Though demolition has begun on the building, the spirit of 5 Pointz was alive in Brooklyn yesterday, as a group of artists gathered to paint a 911 tribute wall, as they did each year at the famed Queens graffiti landmark.
Dedicated to 911 EMT, FDNY, and FDNY, the mural features a likeness of Joe Conzo, who in addition to working as an EMT, is a long-time documenter of hip- hop culture and author of the book Born in the Bronx. On Sept. 11, 2001, Conzo was one of the first EMTs on the scene of the World Trade Center attacks. After saving his trapped partner, they worked tirelessly for the next few days to rescue others who had been buried under rubble.
Last week, Shepard Fairey created a new mural at 161 Bowery, near the corner of Broome Street in Lower Manhattan. This massive project was organized by L.I.S.A. Project NYC, the non-profit which has been bringing wonderful street art to Little Italy and the surrounding areas, creating downtown Manhattan’s first mural district. We had the opportunity to shoot these photos of Fairey and his team at work.
We were saddened when the news broke that Jim Power, the famous “Mosaic Man” of the East Village, has begun tearing his mosaics down. Today, he explained that he is removing them before the city has a chance to, as Astor Place continues its redesign. “This is Mosaic Massacre, 2014,” said Powers. “They are planning to move them to Queens, or all over the city – who knows where. They called them ‘historic artifacts’. Well, they weren’t made to be artifacts in Queens.” Yesterday we had a chance to photograph Jim Powers in action as he removed his works from the Mosaic Trail.
For nearly 2 years, the L.I.S.A. Project NYC has been bringing wonderful street art to Little Italy and the surrounding areas, to create downtown Manhattan’s first mural district. A 501(c)3 non profit organization, The L.I.S.A. Project NYC works in collaboration with the Little Italy Merchants’ Association. We recently had the pleasure of interviewing L.I.S.A. Project NYC founder and curator, Wayne Rada.
UC: How did the L.I.S.A. Project NYC get started?
Image by Liz Ligon Courtesy of the Museum of the City of New York.
Life-size photograph of graffiti artist Dondi taken by Martha Cooper. Photographs of subways covered in graffiti taken by Henry Chalfant displayed along the walls in the City As Canvas exhibit.
With some exceptions, graffiti often hides in plain sight. But both its creators and the photographers that capture these works of art aren’t always as visible, a pattern the Museum of the City of New York interrupted with its panel discussion last week, On the Front Lines: Graffiti’s Documenters, that brought together photographers featured in the current exhibit City as Canvas: Graffiti Art from the Martin Wong Collection. In a delightful presentation, legendary photographers Martha Cooper, Henry Chalfant, Flint Gennari, and Jon Naar, along with moderator and artist/author Jay J.SON Edlin, shared their images documenting graffiti writing in the 1970s and 1980s. Their stories gave us a glimpse of some of their earliest experiences photographing the graffiti culture.
Graffiti Kids, photograph by Jon Naar, 1973.
Photographer Jon Naar documented New York’s graffiti art movement in 1970s and ’80s including artists, such as the pictured kids, posing with their work.
What isn’t immediately noticed in photographs of graffiti is the intimate relationship between photographers and graffiti artists. The photographers befriended and promoted the young graffiti artists at a time when the art movement was highly controversial and had very little support. Jon Naar described meeting writers for the first time and realizing they were just young children. He remembered feeling surprised, but not frightened as he shot his iconic photograph, Graffiti Kids (above), and discussed their resilience in finding ways to survive and thrive in very neglected neighborhoods in the city.
One of the photographs included in the presentation by Henry Chalfant. The photographers would often have kids seeking them out to photograph new work on trains. In this photo, we see Henry’s shadow as he photographs a direct message from a writer.
The photographers further explained how over time, their relationship with the writers became collaborative. Henry Chalfant and Martha Cooper famously had writers calling them about their newest work on trains. As photographers favored certain train lines because of features like lighting, background, and location, eventually writers would gravitate towards those spots too. Young artists would “bomb” specific train lines because they were more likely to be photographed.
A photograph presented by Flint.
For Flint Gennari, the relationship between writer and photographer was even more intimate. He was writer as well as a photographer, documenting his peers and friends. Flint’s work offers a rare glimpse into the graffiti culture of that time, such as this image (above) of a writer tagging inside a subway car.
Redbird (Stay High 149), photograph by Jon Naar, 1973.
Photographer Jon Naar documented New York’s graffiti art movement in 1970s and ’80s including landscape images of graffiti-covered subway trains rumbling through the city. This particular photograph is of a train painted by STAY HIGH 149, a pioneer in the writing movement.
Since we first interviewed the curator and met some of the artists , we have seen City As Canvas take on a life of it’s own through excellent public programs. What makes these programs special is that they offer the public a rare opportunity to meet and interact with some of the earliest graffiti artists in New York City and their documenting photographers. The book signing and reception after the presentation gave guests plenty of time to mingle.
Pictured: curator Sean Corcoran, Jay Edlin, Martha Cooper, Jon Naar, and Henry Chalfant.
The photographers who documented New York’s graffiti art movement in 1970s and ’80s posing with their work, remind us of their muses, the Graffiti Kids.
The next public program in this series, Graffiti (R)Evolution: Graphic Design and Fine Art, is coming up on Wednesday, July 9 at 6:30 p.m. Join Cey Adams, founding creative director of Def Jam Recordings, and accomplished collage artist Greg Lamarches for a conversation moderated by graffiti artist Dave “Chino” Villorente on the evolution of graffiti from illicit underground movement to international force in the contemporary arts.
And, if you are looking for some kid-friendly Untapped events, be sure to check out the awesome family programs at MCNY.
What makes these programs special is that they offer the public a rare opportunity to meet and interact with some of the earliest graffiti artists in New York City and the documenting photographers.
Take note, the exhibition has been extended and will be on view until Monday, September 1, 2014.
Responsible for at least 30 of the freshest new murals in Bushwick is Exit Room, a wonderful gallery and cultural space. Located at 270 Meserole Street, (two blocks from the L train’s Montrose Ave. stop) Exit Room has been busy working on these murals in preparation for their first annual Juicy Art Festival. This three-day art and music festival, running from June 5-7, is dedicated to bringing the arts and community together through street art, music, and performance.