The first day of spring 2015 brought wintry snow to NYC. Here are a few images I captured while in Greenpoint for the day:
To be identified
Photos by Lois Stavsky
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On exhibit through tomorrow — Saturday — evening at 17 Frost is Royce Bannon‘s Living the After Life. Fashioned on a range of found surfaces — some collaboratively — all of the images intrigue. Curious as to what is going on, I posed some questions to Royce.
What does this all mean? What is going on here?
These works represent my ideal vision of the afterlife — doing the things that I enjoy doing — when I am living as a ghost. It is a celebration of life after death.
What, do you suppose, was the impetus behind this theme? Why the focus on life after death?
My mother recently died. For quite awhile I’d been preparing myself for her death and thinking about the afterlife. Death is not the end.
How have folks responded to this body of work?
The response has been positive. There’s been considerable interest in the works.
How can folks to be sure see the exhibit before it closes?
Everyone is invited to the closing party to be held tomorrow evening — Saturday, March 21 — at 17 Frost Street from 7-11pm.
Note: Tomorrow evening’s closing party will feature a new collabo with EKG and a live drum machine performance by Jefferson Wells.
Images
1. Fishing buddies, Collab with Keren Hasson, Acrylic on wood
2. The swing is always broken in limbo, Collab with KA, Acrylic and spray paint on metal.
3. Remember that day, pt 2, Acrylic on wood
4. Only positive thoughts, Acrylic on metal
5. So far, Collab with Observer Obscura, Mixed media on wood
Photos of artworks by Lois Stavsky
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While in L.A. earlier this week to celebrate the expansion of the Google Cultural Institute’s Street Art Project, Houda Lazrak – co-curator of the Bushwick Collective online exhibit and the earlier 5Pointz one – had the opportunity to check out the neighboring streets. Here’s a sampling of what she found:
Fin DAC and Christina Angelina
Photos by Houda Lazrak
Note: Houda Lazrak, a graduate student in Museum Studies at New York University, is a frequent contributor to StreetArtNYC and co-curator of the Bushwick Collective and 5Pointz on-line exhibits for the Google Cultural Institute’s Street Art Project.
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Home to three distinct galleries — Artemisia Gallery, Azart Gallery and MZ Urban Art — Chelsea 27 is currently presenting Spring Group Show featuring works by an eclectic range of emerging and established international artists. While visiting the gallery yesterday, we had the opportunity to speak to Marina Hadley, owner of MZ Urban Art.
Can you tell us something about Chelsea 27? This current exhibit features artworks presented by three distinct galleries, yet the pieces seem to seamlessly work together.
We are three friends. I had previously worked with Latifa Metheny, the owner of Azart Gallery, at 547 West 27th Street, and I met Christine Jeanquier, who runs Artemisia Gallery, through a mutual friend. We respect each other’s visions and choices.
You seem to all share a somewhat similar vision.
Yes, we are interested in showcasing emerging and contemporary artists — who are working in a range of media and styles — from across the globe. We are interested, too, in discovering new talents. Latifa Metheny particularly focuses on the culture of street art and Christine Jeanquier on French artists.
Why did you choose this particular location?
It is on the ground level of an ideal space in the heart of the Chelsea art district. It was a step I was ready to take, as it is the perfect location for attracting serious collectors.
Yes, it does seem perfect! What advice would you offer an emerging artist who would like to see his work featured in a Chelsea gallery?
Before approaching a gallery, get to know its owner and the work that it features. That is how you will know if the gallery is likely to be receptive to your work. Be sure to have a professional-looking website with each image labeled with its size and medium. When visiting a gallery, bring business cards and a cover letter that look professional. Check out — as often as possible — what other artists are doing. Work hard and be persistent! And be sure to have a body of work and a recognizable style before approaching a gallery owner.
That certainly sounds like great advice! Is there anything in particular that you, yourself, look for in an artist?
Yes, I look for someone who has a statement to make and is willing to take risks to make it. I develop a personal relationship with each artist whose works I exhibit.
So much is happening in the contemporary art scene. How do you keep up with it all?
I follow social media sites like Facebook and Twitter. I regularly read the New York Times, the London Times and the LA Times. I read essential blogs and I talk to people.
