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the art in the streets issue

apr 11
n 123
INTRODUCTION SPECIAL ADVERTISING FEATURE

PRESENTS

Welcome to a
special edition of Juxtapoz
In honor of the first major street art and graffiti retrospective, Art In the Streets, opening at MOCA
in Los Angeles this April, Juxtapoz Magazine created a companion text to the show as our April
2011 issue. As Art In the Streets opens this weekend, Juxtapoz and Levi’s have teamed up, in the
spirit of street art and graffiti, where rewriting the rules is the mantra, to bring you the April Issue
here in full as a digital experience. With Levi’s Film Workshop opening at MOCA for the entirety of
Art In the Streets, allowing both the general public and museum visitors to create their own films
and motion-based productions, we hope this digital version of Juxtapoz’ April Art In the Streets
issue will inspire you to create something in the determination and essence of street art.

April 14th – August 8TH, 2011


152 North Central Avenue, Los Angeles California 90013

FILMS BY ALEX STAPLETON, CAT SOLEN + SWOON, KENNY SCHARF + NATHAN MEIER + MALIA SCHARF, NECKFACE + ISAIAH SERET SECRETS OF THE DOC DOUG PRAY, MICHAEL RAPAPORT,
ALEX STAPLETON, ONDI TIMONER VIDEO SKATE NIGHT CURATED BY PATRICK O'DELL WITH SPIKE JONZE, LANCE MOUNTAIN, TY EVANS AND SURPRISE GUESTS
CINEFAMILY FILM SERIES WITH SPECIAL GUESTS WERNER HERZOG, CHARLIE AHEARN, BUSY BEE, FAB 5 FREDDY, PATTI ASTOR, JEFFREY DEITCH, MARIPOL, MARK H. MILLER
CLASSES LED BY ECHO PARK FILM CENTER SCREENINGS WITH FILMS BY JOEY GARFIELD, ESPO AND ADAM YAUCH MOTION PAINTING WITH DAVID ELLIS PHONOTROPE-MAKING WITH JIM LE FEVRE

WORKSHOPS.LEVI.COM
TWITTER: @LEVISWORKSHOPS | FACEBOOK.COM/LEVIS | VIMEO.COM/LEVIS
2 SPECIAL ADVERTISING FEATURE JUXTAPOZ

CALENDAR - ART X FILM


WORKSHOPS.LEVI.COM
TWITTER: @LEVISWORKSHOPS | FACEBOOK.COM/LEVIS
VIMEO.COM/LEVIS

FRIDAY SUNDAY SUNDAY TUESDAY THURSDAY FRIDAY

04/15
7:30 PM
04/17
11:00 AM
04/17
3:00 PM
04/19
8:00 PM
04/21
8:00 PM
04/22
8:00 PM
LEVI’S PRESENTS: WILD STYLE ECHO PARK FILM CENTER: MEET THE ARTISTS: LEVI’S PRESENTS: DOWNTOWN 81 LEVI’S PRESENTS: MUR MURS LEVI’S PRESENTS: GLOBAL GRAFFITI
Cinefamily SUPER 8 BASICS SWOON + CAT SOLEN Cinefamily Cinefamily SHORTS
Joyous, raucous, and explosive, Wild Style is the Levi’s® Film Workshop at MOCA Levi’s® Film Workshop at MOCA Downtown 81 stars legendary artist, poet and Mur Murs is Agnès Varda’s love letter to Los Cinefamily
movie that made Hollywood wake up to hip-hop. Using the classic home-movie camera, students will Filmmaker Cat Solen and AITS exhibiting artist musician Jean-Michel Basquiat, as director Edo Angeles–ephemeral, idiosyncratic and startling A shorts program curated by Cinefamily, incl Helen
After the film, join us for an after-party with director explore the history and application of small format Swoon will share and discuss their collaborative Bertoglio captures the energy of the early-’80s New street murals that give freeways, airports, and Stickler’s Andre The Giant Has A Posse, her 1997
Charlie Ahearn, co-stars Busy Bee, Fab 5 Freddy & filmmaking. This workshop includes basic camera short film First in a series of four conceptual films York art-world and bohemian subculture. Post-film other communal spaces unexpected vibrancy and look at Shepard Fairey’s infamous guerilla sticker
Patti Astor, along with other special guests. operation and shooting techniques. No previous made via the Workshop and celebrating panel with MOCA Director Jeffrey Deitch, artist / life. Plus Stations of the Elevated, a wordless tone campaign, Matt McCormick’s The Subconscious Art
filmmaking experience necessary. Art in the Streets. Downtown 81 producer Maripol, and Jean-Michel poem by German filmmaker Manfred Kirchheimer, of Graffiti Removal, and the rare Dreams Don’t Die,
Basquiat at the Fun Gallery co-director Marc H. Miller! featuring music by Charles Mingus. 1982 movie about an inner-city graffiti writer.

