Welling Court Mural Project Opens Over the Weekend in a Queens Community; Many Street Artists Contribute
There can be a bit of grand posturing around the word “community” especially by people (or corporations) who spend more time chasing the Gravy Train than climbing on the Love Train.And swimming in an acid-tongued media landscape that keeps saying we’re are a giant polarized society simply bubbling with animosity, you could be forgiven for not leaving your house, let alone breaking bread with your neighbor who is different.
New York people prove that lie to be wrong every day – we are a hugely diverse lot- our different mother tongues alone could lick a frosting bowl the size of Shea Stadium. And yet mysteriously all of us weird different kinds of people are all getting along with each other day after day – sometimes we even enjoy each other!
Welling Court Murals, a project with Street Artists in a neighborhood in Queens, New York, came to fruition on Saturday and the results were as colorful and eclectic as we are. While the people on the block barbecued and danced and played games, kids chased each other and rode their bikes and took many pictures of Street Artists doing their thing on the walls- spray cans, paint brushes, wheat paste, and markers busy.
Saturday was the “show day” for this project that the folks at Ad Hoc Art, with Alison and Garrison Buxton at the helm, have been “community organizing” for a long time. However, by no means is it the end of the project, as new friendships and alliances were forged and a neighborhood has a new panoply of street art to look at, ponder, and hopefully be inspired by.
The Welling Court Mural Project was one of the most cohesive “community” events we’ve seen in a long time. Street Artists plus an engaged neighborhood of very nice people… delicious home-made foods, music from Latin America and India/Pakistan, adults, kids, painting, asking and answering myriad questions, posing for pictures in front of pieces — all proving again that the arts can bring people together. A sincere “Thank you” to Ad Hoc and Allison and Garrison and all the artists for putting your best out there for others to share.
Welling Court Artists include: Alice Mizrachi, Beast, Chris Mendoza, Chris Stain, Celso, Cern, Cey Adams, CR, Cycle, Dan Witz, Darkclouds, Daryll Peirce, Don Leicht, Ellis G, Free5, Gaia, Garrison & Alison Buxton, Greg Lamarche, JMR, John Fekner, Lady Pink, Leon Reid, Matt Siren, M-City, Michael De Feo, Mr. Kiji, Pablo Power, Peripheral Media Projects, R. Nicholas Kuszyk, Remi/Rough, Ron English, Royce Bannon, Sofia Maldonado, Stormie Mills, Sweet Toof, Swoon, TooFly, Tristan Eaton, and Veng RWK.
No, not Queen Elizabeth, – it’s the borough of Queens this time.
Ad Hoc Art, with the Queen Alison Buxton and her ever-loyal servant Garrison at the helm, are putting together a very fun and expansive show on the walls on Saturday.We know the list, and there are a couple special guests, so don’t miss it. It’s kind of far, but it will be worth it when you get there.
Welling Court Artists include: Alice Mizrachi, Beast, Chris Mendoza, Chris Stain, Celso, Cern, Cey Adams, CR, Cycle, Dan Witz, Darkclouds, Daryll Peirce, Don Leicht, Ellis G, Free5, Gaia, Garrison & Alison Buxton, Greg Lamarche, JMR, John Fekner, Lady Pink, Leon Reid, Matt Siren, M-City, Michael De Feo, Mr. Kiji, Pablo Power, Peripheral Media Projects, R. Nicholas Kuszyk, Remi/Rough, Ron English, Royce Bannon, Sofia Maldonado, Stormie Mills, Sweet Toof, Swoon, TooFly, Tristan Eaton, and Veng RWK.
The neighborhood of Park Slope in Brooklyn is better known for beautiful Brownstones, impossible parking, towering maples, social liberals and baby strollers than graffiti or street art.There is one commercial strip down the upper middle of this town-y enclave,with delis and bagel shops and The New York Times on Sunday –and aside from the occasional mural or stickered paper-box, not a whole lot of Street Art action.
On a recent sunny Saturday on 5th ave and Union Street, you may have seen a window display that made you think of street art. In fact, you can see it from the street, and local artist Ryan Seslow is a huge fan of the New York Street Art scene.
Park Slope window installation by artist Ryan Seslow as a satelite to “Programmed”
Brooklyn Street Art: Tell us about yourself.
Ryan Seslow: My name is Ryan Seslow. I’m a multidisciplinary artist living and working in New York. I am also a professor of fine arts teaching studio courses between 4 colleges here in NY and I’m always involved in several different projects at once, it seems, either as an artist, curator, or both.
I feel like I’m 3 or 4 different kinds of artists all trapped into one body. I have more energy than I usually know what to do with, so I love to exercise that on artistic potential and experimentation. Making art from a very young age, my real love for art came from the inspiration I found in 1980’s graffiti, public art, and cartoons. Martha Cooper’s “Subway Art” was, and still is, one of my all-time favorite books.
