashtags: #crackimagecrew and  #cracknificent. Over a four-year period, those hashtags have gained 1400 posts on Instagram from 10-12 photographers from all around the world. That’s how I came up with the idea for the Shooters Street Art Photography Show. I reached out to everyone who was using those hashtags and asked them if they’d be interested in participating in a street art photography show. I really wanted to meet them in person and expose their talents. I wanted to recreate the vibe of my childhood. We weren’t on the Internet back in the day. We were connecting with humans. These days I’m trying to build community —  an ecosystem of people who support one another and value creativity My good friend, Mikey, has a venue downtown called Mikey Likes It, and it all fell into place.

And how did the idea of the Shooter’s Scavenger Hunt come about?

I was talking to a few artists — including SacSix and Sara Lynne Leo — at the Shooters Photography Show. I was thinking, “How can we take this further?  Let’s get out on the street and do a scavenger hunt.” And everybody was like YES!  From there everything just started clicking. And, all of a sudden, we go from 10 to 30 people. Here we are seven hunts later: SacSix, Sara Lynne Leo, Dee Dee, Raddington Falls, Praxis and Jilly Ballistic. The response has been overwhelming. People are out there having a great time — street art hunting and winning original artwork. And all they have to do is pay $5.00 and put in some hard laps on the streets. The artists are creating original one-of-a-kind pieces as prizes. That’s exciting! The kids come out; the dogs come out and everyone has fun.

What’s ahead?

The road map is already written. The idea behind Shooters is to showcase the eye behind the lens. It’s about the photographer who is capturing and delivering the content. There are so many different avenues to take and so many different genres to explore. You have photographers who shoot everything from nature to extreme sports. Just think about the potential of showcasing all of those shooters and giving them a platform? You have to respect the Shooter! Respect the Shooter! It’s not just limited to street art; it’s about photography; it’s about the eye.

Anything specifically related to street art that we can look forward to?

We are planning a Shooters app. We also plan to digitize the hunt and take it to another level. We’d like to take the hunt to new cities and get more artists involved. We’re just getting started, so if you’re a street art enthusiast who’s hungry and ready to shoot, Holla!

Interview conducted by Ana Candelaria and edited for brevity and clarity by Ana and Lois Stavsky

Photo 1 courtesy of Ana; 2 photo of Omar Victorious by Katie Godowski; photos 3-5 by Ana Candelariathe final photo features Hady Mendezwinner of artwork by SacSix and Shooters Street Art  founder Omar Victorious

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In addition to the first-rate graffiti in the vicinity of Philly’s 5th Street and Cecil B Moore, the entire city is home to a remarkable range of public art — hosting everything from striking unsanctioned interventions to hundreds of hugely impressive murals. The image featured above is the work of Philly-based Adam Crawford. Several more images I captured on my recent visit to Philadelphia follow:

Baltimore-based duo Jessie and Katey 

Philly-based crochet street and installation artist Nicole Nikolich aka Lace in the Moon

Philly-based San Salvador-born Calo Rosa

Philly-based Jes

And Philly’s iconic stikman

Photos by Lois Stavsky

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Focusing on street art, graffiti and creative urban culture, UP is a provocative cutting-edge NYC-based quarterly magazine.  Launched in spring 2019, each issue spotlights a specific theme. Its first (sold-out) issue features several articles on money-related issues, and its second highlights matters of travel and place, as they relate to urban culture.

Lower East Side-based photographer Anna Candelaria introduced me to UP, and I was impressed by its in-depth coverage of the contemporary global urban art scene. Last week, Ana joined me as I met up with its chief editor, T.K. Mills.

Can you tell us a bit about UP Magazine‘s mission?

Our mission is to provide the art community with provocative writing that reflects the critical issues of our generation. We strive to present to our readers high-quality articles that investigate, inform, and entertain. Like good art, UP Magazine is made to make you think and make you feel.

What attracted you to urban culture? Particularly street art and graffiti?

After I had received my Masters Degree in Global Affairs from NYU, I wasn’t quite sure what direction my life would take. Shortly after Trump was elected President, I decided to visit Cuba. That’s where I first discovered my love for graffiti. I kept seeing 2+2=5. It seemed to be written everywhere. At first I couldn’t figure it out, and then I realized it was a reference to George Orwell’s 1984  — which certainly seemed relevant at the time. I even got to meet the artist. From that point on, I began paying close attention to the writing on the wall!

Before launching UP Magazine, had you any experience writing on this topic for other publications?

Yes, I wrote for several platforms including Sold Magazine, Open Letter and Art Fuse. I was also hired by a company, Saga, to interview West Coast-based street artists. When the company ended up not publishing my interviews after taking a different direction, a few of us began thinking about starting a new publication that would focus on urban culture.

How did you assemble such a dedicated and talented staff? 