SATURDAY SATURDAY SUNDAY WEDNESDAY

04/23
5:30 PM
04/23
7:30 PM - 9:00 PM
04/24
11:00 AM
04/27
8:00 PM
SCREENING: CAVE OF FORGOTTEN A/V SESSIONS: D-FUSE ECHO PARK FILM CENTER: 16MM BASICS LEVI’S PRESENTS: SKATE VIDEO NIGHT
DREAMS + WERNER HERZOG IN-PERSON Levi’s® Film Workshop at MOCA Levi’s® Film Workshop at MOCA Vista Theatre
Natural History Museum London-based artists D-Fuse kick off our A/V Join us for an introduction to 16mm filmmaking Noted photographer and producer Patrick O’Dell
Werner Herzog’s brand new documentary Cave Sessions with their live Sonic Cinema performance using Bolex reflex and Beaulieu cameras. In this (Epicly Later’d) will present a special compilation of
of Forgotten Dreams gives you exclusive access Latitude [31°10N/121°28E]. Shot during a 3 workshop, students will learn basic camera seminal skateboard videos from the 1980s to today.
inside the Chauvet caves of southern France. month period in China, fragments of conversations, operation and lighting. No previous filmmaking The screening will be followed by a conversation
Putting modern 3-D technology to a profound crowds, journeys, lights, deserted space and experience necessary. with legendary skateboarders and filmmakers,
use, Cave transports you back in time over 30,000 architectural forms are mixed in a unique live including Spike Jonze, Stacy Peralta, Lance
years! See the oldest known pictorial creations of performance tracing a multitude of paths, identities Mountain, Ed Templeton, Greg Hunt, Ty Evans, Rick
humankind in their astonishing natural setting. and influences, representing everyday life of Howard, Aaron Meza, Tobin Yelland.
contemporary China.

SATURDAY SUNDAY SUNDAY MONDAY

04/30
7:30 PM - 9:00 PM
05/01
11:00 AM
05/01
3:00 PM
05/02
7:00 PM
A/V SESSIONS: DAVID CABRERA ECHO PARK FILM CENTER: SECRETS OF THE DOC LA PREMIERE OF FIGHT FOR YOUR RIGHT
Levi’s® Film Workshop at MOCA 16MM LOOP MAKING Levi’s® Film Workshop at MOCA REVISITED DOC
In an emerging world of video performance Levi’s® Film Workshop at MOCA Acclaimed documentary filmmakers Doug Egyptian Theatre
artists, few have background and skill as An activation of Eisenstein’s theory of montage Pray (Hype!, Scratch, Infamy, Surfwise), Michael This 30 minute short was one of the most talked
impressive as David Cabrera, AKA mr.cocoon. mixed with lessons in how to use a splicer and Rapaport (Beats Rhymes & Life: The Travels of about films at the 2011 Sundance Film Festival.
With the performative approach of a live musician, projector. Scratching, tweaking, dying, repurposing a Tribe Called Quest), Alexandria Stapleton The Beastie Boys have revisited their classic “(You
his adaptable style has been described as found footage to make film loops. Participants will (Corman’s World: Exploits of a Hollywood Rebel), Gotta) Fight for Your Right (To Party!)” music
psychedelic narrative, often referencing Nam chop up old films and make a new edit/film loop Ondi Timoner (Dig!, We Live in Public) will reveal video, with an all-star cast that puts any big screen
June Paik and late 60’s light shows. that is screened at the end of the workshop. the challenges and their tips for shooting blockbuster to shame.
unscripted films.