I was a teenager when the b-boy movement got a hold of me. My entire family is from various parts of Brooklyn, so weekends and summers were spent combing the streets looking for inspiration, while trying to mimic the works I saw.
The original “Subway Art” book by Martha Cooper and Henry Chalfant
Brooklyn Street Art: Can you talk about “Programmed” and what it’s about?
Ryan Seslow: I was recruited to do a satellite installation for “Programmed“, a show about rethinking the relationship with these electronic objects in our lives that we no longer use. The concept of the show was to synthesize the use of obsolete electronics into your work. It touches areas of recycling and the ephemeral existence of many things in today’s world.
I had already been doing this in another commercial window space for a few years, so the fit was nice and exciting. The owner also had this great public window space that he wanted to use to showcase my installation-based works, rather than just filling the space with redundant advertising so we collaborated ideas on the use of the space.
In both projects I wanted to inspire and reach the general public of Park Slope with colorful installations that would show a variety of traditional art techniques as well as more non-traditional works. The context of the commercial window space was perfect to contradict what is essentially public work.
Artist Ryan McIntosh’s piece from the “Programmed” exhibit, made from hard drives, is called “Mirror, Mirror, on the Wall” (image courtesy www.cultofmac.com)
Brooklyn Street Art: Can you talk about some of the materials you used and their significance.
Ryan Seslow: The materials are intuitive manifestations and representations of what can be used to make ART. I’m all about the allowance of communication and self-expression. The curators did ask me to emphasize the use of obsolete electronics. The Mac Support Store (the installation site) is also a hub for the recycling of used computer parts.
The store had this enormous mountain of stuff to choose from and I was drawn to the keyboards right away because keyboards are objects of serious potential; amazing tools and an intermediary means of infinite communication. Each keyboard has the potential of writing the next great literary novel or the next great resolution to help the world. The keyboards connect both the familiar and unfamiliar imagery in the installation, maybe helping the viewers create narratives between the pop icons and the technology.
“I love making art. I’m pretty much obsessed with the process of generating things. I love learning new skills, not so much to isolate the skill itself, but more to integrate it into what I am already doing. I like to test the potentials of things,” Ryan Seslow.
Brooklyn Street Art: How long did it take you to prepare for this, and do the installation?
Ryan Seslow: This installation was built in less than two hours – It is an art practice in itself.
My installations are all intuitive and immediate. I have been working pretty large for about 10 years now so the energy that goes with setting up an installation is always thrilling and I like the challenge of working with the space. Each piece is created individually, so they must hold up that way first, but the installations are 100% modular. Every piece must ultimately fit and work together as a whole by means of form, color and content.
Brooklyn Street Art: Do you think of this as street art?
Ryan Seslow: I do think of this installation as street art. I have been a lover and a participant in the medium of street art for a long time. I may be a lot more careful about when and where I put my work up than I was 10 years ago; that knowledge comes from past experiences. Art forms should be embraced as ongoing expanding things, by seeing the potential of why and how they can fit the foundation of where they began. This exercise itself forms ideas and allows for expansion.
The work is right on the street, the viewers are those walking by on the side walk, or driving by in their cars. It has been framed in glass and protected to a degree. I find this interesting as well. I anticipate more museums and galleries doing this in the future as the context of public art develops and artists continue to push its limits.
Brooklyn Street Art: Do you have any favorite Street Artists whose work you follow?
Ryan Seslow: I love and follow several street artists on a daily basis. I’m a big fan of the BSA site as well as the Wooster Collective. Some of my favorite artists are John Fekner, Michael DeFeo, Gaia , Jeff Soto, Abe Lincoln Jr., Miss Van, Faile, Bast, Robert Williams, Lady Pink , Fafi, Gary Baseman, Tim Biscup, Barry McGee, Swoon, and so many more, too many to name!
Ryan used computer pieces, paper, film, and this image of Jackie Kennedy on the screen of a monitor for the installation.
Brooklyn Street Art: How does Jackie Kennedy figure into the piece?
Ryan Seslow: Funny, Jackie O and JFK have always left this long-lasting impression on me. When the John F. Kennedy assassination was brought up to me in the 5th or 6th grade, in a history class, it never left me. I recall being really freaked out by the way I was interpreting the whole event. As time went on, by the time we got into high school, we were shown the actual assassination film itself (you know the one). At least once a year, I seek to find old and grainy images of the couple. I think they represent some form of the ephemeral with in me. They remind me that our stay here on this planet is not forever, it activates this crazy gratitude to and for all things.
60 second silent collage of the Kennedys.
Brooklyn Street Art: Do you ever hang out and spy on people who have stopped to look at your installation?