Awhile back, I met Vittoria Benzine, a Brooklyn-based street art journalist and personal essayist, outside McNally Jackson Bookstore in Soho. As we began talking, we discovered our common interest in urban art. She then introduced me to Christina Elia, a freelance writer with a BA in Art History Communications. From there the crew grew to close to a dozen people, including street photographer Lonnie Richards, our Director of  Videography.

You have produced two excellent issues, each over 100 pages. What were some of your challenges in seeing this through?

The biggest and main challenge is finding sponsors and raising money to make this magazine happen.

Where is Up headed?

The only direction is up. We plan to further develop and expand our print and online presence. And we are looking forward to the launch of our third edition — with its focus on community — this spring.

That sounds great! I’m certainly looking forward to your next issue. And good luck with it all!

Note: Be sure to check out Up Magazine’s website and online shop. And with the promo code streetartnyc you can purchase issue II of Up Magazine at 25% off.

Interview conducted and edited for brevity by Lois Stavsky with Anna Candelaria

Images

1 Illustration of T.K. Mills by Vanessa Kreytak

2 Cover of Issue #1 featuring artwork by Fumero

3 Spread from Issue #2,”The Banksy Tunnel,” written by Candelaria Barandiaran with photos by Sabrina Ortolani

UP pop-up in Miami

5 Photo of T.K. Mills by Gabriel Ortiz, Jr

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Conceived in 2014, the RAW Project has been bringing color, intrigue and inspiration to schools in Miami and beyond at a time when American schools continue to see their programs defunded. During the week of Art Basel 2019, a group of local, national and international artists painted murals at the Enedia W Hartner Elementary School and the Jose de Diego Middle School. The mural featured above was fashioned by the Netherlands-based duo  Telmo Miel. Several more images — all captured by travel and street photographer Karin du Maire aka Street Art Nomad — follow:

Frankfurt-based Case Maclaim

  Montreal-based Kevin Ledo

UK-based Dale Grimshaw

LA-based Eric Skotnes

Miami native Amanda Valdes

London-based Fin DAC

Photos by Karin du Maire aka Street Art Nomad 

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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During the UN Climate Change Conference COP 25 held earlier this month in Madrid, Spain, NYC-based Greenpoint Innovations teamed up with Barcelona-based, Cuban-American artist Jorge Rodriguez-Gerada.

Two new street art murals, fashioned by the hugely talented artist for the first international activation of Greenpoint Innovations‘ art plus purpose series, now grace Madrid’s visual landscape as they bring awareness to the impact of climate change.

Pictured above is Jorge Rodriguez-Gerada‘s completed mural, Past, Present, Future, featuring a portrait of Hilda Pérez, a leader of the Indigenous Ashaninka Community and Vice President of ONAMIAP, the    National Organization of Andean and Amazonian Indigenous Women of Peru.  Several more images of the two murals, captured by photographer Fer Alcalá, follow:

Past, Present, Future — in progress

Jorge Rodriguez-Gerada at work on Forest Focus — an eye of Planet Earth with the Amazon rainforest as the pupil and Chile clearly visible as a homage to the official COP 25 host country. The mural shines a light on the opportunity to address natural forest loss as a pathway to climate stability, habitat conservation, and ecosystems preservation.

Forest Focus, the completed mural

Greenpoint Innovations founder and curator Stephen Donofrio with Jorge Rodriguez-Gerada

The wall host for the murals is the Occupational Center in Lineal City ( Centro Ocupacional Ciudad Lineal), a center for people with intellectual disabilities.  Aligned with the goals of GreenPoint EARTH, this facility is dedicated to helping people develop professional, personal and social skills.

The project was completed with support from local and global organizations — including the City and Community of Madrid, UNFCCC, National Wildlife Federation International, Arbor Day Foundation and Forest Trends.

Photos: Fer Alcalá 

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Founded and curated by Miami-based Registered Artist, the Third Annual aWall Mural Projects took place in South Miami from December 1-8 bringing a diversely rich range of artworks to the Jorge Mas Canosa Middle School. Featured above is Richmond-based Wingchow. Several more images captured by travel and street photographer Karin du Maire aka Street Art Nomad follow:

San Diego-based Michelle Ruby aka Mrbbaby

 Massachusetts native Tom Bob

North Carolina-based Dustin Spagnola

 Malaysian artist Kenji Chai and to his right Texas-based Tarbox

Guatemala-born, Texas-based W3R3ON3 

Founded in 2017, the non-profit aWall Mural Projects is “built on the idea that through service, art becomes a catalyst for social change.” Its special emphasis is on transforming schools through large scale art including murals and installations.

Photos:Karin du Maire aka Street Art Nomad

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The following guest poet is by Lower East Side-based photographer Ana Candelaria:

Born in Rochester, New York and currently based in Queens, City Kitty makes his presence wherever he happens to be. And each piece that he creates is distinctly intriguing. 

When did you first discover your love for art?