SATURDAY SUNDAY SUNDAY

05/07
11:00 AM - 9:00 PM
05/08
11:00 AM
05/08
3:00 PM
MOTION PAINTING WITH DAVID ELLIS ECHO PARK FILM CENTER: MEET THE ARTISTS: KENNY SCHARF +
Levi’s® Film Workshop at MOCA HOME MEDIA MASHUP NATHAN MEIER + MALIA SCHARF
Over the course of a full day you are invited join Levi’s® Film Workshop at MOCA Levi’s® Film Workshop at MOCA
artist David Ellis in the making of a motion painting. Bring in your old home movies (Super 8mm, Filmmakers Malia Scharf, Nathan Meier and AITS
Participants will help build, light and shoot with 8mm, VHS) and learn to edit and reappropriate the exhibiting artist Kenny Scharf will share and discuss
time-lapse photography a variety of found objects. footage to create a story. their collaborative short film, Kenny Scharf: More,
When the sun sets we will watch the finished film. Newer, Better, Nower, Funner.

Second in a series of four conceptual films made


via the Workshop and celebrating Art in the Streets.

SATURDAY SATURDAY SUNDAY

05/14 05/14 05/15 SAVE THE DATE 05/24


8:00 PM
1:00 PM 7:00 PM - 9:00 PM 3:00 PM EGYPTIAN THEATRE
PHONOTROPIC FUN WITH JIM LE FEVRE A/V SESSIONS: VJ FRANZ K MEET THE ARTISTS: NECK FACE +

PREMIERE OF THE OFFICIAL STORY OF ART IN THE STREETS,


Levi’s® Film Workshop at MOCA Levi’s® Film Workshop at MOCA ISAIAH SERET
Franz Keller is a true multimedia artist - his Levi’s® Film Workshop at MOCA
Spend a unique and entertaining afternoon with

DIRECTED BY ALEX STAPLETON


BAFTA and British Animation Award-winning projection work is a combination of modern Filmmaker Isaiah Seret and AITS exhibiting artist
filmmaker/animator Jim LeFevre, the champion of computer geometry with classic media, such as Neck Face will share and discuss their collaborative
this modern-day incarnation of the Zoetrope, the ink brush drawing and puppeteering. He is a short film. Devendra Banhart, Edward Sharpe & The
Phonotrope. You’ll learn tips and tricks to make your graduate of UCLA Design School, and prominent Magnetic Zeros
own short looping animations. member of the Pomona Arts Colony, and former
director of SCA Project Gallery. In the techno clubs, Third in a series of four conceptual films made via
and on YouTube, he’s known as VJ Franz K - a video the Workshop and celebrating Art in the Streets.
journalist as well as music / visual performer.

SCREENING EDUCATION EVENT LIVE & DIRECT ON FACEBOOK SCREENING EDUCATION EVENT LIVE & DIRECT ON FACEBOOK

*ALL EVENTS AT LEVI’S FILM WORKSHOP AT MOCA UNLESS OTHERWISE NOTED *ALL EVENTS AT LEVI’S FILM WORKSHOP AT MOCA UNLESS OTHERWISE NOTED
4 TABLE OF CONTENTS Photo by Gusmano Cesaretti JUXTAPOZ

Juxtapoz 123
levi’s film workshop 32
Curator Conversation 38 Lee Quinones 44
Bill Daniel 54 Margaret Kilgallen 64 Dash Snow 72 video
Jamie Reid 78 Fab 5 Freddy 88 Rammellzee 96
Gusmano Cesaretti 104 Martha Cooper 114
SWOON +
CAT SOLEN
filmed at moca in conjunction
Introduction 6 Profiles 16 Insider 130 Perspective 142
with the exhibition art in the
streets

One in a series of four collaborative films


facilitated by the Levi’s Film Workshop

Watch here:
JUXTAPOZ (ISSN #1077-8411) APRIL 2011, Volume 18, Number 4. Published monthly by High Speed Productions, Inc., 1303 Underwood Ave, San Francisco, CA 94124–3308. ©2010 High Speed Productions, Inc.
All rights reserved. Printed in USA. JUXTAPOZ® is a registered trademark of High Speed Productions, Inc. Reproduction in whole or in part without written permission is prohibited. Opinions expressed in ­a rticles are those vimeo.com/levis/swoon-cat
of the author. All rights reserved on entire contents. Advertising inquiries should be directed to: (415) 671 2429; (415) 822 8359 (fax). Subscriptions: US, $29.99 (one year, 12 issues) or $75.00 (12 issues, first class, US only);
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Periodicals Postage Paid at San Francisco, CA, and at additional ­mailing offices. Canada Post Publications Mail Agreement No 0960055. Change of address: Allow six weeks advance notice and
send old address label along with your new address. ­POSTMASTER: Send change of address to JUXTAPOZ, PO Box 884570, San Francisco, CA 94188–4570.
6 PHOTOS JUXTAPOZ Photo by Evan Pricco