Ryan Seslow: Nah, not too much spying, but I do get people who approach me and ask some interesting questions from time to time. Kids seem to be big fans on a regular basis! I have gotten several independent commissions this way, just by creating live art that invites the public to participate by simply talking to me. I am always left with a memory of the experience.
Brooklyn Street Art: You’ve done drawing, painting, stenciling, collage, even sculpture – is there something you haven’t tried but would like to?
Ryan Seslow: That is a great question. I love making art. I’m pretty much obsessed with the process of generating things. I love learning new skills, not so much to isolate the skill itself, but more to integrate it into what I am already doing. I like to test the potentials of things. I would love to do more with the synthesis of street art, public sculpture, experimental film and collaborations.
Actually, this is what I mean; I want to collaborate more with other artists. There is so much to learn when you work with other people, which is one of the main reasons I became an art professor.
Detail from the installation by Ryan Seslow
Brooklyn Street Art: What’s the next project you’ll be working on?
Ryan Seslow: Got several things going on right now. I’m teaching 8 courses this semester, so teaching is a bit more demanding than usual. I’m also curating a special video art/experimental documentary program for The Streaming Festival in the Netherlands , working on an installation series for public art in Jericho Plaza in Long Island, a group video art stills project in Denmark, participating in MagMart in Naples, and I’m part of a top secret underground stencil project.
All images of Ryan Seslow’s work courtesy the artist.
“Programmed”: a group installation art exhibition, is curated by Michele Jaslow & Spring Hofeldt. Park Slope, Brooklyn. The show is open until March 13, 2010.
The Mac Support Store is located at 168 7th Street in Brooklyn. The store is open Monday thru Friday from 9 a.m. to 6 p.m., and Saturday from 10 a.m. to 4 p.m. The store is closed on Sundays.
The Willoughby Windows Project, curated by Ad Hoc Gallery last summer was a big hit that helped revitalize a downtown block.
A developer who bought the block had made it look ugly by kicking out the mom-n-pop businesses that made their living there, so the street artists made it look super cool by putting art in the windows.
These four talented and insightful Brooklyn students in 4th,5th, and 6th grades made an excellent documentary about the project and it’s impact on the people they met who passed the windows. It is very funny and entertaining. Oh yeah, it’s educational too.
The team really studied the topic and explained why they did the project. Here are some quotes from the documentary, to give you a flavor:
“We decided to make a documentary film about the different stores and that had art in them.”
“We had some questions and we wanted to find out what the general public thought about the art.”
“Personally I think the stores closed because of the economy.”
The documentary includes discussion about the project, how it came about, and interviews with people on the street. Garrison Buxton of Ad Hoc, and one of the featured artists in the project Dennis McNett, are also interviewed. The whole documentary was edited by the class instructor, Sam Bathrick.
Three cheers for after school programs! Three cheers for teachers! Three cheers for these amazing students!!
When your van breaks down and dies en route to Florida from New York, you might get a little cranky and freaked out because you have 40 people’s art in the back and are somewhat behind schedule.
You haven’t met the Buxtons.
Ad Hoc and Eastern District are in Miami as BKMIA Thursday Through Sunday
Brooklyn gallerists Garrison and Alison from AdHoc found themselves at a U-Haul truck rental agency when it was obvious that fixing their jalopy wasn’t going to happen anytime soon.
“Yeah we’re definitely making some tangy lemonade out of the lemons we’ve been collecting,” says he.
With a show to mount and open in 2 days (Today) in Miami, they asked for a 14 foot or 18 foot truck but U-Haul was out of that size. So they upgraded to the 26 foot, which made the whole process of moving art a lot easier, and together they steered the MIGHTY BKMIA SHIP southward.
“We just got another beautiful space today”, says Garrison, now that they’ve arrived with a truck of Brooklyn Street Art in the land of orange groves and mobs of art-hungry models in stilettos. They are spreading out into their new giant space on 4141 Northeast 2nd Avenue, which is right across the street from their original space. They had a lot of people’s work with them, “Yeah there was no way it all was going to fit in the original space we had”
And the art itself? One of the first things to be unpacked was this badass sculpture.
UFO and Ryan Doyle at BKMIA (photo courtesy Ad Hoc)
This is an interactive kinetic piece by Ryan Doyle and UFO of 907 crew.
What’r YOU lookin’ at? (courtesy Ad Hoc)
According to the artists, it’s made of found objects and crafted using caveman spaceship technology. Amazingly similar to the squidlike image in the photo below, this sculpture is mechanized with two worm head, gear drive electric wheelchair motors, and is fully operational with a joystick. And yes, Martha, he does look like a writer (check out the fat marker in his tentacle).