We’re looking forward to upcoming exhibits and events, and we are delighted that Chelsea 27 is showcasing so many artists who are active on our streets.
Note: The exhibit continues through Saturday, March 21.
Artworks
1. El Pez
2. Kokian
3. Sliks
4. Sen2
5. Esther Barend, close-up
6. Kurar
7. Joyce DiBona
Interview by Lois Stavsky with City-as-School intern Zachariah Messaoud
Photo credits: 1, 2, 5 & 6 City-as-School intern Zachariah Messaoud; 3 & 7 Lois Stavsky and 4 Dani Reyes Mozeson
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An extraordinary range of artworks in various media celebrating the iconic Mickey Mouse is currently on exhibit at PIQ at 8 Grand Central Terminal in the Shuttle Passage. Among the artists featured in Twisted Mouse are many who also grace the streets of our cities. I recently had the opportunity to speak to its curator, Sabina Nowik.
Can you tell us something about this exhibit? What is happening here?
It is a celebration of Mickey Mouse with dozens of works ranging from the quirky to the gruesome.
Why Mickey Mouse? What is his significance to you?
Having lived and worked in Orlando, Florida, I’ve always had a special relationship with Disney’s characters. Mickey Mouse represents youth and fun!
How did you bring such an extraordinary array of artists together? How did you find them all?
I knew some of the artists from the previous exhibit here at PIQ; some I discovered via word-of-mouth. And I did considerable online research.
What was the experience like? Was it different from what you had expected?
It was very pleasant, as I had expected it to be. But the installation itself — incorporating everything from soft vinyl to triptych art — came together far more seamlessly than I had anticipated.
Note: Twisted Mouse continues through March, with many artworks to remain on exhibit through April. Hours: Monday-Thursday: 8-10 | Friday 8-11 | Saturday: 8-10 | Sunday 9-9.
Artworks
1. Betso, Mickey Splash
2. Eric Orr, Max with Mickey Ears
3. Sienide, Wickey Mouse
4. Miss Zukie, Stuffed Mouse
5. Chris RWK, Tourist Trap
Photo credits: 1 Sara C. Mozeson; 2 – 4 Lois Stavsky and 5 courtesy of the artist
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This is the sixth in a series of occasional posts featuring the range of curious characters that have made their way onto NYC open spaces:
French artist André in Downtown Manhattan
Bradley Theodore in SoHo
French artist Kashink in Bushwick
Dasic and Spanish artist Spok Briller at the Bushwick Collective
Nick Kuszyk aka RRobots in Williamsburg
See One at the Bushwick Collective
Puerto Rican artists Nepo and Son in Bushwick for this past summer’s Juicy Art Fest
Photos: 1, 2, 5-7 & 9 Lois Stavsky; 3 Dani Reyes Mozeson; 4 & 8 Tara Murray
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Australian native Damien Mitchell has been gracing NYC walls with his wonderful talents since moving here two years ago. We visited him at his studio while he was readying for his solo exhibit — Tools of the Trade — opening tomorrow Friday, the 13th, at Low Brow Artique.
When and where did you first share your artwork on a public space?
My first experience with graffiti was at age 8. I wrote ‘fuk’ on the underside of our family’s coffee table. I then blamed it on my two-year old niece, Alice.
What or who inspired you to do so?
I can’t remember — though it must have been important, as I still do it now and then. Alice is getting really sick of my shit.
Do you have a formal art education?
No.
How do you feel about the movement of works by street artists and graffiti writers into galleries? Have you exhibited your work in a gallery setting? If so, where and when?
It is what it is. When you take a work off a truck or wall and stick it in a gallery, it no longer moves like it does outside. It can’t sneak up on you or take you by surprise. That said, I am showing paintings at Low Brow Artique tomorrow, Friday the 13th, from 6-9pm.
When did you come to NYC? What brought you here?
I first arrived five years ago to visit my wife’s family. I was only here for a few weeks, but I got a few walls up including one at 5Pointz – R.I.P. We moved over here for a longer term on Independence Day two years ago.
What are some of the specific challenges of working/living here in NYC as an artist?
Like anywhere, when you give your work away for free on walls — often times against the will of the building owner — things can get a little weird. Luckily, there are lots of walls to go around, and sometimes they even pay you for it.