upcoming

kenny
scharf +
nathan
meier +
malia
scharf
coming may 8, 2011

Watch it here:
vimeo.com/levis/scharf-meier
JUXTAPOZ Photo by John Barton

Introduction
123
You are about to read through a lot of history. This issue revels in stories of
pinnacle moments of convergence, remarkable communication, specific and FOUNDER / ROBERT WILLIAMS
diligent documentation that spread street art and graffiti around the world, EDITOR / M. REVELLI
MANAGING and web editor / EVAN PRICCO
about outsider artists who paved the way, obsession, anarchy, anti-authority,
ART DIRECTOR / trenton Temple
death, birth, and reflection. You will read about men and women who created co-founder / GREG ESCALANTE
a spirit of, as Jeffrey Deitch puts it, “unmediated expression,” a momentum so CONTRIBUTING ART IN THE STREETS EDITOR / ROGER GASTMAN

relentless that even when standing completely outside the normal confines of CREATIVE CONSULTANT / SUZANNE WILLIAMS
CREATIVE DIRECTOR / HYBRID DESIGN, SF / WWW.HYBRID-DESIGN.COM
the traditional exhibition art circuit could no longer be ignored. You will learn
GROUP CREATIVE DIRECTOR / KEVIN CONVERTITO
about pioneers, some of whom may change your opinion on graffiti and street art. PHOTOGRAPHY DIRECTOR / CR STECYK III
STAFF PHOTOGRAPHER / RANDY DODSON
Guru / Nick Lattner
Building this companion issue to the landmark Art in the Streets survey opening
PRODUCTION ASSISTANTs / Brent gentile / Jeanette Sawyer / DAN WHITELEY
at the Museum of Contemporary Art in Los Angeles this month garnered
new appreciation for the origins of many artist we have covered. Even if you NEW MEDIA AND TECHNOLOGY EDITOR / ALEXANDER TARRANT

personally never picked up a spray can, put up a wheat paste, or wrote on Contributing Editor / Joey Garfield
CONTRIBUTING PHOTO EDITORS / SAM BASSETT / ESTEVAN ORIOL
a wall, the energy and freedom of expression conveyed through graffiti and
Contributing Writers / Joshua Blank / Henry Chalfant / Crash / Shepard Fairey
street art permeated the art world. It was, and may still be, the ultimate “fuck Sacha Jenkins / Shelley Leopold / Tristan Manco / Jon Naar / Chris Pape
you” mentality. Origins of this attitude can be found in Jamie Reid and his Sex Elizabeth Pepin / Jake Phelps / Revok / Aaron Rose / Caroline Ryder / Saber
Wooster Collective
Pistols’ art, in the 1970s street photography of Gusmano Cesaretti, the early
CONTRIBUTING PHOTOGRAPHERS / 13TH WITNESS / JOSHUA BLANK / angela boatwright
street pieces in New York City by Lee, and in the street poems that Jean-Michel HENRY CHALFANT / MARTHA COOPER / CHUCK GIBSON / COLIN O’BRIEN / ESTEVAN ORIOL
Basquiat left behind around downtown. Where it went from there was to the Interns / Rose Athena / Caitlin Fitting

streets of San Francisco with Barry McGee and Margaret Kilgallen, to Brazil with
Director of New Business / Jeben Berg • (415) 671-2414 • Jeben@hsproductions.com
Os Gêmeos, to Obey Giant, to Revs and Cost, to Saber, and as far as England advertising director / Erin Dyer • (415) 671-2434 • erin@juxtapoz.com
with Banksy. The names are iconic, and each contributed in passing the baton MARKETING DIRECTOR / DAVE SYPNIEWSKI • DAVID@HSPRODUCTIONS.COM