Ad Hoc is partnering with Brooklyn neighbor Eastern District in a conceptual gallery called AE District to show off some of Brooklyn’s finest street artists, graff writers, and related contemporary artists in a 40+ name show. Names you might know like London Police and Gaia and Morning Breath will be joining talented newbies like NohJColey and Mario Brothers.
Street Artist Royce Bannon has been doing some writing at the Source magazine, and his first bi-monthly installment is below. In his first article he draws attention to the socio-political messages that mural makers convey, and their salience in an image soaked mediascape. Well, at least, that’s what I was thinking about when I read it.
Aiko Nakagawa shows off her newest stencil (photo Martha Cooper)
Street ArtistAiko worked with the Younity Collective to put up a large mural as a gift to the community recently right next to the Williamsburg Bridge. The all-woman collective, started in 2007 by Alice Mizrachi and Maria “Toofly” Castillo, empowers individuals as artists by creating projects together and celebrating the strengths that each one brings to the game. Now nearing 60 artist members, including multiple disciplines and many names in Graff Art and Street Art you might know such as Lady Pink,Swoon,Drexel, Martha Cooper,and Shiro, the Younity Collective offers much needed support to artists through comraderie and community projects.
When asked about her approach to the project, Aiko agrees that it is very personal, “It made me feel happy to keep working on the mural. It’s a nice feeling to create something beautiful for everybody’s everyday life. If I have a talent to encourage people, make them smile and to cheer them up, that’s totally great.”
Aiko plays her cards with a full hand (photo Jaime Rojo)
Brooklyn Street Art: Is it fun to work as part of the Younity collective? Aiko:It was fun to be part of Younity’s project and I’m glad they called me up. Even though I rarely go bombing with boys, staying away from illegal street activities and focusing on indoor works these days, it brought me all the good energy about working in public space and spending time with other artists again. Plus all girls were very chill, no beef.
Aiko (photo Jaime Rojo)
Brooklyn Street Art: The stencil is quite large! Do you usually work that big? Aiko:A big wall is such a great challenge. I love listening people say “Holy Sh*t, Aiko!!!” from behind me while I’m painting. Actually a lot of people who have been following my exhibitions might notice that my works are getting bigger and better. Stencil is my favorite tool to paint with and I’m so good at using the knife. It took me at least a few days to cut such a giant stencil like that. It killed my fingers and the material is really delicate to handle, transport, and place on the wall. Winds and a bumpy surface is enemy for painting. But what a wonderful feeling to see the finally sprayed image on a wall after all this effort. Big stencils are such joy.
Detail of mural by Aiko (photo Martha Cooper)
Brooklyn Street Art: Your main image is a woman playing a saxophone – is that because
of the jazz club inside? Aiko:The image of the sexy lady with saxophone was also the request from the owner, who runs the historical live music house, WMC Jazz (Williamsburg Music Center). I love music and dance, and I’m very happy to contribute to the local community in Brooklyn.
Aiko (Detail) (photo Jaime Rojo)
Brooklyn Street Art: Your colors are very feminine and strong for this piece. How do
you choose your colors? Aiko:If we can say that paintings are results of an artist’s conversation with themselves and it appears as color and image on the wall, I guess that color is my feeling at this moment. I am in the really feminine, very sexy and super strong phase of my life.
The Younity Collective are: Alice Mizrachi, Maria “Toofly” Castillo, Albeni Garrett, Aiko Nakagawa, Alexandra Casula, Alexia Webster, Jane Dickson, Amanda Lopez, B.I.C., Cece Carpio, Dee Keating, Diana McClure, Diana Schmertz, Diva, Drexel, Erotica, Faith47, Female Sneaker Fiend, GMO$, Heather N. Hayashi, Helene Ruiz, Katrina “RUKUS” Knutson, Kelly Jeanne Lever, Krista Frankln, Lady Pink, Laura Meyers, Lexi Bella, Lichiban, Lisa Case, Lisa Marie Thalhammer, Mad C, Martha Cooper, Meridith McNeal, Muck, Nancy Rodriguez, Nanibah “Nani” Chacon, Naomi Martinez, Niz, Not Bad For a Girl, Kerri O’Connell, Paulina Qunitan Jornet, Petra Moser, Queen Andrea, SHIRO, Sofia Maldonado, Stephanie Land, Swoon, Nanilla Medallions, Andrea Celilia Bernal, Gabriella Davi-Korasanee, M.I.S.S., Nubby Twiglet
Manhattan is turning into a Mall. There I’ve said it.
In the 80’s when I first got to NYC my best friend guided me through the canyons of Manhattan lamenting the pace of change, the cultural cornerstones gone, the new soul-lessness that was going up in new buildings and neighborhoods. I said, “Get over it, are you kidding? This place is amazing!”