I’ve always loved art, and it’s always been a part of my life. I come from a very artistic family. My grandparents were both painters. They met when they were students at Pratt. My mother was a singer. I, myself, was a musician for many years, and my brother is a musician. It’s just something that has always been encouraged.

Do you have a formal art education?

Yes. My undergraduate degree is in Art Education from Nazareth College in Rochester. I worked as a substitute teacher for a bit, but I did not end up pursuing teaching as a career. I then went back to school and earned an MFA in Painting from the University of Albany, where I taught undergraduate courses in drawing for two years. I have an entirely different career in the Fine Arts. That work looks nothing like my street art.

On the streets we identify you with your City Kitty character. When was your City Kitty character born? And how did you come up with its design?

I moved to NYC in January 2010. And two months later, I met a couple of friends who were working at the Fountain Art Fair. They ran a collective that I ended up joining, and I started meeting more and more street artists. I used to do graffiti as a kid, and I saw that if I were to do street art, I’d have to make up a character.

So I thought, “All right I’ll come up with a character!” I grew up in a house with five cats. And when I lived in Bushwick, there were two gangs of cats on either side of the adjacent factory, and they were always having kittens.

Do you remember your first City Kitty piece?

Yes, the first thing I did was make a silkscreen. The style of work that I do now is similar to what I did back when I was in a band. When I moved down here, I was still making band posters. But since hanging posters here is illegal, I decided that if I’m going to get into trouble, it might as well be for my own work! That’s when I started burning silk screens. I would make all of my work by hand for the posters, but then I would print them out. I would make one cut paper piece, scan it and print multiple copies and put them out. All the other poster artists that I knew and fell in love with were silkscreen artists, so if I’m going to change gears, I’m going to want to start with silkscreen.

Who are some of your favorite artists?

There are poster artists and fine artists. Jeff Soto is kind of a crossover, as are Michael Motorcycle and Tara McPhearson. Jeff is a great painter, but he also does murals. Tara designs toys that she shows at Comic Con and she’s, also, represented by galleries. I like that balance. I do a lot of posters between working on fine art paintings.

I have seen some of your sketches on MTA service announcement posters on the New York City subway platforms.

Yes! I usually grab the posters on my way to work. I’ll draw them on my lunch break, and I’ll put them up on the way back home. And they get around — as I work in different parts of the city from the Lower East Side to Harlem. And when I have to get to New Jersey, I travel through Midtown.

When did you start putting up these MTA service announcement sketches? And why?

About a year and a half ago, I put up 113 of them. Sometimes they’re up for a few days, and other times they stay up for as long as a month. After 10 years of doing street art, I felt like I was making work for the same audience. On the subways I can reach a different audience and, perhaps, make some people smile. And I don’t sign my subway sketches. I like that feeling. And since I’ve begun doing this, I’ve only been yelled at by a couple of transit workers.

Have you ever done a wall?

Yes, I have done several. My first wall was in Ithaca at a bar where I used to play with my old band.

What about collaborations? I’ve seen your collaboration with Turtle Caps. Do any others stand out?

I‘ve collaborated with a lot of people. For years, I did a lot of work together with my street art friend Bludog. I also collaborated with Grey Egg from New Jersey, and I worked with some people from Europe.

What gives you the biggest thrill in this street art scene?

Traveling to new cities and putting my work up in them — especially since it’s such a worldwide thing. It’s a global community. I love seeing what other people are doing and I love contributing to it.

Are you generally satisfied with your work?

I’m satisfied when I finish, and then a few days later, I hate it!

How has it evolved over the years?

I use more colors and my characters have evolved over time.

Running into your pieces always makes me feel happy! And I’m looking forward to seeing more of them…especially on my way to work! What’s ahead?

I’m now working on the wall at Second Avenue and Houston. A solo exhibition of my hand-embellished MTA posters will open this Friday evening from 6-10 pm and continue through Saturday, 12-8 PM, at the Living Gallery Outpost, 246 East 4th Street.

Collaborations:

3. City Kitty with London-based  Neon Savage

5. City Kitty with Queens-based Turtle Caps

6. City Kitty with Toronto-based Urban Ninja

Interview conducted by Ana Candelaria and edited by Lois Stavsky

Photo credits: 1 Lois Stavsky 2-7 Ana Candelaria

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Featured above in Part II of  travel and street photographer Karin du Maire aka Street Art Nomad’s documentation of Playa del Carmen’s delightful public art is another mural painted by the wonderfully talented Mexican artist Farid Rueda. Several more images of artworks captured by Karin on her recent visit to Mexico’s coastal town in Quintana Roo follow:

Mexican artist Minoz with the Dreamers Art Fest

Mexican artist and musician Ekza One

Spanish artist Dourone

Cancún-based Dherzu Uzala with Calles Corazón 

Urban art collective Pinta o Muere

Mexican artist Senkoe

Photos by Karin du Maire aka Street Art Nomad

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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