onto a new generation. So we ask, where does it all go now? ADVERTISING SALES / EBEN STERLING • eben@hsproductions.COM
AD TRAFFICkING / MIKE BRESLIN
MARKETING and ADVERTISING manager / SALLY VITELLO
Graffiti and street art had always relied on an audience in a distinct public space
and locale. Pieces done in Brooklyn, Los Angeles, the Bronx, or Berlin were PRESIDENT / GWYNNED VITELLO
VICE PRESIDENT / ERIC SWENSON
done so people would see, discuss, digest, understand, and interact. Where
PUBLISHER / EDWARD H. RIGGINS
discourse and interaction with art existed solely in galleries and museums in CFO / JEFF RAFNSON
the mid-twentieth century, this new distribution point was created in the streets ACCOUNTING MANAGER / KELLY MA

throughout the 1970s, ’80s, and most of the ’90s. Today, the Internet has broken CIRCULATION DIRECTOR / DEBBIE DEXTER
CIRCULATION CONSULTANT / JOE BERGER
all barriers and rules. Work is now being created for the first point of interaction
GENERAL COUNSEL / JAMES M. BARRETT
to occur on your laptop, not a physical space. The audience is infinite (or six
billion people infinite). You aren’t just putting a piece up in Valencia, Spain; SUBSCRIPTIONs / MAIL ORDER / JENNY GALVEZ / Yolanda Rodriguez
(888) 520 9099 • SUBSCRIPTIONS@HSPRODUCTIONS.COM • ORDERS@HSPRODUCTIONS.COM
you are sharing a piece for the world to see via their computers, smartphones,
PRODUCT SALES MANAGER / RICK ROTSAERT • (415) 822 4189
and iPads. When Banksy flooded San Francisco’s streets in 2010, it wasn’t PRODUCT PROCUREMENT / PETER TURNER
just SF that experienced the work, but forums and blogs around the world SHIPPING / DERIK STEVENSON
TECHNICAL LIAISON / Santos Ely Agustin
that delivered the news with posts and images. It became a global story, far
outweighing the local impact. The new distribution point of street art and graffiti JUXTAPOZ IS PUBLISHED BY HIGH SPEED PRODUCTIONS, INC. (415) 822 3083
is the Internet. And who will utilize new technology and break new ground in
this development? EMAIL TO: EDITOR@JUXTAPOZ.COM WWW.JUXTAPOZ.COM

We have seen moments of clarity in what the next few decades could look like.
The publishers would like to thank everyone who has furnished information and
materials for this issue. Unless otherwise noted, artists featured in JUXTAPOZ
VIDEO
To us, BLU and David Ellis’ COMBO may be the start of the revolution: street art
and performance made for video and Internet-only. Even Evan Roth’s Graffiti
retain copyright to their work. Every effort has been made to reach copyright
owners or their representatives. The publisher will be pleased to correct any
NECK FACE
+ ISAIAH
mistakes or omissions in our next issue. JUXTAPOZ welcomes editorial submissions;
Analysis project speaks of a new medium for graff and street art. It will be these however, return postage must accompany all unsolicited manuscripts, art,
new pioneers, creating new languages within the same spirit birthed by Dondi, drawings, and photographic materials if they are to be returned. No responsibility

SERET
Futura, Chaz Bojorquez, Crash, Fab 5 Freddy, and countless others. can be assumed for unsolicited materials. All letters will be treated as
unconditionally assigned for publication and copyright purposes and subject
to JUXTAPOZ’ right to edit and comment editorially.
Shepard Fairey observes, in his contribution to this issue, “Hopefully street
coming may 15, 2011
and graffiti artists will, like their predecessors, evolve and change as public
environments force them to adapt.” The new frontier is waiting, and we’re on the
Watch it here:
lookout for the next trailblazers.
vimeo.com/levis/neckface-seret
Newsstand Cover Subscriber Cover
by Margaret Kilgallen by Lee Quinones
Enjoy issue 123. Image courtesy of the Send In the Clowns
Estate of Margaret Kilgallen Acrylic, charcoal, graphite
and Ratio 3, San Francisco pencil, spray paint, and
Detail of Backside printed matter on canvas
Oil on wood 50" x 68"
8" x 10" 2009
1998
10 Levi’s x moca trucker jackets JUXTAPOZ Photo by John Barton

Levi’s x moca
trucker jackets
12 Levi’s x moca trucker jackets JUXTAPOZ

Since it was first introduced in 1967,


the Levi’s® trucker jacket has served as
an iconic canvas for artists around the
world, from the boogie-down bronx to the
favelas of brazil. These Levi’s® trucker jackets
are part of a limited series celebrating Levi’s®
partnership with art in the streets.