Hi De Hi, Hi Di Ho! Making a call while Billi Kid looks on (photo Jaime Rojo)
Now the pace of “progress” that has turned every small and mid-sized city in America into an interchangeable power strip of Olive Gardens, Radio Shacks, and OfficeMaxes has gradually infiltrated the culturally vibrant and wacky island. But it isn’t only Manhattan, it’s true in almost every neighborhood in the city – In fact, the chains are shackling most of our culture to a homogenized dullness that preys on low-paid workers elsewhere and creates low-paid workers here. How many Mom-and-Pop stores have been wiped out by the undercutting prices and special tax considerations that Big Box stores have?
Ask James and Karla Murray.
They started taking pictures of New York’s Mom-and-Pop stores a decade ago when they were out shooting graffiti. By definition, a Mom-and-Pop is a family-owned and usually family-run business with roots in it’s community, providing needed goods or services and jobs and wealth to it’s small ecosystem. The Murrays noticed that they were disappearing, rapidly. It alarmed them and they published a book featuring those businesses call “Store Front: The Disappearing Face of New York”, featuring 250 images of these Mom and Pops.
Buildmore, Morgan Thomas, and Blanco love pasta! (photo Jaime Rojo)
A new show, open to the public this Saturday, features images from that book blown up almost to their original size in a “streetscape” and installed on a gorgeous rooftop. The twist with this show of storefronts is it also includes the work of 28 artists all over it, thanks to the curating skills of Billi Kid, street artist and entrepreneur. We went to the opening of the event (read here) and then we had the pleasure of interviewing the authors and the curator of the show to get more of the backstory:
Brooklyn Street Art: How did the opening party go?
Karla Murray: The opening party was a huge success. We have to thank Liz and Genevieve at Gawker Artists for helping launch such a great event as well as Billi Kid for planning and curating the event. We have never seen our Store Front photos so big before, let alone be decorated by many talented graffiti and street artists. Lots of media and artists were there to celebrate the unveiling of the exhibit. We also want to thank Bear Flag wines who donated the wine.
Ticky/Underwater Pirates, and Celso with guests (photo Jaime Rojo)
Brooklyn Street Art:How did you come up with this unusual idea and then convince Jim and Karla to help make it happen?
Billi Kid: Jim and Karla’s book had been sitting on my coffee table for quite a while and of course, triggered the original idea. MOM & POPism was my fourth collaboration with J&K, our second in which other artists work over their images, so it came down to a matter of trust and love for the concept. To be honest, they jumped right in. No arm twisting on my part. If anything, we three held our breath while waiting for Gawker Artists, who presented the exhibition, to decide whether they wanted to commit their time and resources to the event. Liz Dimmit, our champion and curator of Gawker Artists, fought our battle hard and flipped the POWERS THAT BE over to the dark side.
Royce Bannon monster takes a bite (photo Jaime Rojo)
Birds on a ledge by Cern (photo Jaime Rojo)
David Cooper and Ralph’s (photo Jaime Rojo)
Brooklyn Street Art:Can you describe the process and materials you used to print these large scale repicas of storefronts?
James Murray: The process began by Billi Kid selecting the photos from our “STORE FRONT” book that he thought would have enough “negative” space for artists to paint directly on top of the photo but still maintain the integrity of the store. After Billi Kid told us his initial selection of images, we worked with him making the final selection. We based this decision on the actual image size because we wanted to use photos that we knew would be able to be blown up to that large size and remain clear. We then gave all the image files to Billi Kid so that he could do the math on every one of them and figure out how large the image would print. He also figured out what spaces the artist would paint on and assigned every artist a particular area to paint on. Billi Kid then printed out our photos in segments of 4 feet wide by 9 feet high on matte photo paper rolls using his wide-format printer. If it wasn’t for Billi Kid owning such a large printer, this project would never have gotten off the ground because it would have been too expensive to print at a local lab.
Ideal Dinettes, in business from 1953-2008 Brooklyn, 2004, by James and Karla Murray from “STORE FRONT- The Disappearing Face of New York”
Brooklyn Street Art: Were you ever afraid it wasn’t going to work out?
Billi Kid: Only in so far as the weather was concerned. When we kicked off the planning phase of MOM & POPism, the last thing we figured was a rainy July/August season. Who knew? We had considered the tremendous amount of work involved in getting this to look just right. I mean, Liz Dimmit actually committed to building 9 walls on the roof of Gawker Media HQ so that we could cover them with James and Karla’s beautiful photography. On top of that, we had to figure out the blown-up dimensions of each image and how to layer them up as wallpaper slices. It was definitely touch and go for most of the process, but the stars finally aligned in our favor.
Lady Pink (photo Jaime Rojo)
Brooklyn Street Art: Isn’t Billi Kid rude and difficult to work with?