Where else have you painted? Have you a favorite city?
When I was 18, I moved to Prague in the Czech Republic. I lived there for eight years painting everything I could. Say what you will about the hangover from the Soviet era but it sure left a lot of bare concrete walls. Also, I once painted my butthole blue just to see if it would change the color of my poop. It didn’t.
Any thoughts about the street art/graffiti divide?
Personally, I wear two hats. I think it’s nice to be able to drink beer in the summer time, while painting a wall at a block party somewhere, but it’s also fun as hell to run around writing shit on walls on the sly. Graffiti heads get all pissy because their work is illegitimatized by street art’s aesthetics and message.
How do you feel about the role of the Internet in all this?
When I was growing up in rural Australia, the Internet was the only way to see any of this stuff. If it wasn’t for sites like Stencil Revolution, I probably would have become a plumber or something.
Do you prefer working alone or painting with others? With whom have you collaborated? Is there anyone in particular with whom you’d like to collaborate?
For legal walls, I’m up for collaboration. There are things you learn and tips — you don’t realize you are giving — that make artists better when they work together. This last year I was lucky enough to work with Edob Love and Heesco painting a couple of walls here in NYC. Who knows what will pop up in 2015?
Do you work with a sketch in hand? Or do you just let it flow?
Both. When I’m painting a large portrait, I usually have some kind of sketch with me to start with, and then I let it go. Showing up to a wall with a big bag of paints and just emptying them all as it goes makes for some of my favorite work, though.
How has your artwork evolved during the past few years? Has living in NYC affected your aesthetic?
Since living in NYC, I’ve been offered larger walls, so I’ve had to significantly change how I work. For years I was painting primarily with stencils, but once the walls got big enough, I ditched them. As for aesthetic, I paint what’s around me, so the city and its residents constantly pop up in my work.
What do you see as the role of the artist in society?
I don’t know what the role of the fine artist is, though the role of the graffiti artist — in my opinion — is to be the voice of social change. When there is nowhere to raise your voice, grab some paint and write it on the wall.
Can you tell us something about your exhibit that opens tomorrow at Low Brow Artique?
It’s called Tools of the Trade. A homage to graffiti, it celebrates the tools used by graffiti artists.
What’s ahead for you?
After spending some more time here in NYC, my wife and I are heading to Brazil. The more I look, the more I like!
Photo credits: 1. & 4. Dani Reyes Mozeson; 2. & 3. Lois Stavsky & 5. City-as-School intern Zachariah Messaoud
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Brooklyn-based director and cinematographer Jared Levy has traveled the world pursuing his distinct docu-journalism. Among his projects is Graffiti Fine Art, an award-winning documentation of artists who participated in the 1st International Graffiti Biennial in São Paulo, Brazil. More recently, NYC’s Cern was the subject of a short film called Updating Philosophies. Eager to find out more, I met up with him last week in Williamsburg.
Your award-winning film Graffiti Fine Art is a wondrous ode to graffiti. What drew you to graffiti? Any early memories?
I grew up in a small town on Long Island, where there was no graffiti. And I was indifferent to it on my trips into the city. It was when I visited São Paulo in 2009 that I first discovered it on another level and appreciated it.
What brought you to São Paulo?
I had recently graduated from the Newhouse School at Syracuse University, and I was interested in developing a portfolio. After spending two weeks on vacation in Brazil during Carnaval, I was eager to return to the country. I arrived without any preconceived notion about what topics I would cover. At the time I felt like it was better to explore what was there than to conjure up ideas about a place I didn’t know. It didn’t take long for São Paulo’s graffiti to grab my attention. The city is completely covered in paint.
How were you able to meet and connect to so many street artists in a relatively short period of time?
Lots of serendipity! I was at a bar in São Paulo when I mentioned to one of the few English-speakers there, Nathalie Stahelin, that I was interested in the art I’d seen on the walls of the city. She introduced me to Melton Magidson, the former owner of Magidson Fine Art on Manhattan’s Upper East Side. Melton then introduced me to Ethos, who became the subject of my first graf video. Up until that point it had been three relatively frustrating months of dead ends. These encounters, which all happened within a crazy two-day span, dramatically changed my entire situation in Brazil.