All proceeds from the sale of this jacket benefit Chaz Bojorquez Andre
MOCA and its community programs. Started writing 1969 Started painting 1985
Black trucker – release date 4/17 Rigid trucker – release date 5/14

All jackets limited to 50 pieces


Crash KR
Available exclusively at Art In The Streets Started writing 1975 Started writing 1989
$250 Each Zap trucker – release date 4/17 Black trucker – release date 6/4

Keith Haring Shepard Fairey


Started writing 1979 Started posting 1989
Rigid trucker – release date 8/6 Green tar trucker – release date 7/2

Kenny Scharf Revok


Started painting 1979 Started writing 1989
Ghost or rigid trucker – release date 4/23 Tanker trucker – release date 6/18

Lady Pink Neck Face


Started writing 1979 Started writing 2000
Women’s bohemian trucker – release date 4/17 Black trucker – release date 7/16
JUXTAPOZ Photo by John Barton

PHOTOS

levi’s film
workshop
Juxtapoz x michael leon april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California

The Levi’s Film Workshop is stocked


with a variety of resources including
available at camera and equipment rentals, post-
production editing bays, a green

Juxtapoz.com screen, stop motion stations, VJ booth


and much more. Everything is free and
open to the public.
16 PROFILES JUXTAPOZ

Henry
Chalfant

Henry Chalfant contacted me about five years


after I had photographed Faith of Graffiti and
I was able to put him in touch with Cay 161
and other taggers who had guided me and
Norman Mailer to much of the early graffiti
I documented. What he and Martha Cooper
did so brilliantly in their book, Subway Art,
was to show us the next generation of graffiti
and to explain its process so meaningfully.
A sculptor of distinction, Henry is also a
filmmaker and videographer, whose Style
Wars is an outstanding classic of New York’s
historic role in this exciting expression of street
art. Above all, I admire Henry’s integrity as an
important artist who is bearing witness to the
time and the place we inhabit. We continue to
work on a number of levels and I am proud to
call him one of my oldest and dearest friends.
—Jon Naar

Revolt and Min

Seen and Doze


18 PHOTOS JUXTAPOZ Photo by Evan Pricco

PHOTOS

ART IN THE
STREETS
april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California

A detailed look at CR Stecyk III’s


massive walls at Art In the Streets
20 PROFILES JUXTAPOZ Photo by John Barton

Crash

I have never met Crash, and for good reason.


In my world someone like Crash is something
larger than legend, a predecessor and point
of inspiration to the generation that spawned
what I am. Without guys like him this global
art movement that folks refer to as “Graffiti”
or “Street Art” likely would never be. People
love to celebrate names like Haring or Basquiat
as early pioneers of this movement but it’s
the Crash’s, Zephyr’s, Haze’s, Seen’s, Blade’s
and Futura’s that turned the key to release
the children of the world out onto the street
to play. And it’s guys like Crash who crossed
the street and turned yet another key, and
invited us to a new space. He gave us dignity
and earned our respect in a world we learned
wanted only to erase us and lock up our spirit.
For this and for countless other achievements
WE THANK YOU. —Revok

PHOTOS

ART IN THE
STREETS
april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California

Levi’s Film Workshop green screen


at MOCA
22 PROFILES JUXTAPOZ Photos by Evan Pricco

Futura PHOTOS
1

ART IN THE
STREETS
april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California

1 Alexis Ross and CR Stecyk III

outside of MoCA, procrastinating


2 Shepard Fairey gives a last minute
When Juxtapoz approached me to write style and name over 30 years ago, far beyond
look over 3 LEE between breaks
something about Futura, my mind raced a his time, and as any great artist hopes for,
painting his massive mural on the
million miles. I wanted to write about so many his work has not been dated, rather it has
Geffen building 4 RETNA and
of the things that had a huge impact on my become timeless. He has pioneered so much
Estevan Oriol
career as well as every other young graffiti artist in the graffiti game, not just the obvious fills
from the early 1980s. Like his letterless whole and linear work that all accomplished aerosol
car, the early LA exhibits at the Bane Gallery, artists have played with at one time or another
or making a record with the Clash. Then they in their career, but his approach as a whole.
dropped the bomb… I was only given 150 His greatest contribution was his push to
words for this project! be original and different. Futura 2000 broke
countless boundaries and continues to be
The Color of Money So with that in mind I’m going to let his style leading the pack into the next millennium.
Spraypaint and acrylic on canvas
120" x 108" speak for itself. His name alone is a true He is a true inspiration and legend to
2011 testament to his style. He came up with his contemporary artists worldwide. —Risk