Karla Murray: Billi Kid is one of the nicest and most generous guys as well as a talented artist. This is the 3rd time we have collaborated with him on an exhibition. The first was a graffiti/street art/photography hotel room installation at the Carlton Arms Hotel in Manhattan and the second was an exhibition called Underground/Overground at the Artbreak Gallery in Williamsburg. We also selected him to be part of an exhibition we are curating during Art Basel Miami called GRAFFITI GONE GLOBAL presented by SushiSamba Restaurants. His work, including the panel he painted as part of MOM and POPism, will be shipped down to Miami and included in the show that takes place from Dec 3-6, 2009.
Brooklyn Street Art:How important is community in a project like this?
Billi Kid: As curator, my first concern for MOM & POPism was to bridge the gap between graffiti/street art and how it is exhibited in a gallery environment. I wanted the public to experience it in it’s pure form, exactly how I see it when I walk the city streets. Secondly, I wanted to continue James and Karla’s “Store Front” conversation along with the sadness felt by all as we watch the disappearing face of New York along with the economic and artistic implications involved. And last, it was all about community. Bringing all of these talented artists to this roof was a dream come true. When working together, the community can go a lot further in spreading the love as far as I’m concerned.
Shiro and her buddy by her piece (photo Jaime Rojo)
Brooklyn Street Art:What conversation do you hope to spark about the significance of these businesses, and their disappearance?
James Murray: We hope to open people’s eyes to the disappearance of these mom-and-pop businesses and encourage people to shop in them and support them. Since we began the project of documenting these stores over 10 years ago, over half of the images which appear in the book have now closed. With the economy doing poorly even more businesses are threatened. These mom-and-pop stores are what makes each neighborhood in the 5 boroughs unique. They are the backbone of the community and when they close a little piece of history is lost.
Brooklyn Street Art:Do you think people are beginning to make the connection between corporate power, globalism, big box stores, and the killing off of Mom-and-Pop’s?
Karla Murray: We hope that people do make the connection between corporate power and big box retailers and the killing off of Mom-and-Pops. People often have the misconception that shopping at a big box is cheaper then going to a local store but it’s not true! Many store owners have told us that their prices are actually lower and the quality of their goods are better. These mom and pop store owners take pride in what they sell and stand behind their product whether its food or clothing or whatever. Many of these businesses have been handed down from generation to generation and the owners are proud to have their name attached to their store.
Brooklyn Street Art:Sometimes when you stretch your mind to combine art and artists in a new way, you can reach a new audience. Maybe you are letting more people know about these artists…
Billi Kid: Whenever I have a willing ear, I’m always talking about preaching beyond the choir. The work deserves and demands a wider audience. It’s beautiful to see and read how people outside of the graffiti and street art world reacted to MOM & POPism. Hallelujah!
Zoltron took the signs to a new street (photo Jaime Rojo)
Brooklyn Street Art:Now that the family owned stores are gone, do you see any hopeful signs in the development of the cityscape?
James Murray: Many family-owned businesses are still in existence so we remain hopeful that the cityscape will not change too drastically.
Infinity says he liked the garbage bags piled there because it looks more realistic (photo Jaime Rojo)
Brooklyn Street Art:What was the biggest surprise of the whole installation? Karla Murray: The biggest surprise was all the rain we got while doing the installation. We knew going into this that the weather was not something we could control but we really were subjected to extremes. The boards were even blown over by a heavy wind/rain storm and had to be secured more tightly. When the artists were painting on the photos we had to erect “tents” out of tarps to keep them covered from the heavy rain storms. We even had to change the date of the opening party under threat of rain. Despite all this, everything worked out well and the photos and artwork held up remarkably well to the elements.
David Cooper signing a copy of Jim and Karla’s book (photo Jaime Rojo)
Brooklyn Street Art: Work and logistics aside, it looks like you had fun putting this one together!
Billi Kid: OK, scratch everything I said so far! Hell yeah!!! It was all about having fun! Seeing how much pleasure each artist had working and looking over each other’s shoulder was my finest moment in bringing MOM & POPism to life. At the end of the day, we ALL have to enjoy what we do, because it shows.
Here’s a piece by videographer Greg DeLiso:
MOM & POPism include Blanco, Buildmore, Cake, Celso, Cern, Chris (RWK), Crome, Cycle, David Cooper, Destroy & Rebuild, Enamel Kingdom, Goldenstash, Infinity, Kngee, Lady Pink, Matt Siren, Morgan Thomas, Peru Ana Ana Peru, Plasma Slugs, Royce Bannon, Shai R. Dahan, Shiro, The Dude Company, Tikcy, Under Water Pirates, Veng (RWK), Zoltron and Billi Kid.