How did you then go on to film Graffiti Fine Art?
Through the Ethos video, I started meeting more writers by offering to take photos of them painting. It was a great way to meet people, exchange art and become friends. Eventually I met Binho. His friendship, along with a few other artists, really helped set the stage for my time in São Paulo. Graffiti Fine Art developed when Binho invited me to film an event he was curating — the 1st International Graffiti Biennial featuring works by 65 street artists from 13 countries at the Brazilian Museum of Sculpture in São Paulo.
What was the experience like?
For eight days the museum stayed open 24/7. Most artists came to work on their murals after hours. I never wanted to miss a mural so during those eight days and nights, I took naps on a bench in a janitor’s closet when I wasn’t filming. I never left the grounds of the museum. It was a blast hanging out and meeting artists from all over the world. A priceless experience.
How do you feel about the movement of graffiti into museums?
On one level it thrills me, as it gives these artists the respect and recognition they deserve. But it’s no longer graffiti. The definition of that is pretty cut and dry – letters in the public domain. But at the time this was a new question for me to explore, being relatively new to the scene. For the artists however, this conversation was old news. I think that actually helped the film in that it brought fresh eyes to the topic. I hope it made the film more accessible for people not familiar with graffiti/street art. But to answer your question, it’s a game of semantics and I’m just glad these incredibly talented artists are reaching new audiences.
In addition to being visually mesmerizing, your film touches on so many key issues about the movement that speak to us. Were you satisfied with your final work?
Yes, absolutely. I learned a lot through every part of the process. It’s interesting, four years removed from it and my relationship to the film is still evolving. My thoughts on the piece both technically and conceptually continue to change as I improve as a filmmaker. But, honestly, I just grow fonder of it really, as it reminds me of a specific time in my life. A really fun and exciting time.
What – would you say – were your greatest challenges in working on this project in São Paulo?
Certainly language. Even after I learned basic Portuguese, idioms and slang terms – specific to the city — confounded me. And São Paulo’s infrastructure is particularly challenging. Filming all of the São Paulo exterior timelapses was a 3-4 week battle, but now that it’s over, I definitely cherish the unique relationship I feel I have with the city itself. Also, it is always delicate filming and representing process. Building trust and creating authentic capture is a challenge I continually face. Even more so in this case when you’re a foreigner asking for an artist’s trust. I respect the artists greatly for opening up to me.
Your company Navigate recently produced a short film which you directed called, Updating Philosophies, featuring NYC artist Cern. Can you tell us something about that process?
Justin Hamilton, the film’s cinematographer/co-owner of Navigate, and I filmed Cern for seven days – at work on a mural, on a truck and with his balloon structures. Each day we got up before sunrise to assure the best light. The final video is about 5 minutes. Its focus is on the creative process.
Why did you decide to make Cern the subject of a video?
I originally met Cern, who is a New Yorker, in São Paulo for Graffiti Fine Art. So it’s come full circle in a way. Once I moved back to NYC in 2011, I developed a personal relationship with him. I’ve always found him to be thoughtful, kind and talented. I knew a short film taking a deeper look at his ideas would yield great results. He’s a smart, philosophical dude. It’s also my first crack at a graffiti/street art related piece since Graffiti Fine Art. My relationship with Cern felt like a great opportunity to dive back into the genre with a — hopefully — sharper cinematic eye.
What’s ahead?
I’m interested in pursuing and telling different types of stories that connect us all. I find process to be far more interesting than the end result. Through process you can learn so much about the creator — where often the connection to the audience exists. Telling these types of thoughtful and authentic stories is what we hope to continue at Navigate.