MOM & POPism will be open to public on Saturday, August 15th from noon to 4 p.m. Additional exhibition viewings are available by appointment throughout August.
Previous projects that combined the talents of James and Karla and Billi:
Just like the street used to be; Lady Pink’s pink lady in a provocative pose at “Mom and Popism”. (photo Jaime Rojo)
Tuesday night the summer air was heavy and thick, after an “ozone alert” day in New York drove most sensible people inside corner delis to slide open the icecream case and stare at popsicles for a few minutes, cooling off in the process. Thankfully there is always the roof!
Billi Kid led a cadre of 28 street and graffiti artists up the stairs above Gawker’s plush and well-appointed offices to host an unusual show called “Mom and Popism”. It was officially a press preview but there were about 150 people, cocktails, fancy snacks, a DJ, and even a few high-class prostitutes, but they came in with us.
Taking a call next to Billi Kid (photo Jaime Rojo)
Aside from the impressive list of participants, what makes this show remarkable is the use of Jim and Karla Murray’s photographs of New York “mom and pop” storefronts, blown up to nearly their original size, then carefully appointed with work of the artists in such an integrated way that it’s as if they brought the sidewalk up to the 4th floor.
Pedestrians on the street with Penny in the background (Royce Bannon) (photo Jaime Rojo)
One of the street artists, Royce Bannon, was on hand at the preview to talk about his experience;
BSA: How was it putting your piece up on a photograph of a storefront?
Royce: Uh, it was interesting.It was alright, it was fun, it was cool. I was in and out really fast.
BSA: Where you concerned that it wouldn’t really look like the street?
Royce: Actually I was concerned about what material they were going to use because I didn’t know what kind of paint to bring.I like Jim and Karla’s photography anyway so I would have done whateverthey wanted.
BSA: Does this particular monster have a name?
Royce: Penny, because she’s got penny eyes.Like remember on PeeWee Herman, remember the Penny?
Posing for a picture next to Shiro’s piece on a rolldown (photo Jaime Rojo)
The night breeze was a relief, Jim and Karla were gamely signing copies of their book “Storefront: The Disappearing Face of New York”, artists were signing and creating pieces in each other’s copy of the book, and there was a fair amount of posing. The guests standing in front the storefronts created more than one or two double-takes because you could easily be transported to the streetscape without realizing they were photographs.
There will be a public showing of the installation on the 15th and we’ll be talking to Jim and Karla and Billi the Kid in upcoming posts, but first here’s a quick slideshow of behind-the-scenes makeing of the show from Mr. Kidd.
Artists featured are: Blanco, Buildmore, Cake, Celso, Cern, Chris (RWK), Crome, Cycle, David Cooper, Destroy & Rebuild, Enamel Kingdom, Goldenstash, Infinity, Kngee, Lady Pink, Matt Siren, Moran Thomas, Peru Ana Ana Peru, Plasma Slugs, Royce Bannon, Shai R. Dahan, Shiro, The Dude Company, Tikcy, Under Water Pirates, Veng (RWK), Zoltron, Billi Kid
MOM & POPism, an exhibition curated by Billi Kid reinterpreting James and Karla Murray’s latest book
Store Front: The Disappearing Face of New York,
in unique collaboration with many of today’s hottest graffiti and street artists.
August 15, 2009
12 noon to 4 pm
210 Elizabeth Street, 4th Floor
Store Front: The Disappearing Face of New York is a breathtaking visual guide to New York City’s cultural heritage, with special emphasis on the historic streets and ethnic shops that have defined its many neighborhoods. Meticulously photographed, its powerful images of time-worn institutions will be printed at close to life-size scale and installed on the Gawker Media roof, becoming canvases on which select graffiti and street artists are invited to leave their indelible marks. The result will be a unique impression of a New York City that seems to be fading with each passing day. Our cultural and economic landscape will be called into question, the role of art, particularly graffiti and street art, will be subject to reinterpretation.
Curated by Billi Kid, MOM & POPism brings together graffiti and street artists to create new artworks on top of the Murray’s photographs. The collaborating graffiti and street artists represent some of the most notable artists in the street art community and the media at large. These include Blanco, Buildmore, Cake, Celso, Cern, Chris (RWK), Crome, Cycle, David Cooper, Destroy & Rebuild, Enamel Kingdom, Goldenstash, Infinity, Kngee, Lady Pink, Matt Siren, Morgan Thomas, Peru Ana Ana Peru, Plasma Slugs, Royce Bannon, Shai R. Dahan, Shiro, The Dude Company, Tikcy, Under Water Pirates, Veng (RWK), Zoltron and Billi Kid.
MOM & POPism will be open to public on Saturday, August 15th from noon to 4 p.m. Additional exhibition viewings are available by appointment throughout August.
It’s a great idea to go window shopping these days —as opposed to actual shopping.
Since 70% of the American economy is fueled by shopping instead of manufacturing, we’re all supposed to be doing our patriotic duty accordingly. But sometimes the wallet is bare, bro. And sometimes the local dollar doesn’t stay local.
In yet another case of Street Art improving a community, the Willoughby Windows project in downtown Brooklyn officially opened this weekend with 17 artists, babies, scooters, costumed dancers, a sidewalk DJ, and inquisitive mildly bewildered citizenry slowing down to peek through the glass into artists’ clever minds.
Artist Logan Hicks leans into his multi-layered screenprint piece depicting crowds of New Yorkers on the street. (photo Steven P. Harrington)
A stupendous animal centric 3D installation utilizing the full space of the display window by print expert Dennis McNett can only be appreciated fully in person (photo Steven P. Harrington)
Garrison and Allison Buxton; anchors and visionaries, bring Willoughby Windows to Brooklyn (photo Steven P. Harrington)
In a joint effort with Ad Hoc Gallery and the local BID (Business Improvement District), Garrison Buxton and Allison Buxton and all the Ad Hoc interns have worked tirelessly for a few weeks with artists to install this show behind glass and to revive a moribund block in this sector of retail Brooklyn.
A detailed storyline from Cannonball Press also features a giant old -style cash register (not pictured) that reminds you there once were real businesses and customers here (photo Steven P. Harrington)
At the very least, it’s not so friggin depressing to pass this block on the way to work. At most, it can inspire creative impulses and conversations. Friday’s opening featured many children, gawking families, kooky creative types, chalk games on the side walk, even a feeling of “community”. Huh.
Willoughby Window gazer (photo Jaime Rojo)
In a window display case that featured bagels and home-baked goods, the late afternoon shadows slide across photographs of shadow-tracing by street artist Ellis G. (photo Steven P. Harrington)
Ironically a neighbor to bailout-happy JPMorgan Chase, whose skyscraper casts a shadow over this district of mom and pop businesses displaced by developers, the Willoughby Windows Project gives creative stimulus to the community with a fresh way to think of the shop window.
Stencil artist Chris Stain invokes the imagery of Brooklyn neighbors (photo Steven P. Harrington)
Josh MacPhee brings his Celebrate People's History poster series to this window, creating a patchwork of text and images (photo Steven P. Harrington)
In the wake of boom-era blustery press conferences and erect Powerpoint bar-graphs that fell limp, this project doesn’t bring back the businesses or feed their families, but it does invite a conversation about what a locally created economy means to the people who live here. Pedestrian? Yes, actually. Moribund? No way.
The desire to regenerate Viking manhood through heroic struggle meets Dior. (El Sol 25) (photo Jaime Rojo)
Interstitial musings on cranial sacral therapy (El Sol 25) (photo Jaime Rojo)
Coming to terms with his own past as a weak and sickly boy. (El Sol 25) (photo Jaime Rojo)
A futuristic and intense psycho drama playing out with xray vision enabling the clear view of Janet’s nether region. (photo Jaime Rojo)
The national savings rate must increase, even if a few coins at a time. (Tian) (photo Jaime Rojo)
The noble hippie, bare-chested and defiant, sucks in his gut and clutches his ham and swiss hero. (Trovadour) (photo Jaime Rojo)
Apolo Torres, Mundano, & Loro Verz at Factory Fresh (photo Jaime Rojo)
I hate to seem aggressive but I really need you to use your bathroom. Please give me the key. (Bast) (photo Jaime Rojo)
Sepia Beauty (photo Jaime Rojo)
And which one would we call illegal? (El Sol 25) (photo Jaime Rojo)
With manly legs pumping furiously, Ned, Accounting Super Hero, rushes to deposit the clients’ jewelry before the bank closes. (El Sol 25) (photo Jaime Rojo)
Un aplauso por el Conejo! (Gaia) (photo Jaime Rojo)
Time to come out of the bushes! (Know Hope) (photo Jaime Rojo)
Know Hope behind the grating (photo Jaime Rojo)
Last night I really blew it. Two packs of smokes, a tin of tuna, some lemonade soda, and a tub of watermelon. I really gotta stop before I lose an arm or something. (Know Hope) (photo Jaime Rojo)
Natural beauty in the garden of Eldridge (Lady Pink) (photo Jaime Rojo)
I’m thinking of a small town I visited last night in a dream (Os Gemeos) (detail) (photo Jaime Rojo)
Yes, we’ll go in a minute, I’m just checking my messages (Os Gemeos) (detail) (photo Jaime Rojo)
And when he leans over the railing, I’ll pounce! (Space Invader) (photo Jaime Rojo)
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