Interview by Lois Stavsky; all images courtesy of Jared Levy and Julian Walter
Photos: 1. On the set of Updating Philosophies with Cern; 2 Ces, close-up from Graffiti Fine Art still; 3. Suiko, close-up from Graffiti Fine Art still; 4. Jaz, close-up from Graffiti Fine Art still; 5. Shock, close-up from Graffiti Fine Art still; 6. Cern, still from Graffiti Fine Art; 7-8. On the set of Updating Philosophies with Cern
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Featured in this past Monday’s New York Times, Nic 707’s ingenious Instafame Phantom Art project continues to transform NYC subway cars into instant galleries. These are some images I captured on a recent ride from Yankee Stadium to Coney Island:
The legendary TAKI 183
Veteran graffiti writer Snake 1
Sketch
Graffiti legend T-Kid
Photos by Lois Stavsky
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An impassioned graffiti artist, Stockholm native Scratch is the only female to have painted at the legendary Graffiti Hall of Fame for four consecutive years. Last year, together with her writing partner, Lady K Fever, she founded The Bronx Graffiti Art Gallery an outdoor public art space featuring several internationally acclaimed graffiti artists. Scratch‘s public works can be seen in the Bronx, East Harlem and in Upper Manhattan.
When and where did you first get up?
I was 14 when I first painted in my native city of Stockholm. But I was a toy back then!
What were the circumstances?
The Swedish town I was living in at the time had become concerned about its “graffiti problem.” And so the government decided to establish a “graffiti school,” where we would be taught to paint in legal venues. I just wanted a space and free paint.
What was that experience like?
There were no formal classes, so we were free to learn from each other. And of course just about everyone who attended improved their skills and continued to painting illegally! I was the only girl who showed up.
Were there any artists who inspired you back then?
Yes! There was Brain – who taught at the “graffiti school.” He was a major inspiration. And others who inspired me were Circle, Ward, Ziggy & Dizzy and Zappo.
Did you do anything risky back then?
One Christmas morning – when all the shutters were down – I went out and bombed just about every store on my town’s main street.
That does sound risky! Why were you willing to take that kind of risk?
I was only 14; I didn’t really think about the consequences of my actions.
You moved to NYC in 1998 to work as a graphic designer. When did you begin painting graffiti here? And what got you back into it?
I hadn’t painted for many years. And then one day, as I was riding the 7 train into Flushing, I passed 5Pointz. I couldn’t believe my eyes! A few days later, I went back to check it out, and that was it! I was hooked again. That was back in 2008.
What was it like for you at 5Pointz?
It was great. Meres is an amazing teacher, and just about all the writers I met there were kind and helpful.
Any thoughts on the graffiti/ street art divide?
Graffiti and street art are very different. There may be some crossover, but they will remain distinct art forms. Graffiti is still identified with vandalism, and street artists get far more respect and recognition than do graffiti writers. But graffiti – to me – is stronger. It is more honest and direct.
How do you feel about the movement of graffiti into galleries? Have you shown your work in galleries?
Graffiti wasn’t intended to be painted on a canvas. Sometimes it works; other times it doesn’t. But I have no problem with it. Yes, I’ve shown in a number of galleries.
What about the corporate world? Any thoughts about that?
I’m used to it. My background is in advertising.
Do you prefer working alone or collaborating with others?
I often work alone, but I’ve collaborated with Lady K Fever, and I assisted Kingbee and Vase at the Graffiti Hall of Fame. I like both! I look forward to collaborating more with other artists.
How do you feel about the role of the Internet in this scene?
I feel positive about it. I get to see artworks I would never, otherwise, get to see
Do you have a formal arts education?
No, my background is in advertising and marketing. I studied at Pace University.
What inspires you these days?
Fantasy. I’m a huge fan of Lord of the Rings.
Are there any particular cultures you feel influenced your aesthetic?
I’d have to say the early graffiti writers in Sweden. But there they are referred to as graffiti painters – not writers!
Do you work with a sketch in your hand or do you let it flow?
Yes. I always have some kind of sketch with me when I paint.
Are you generally satisfied with your work?
No! I always want to change it.
How has your work evolved in the past few years?
It’s gotten better. It’s more detailed.
What do you see as the role of the artist in society?
To share his or her story with others.
What’s ahead for you?
More walls and huge productions. And also more opportunities to show my work.
Note: You can meet Scratch, along with other members of the The Bronx Graffiti Art Gallery, tomorrow from 6 – 8pm at the spray can art show at Scrap Yard at 300 West Broadway between Grand and Canal Streets.
Interview by Lois Stavsky; photos 1, 3 & 4 courtesy of Scratch 2. Lois Stavsky, and 5, Dani Reyes Mozeson
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