2 3

4
24 PROFILES JUXTAPOZ

Revok

The challenge is on, but even more challenging


is that I have never had the opportunity to
meet Revok. Being artists, our eyes are always
searching for new concepts, ideas, anything
that will feed that insatiable hunger that keeps
our spirits in constant movement. In this
process, it’s also obvious that we look at what’s
happening with our peers and within our artistic
community. Every once in awhile you get
stopped in your tracks as you experience what
you’ve been longing for.

Revok has done this to me on too many


occasions. His work stands out like the sorest
of thumbs, and I wish had that type of effect
on others. His work is so unique, so intense,
so original, yet it doesn’t rebuff you, but brings
you in. To me, that’s what it’s all about. Graff
is language personified and he definitely has
created his own accent within this language.

I love his pieces on billboards because I always


have to wait a second and say, “Oh, no, he
didn’t!” To hit and run… His walls are tight…
His lettering is unmatched, except for a few,
and that says a lot. He just doesn’t need to
keep painting within the confines of the borders
of the canvas. Now I’m getting pissed! He rarely
misses, and that’s a scary thought…
—Crash1, Da Bronx
26 PHOTOS JUXTAPOZ Photo by Evan Pricco

PHOTOS

ART IN THE
STREETS
april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California

A detailed look at Henry Chalfant’s


wall in Art In the Streets
28 PROFILES JUXTAPOZ

ROA

“The texture of the wall and the environment


completes my idea or inspiration. Normally,
I don’t know what I am going to paint until
the final moment I stand in front of the wall.”
—ROA

Across a rooftop a giant bird surveys the city,


along a side street a pile of pigs take a nap
and inside an abandoned factory a giant bull’s
head lies on the ground. This is the world of
ROA, an artist originally from Belgium, while
his paintings can also be found from New York
to Mexico City.

For ROA, animals can represent many things;


some are culturally metaphorical for sin or for
hope, humans consider some as dirt, others
as beautiful. “It’s an open theme,” he explains
“I’m interested by ordinary animals who live
next to us; like rats, pigs and cows. They are
all integrated in our western consumption
culture, but it feels estranged when you see
them painted on the street. To show them out
of scale on the streets gives them a surreal
ambiguity, and I can’t deny I am also fascinated
by the circle of life in a peaceful, morbid manner.”
—Tristan Manco

Photo by Luna Park


Brooklyn
2010
30 PHOTOS JUXTAPOZ Photo by Evan Pricco

PHOTOS

ART IN THE
STREETS
april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California

Mister Cartoon’s infamous Ice


Cream Truck
32 Levi’s Film Workshop JUXTAPOZ

Levi’s Film Workshop


text by evan pricco / photos by john barton
34 Levi’s Film Workshop JUXTAPOZ

For Juxtapoz, it started in Spring 2010, by this installment is the Levi’s® Film Workshop.
receiving a tutorial on how to use a letterpress Just as street art, graffiti, and skate culture
machine at the Levi’s® Print Workshop in San have thrived through documentation with the
Francisco. We didn’t know what to expect, film medium, the Levi’s® Film Workshop will
except that we’d be able to learn, use, and craft provide a series of collaborative film and video
an entire print invitation down the street from projects, robust educational programming, and
where one of the original San Francisco Levi’s a city-wide screening series throughout the Art
jean factories used to run. We wrote at the In the Streets exhibition, all for the public to use
time about wandering amongst workstations and experience. You don’t even have to see the
for classic letterpress, screenprinting designs, exhibit. And again, all for free.
and type setting, all set up with employees
and artists working together at each machine. If you’ve ever wanted to use a green screen,
Of course the kicker was when we asked how a Super-8 camera, learn about stop-motion
much it would cost to spend an hour printing animation, edit using Final Cut, or just learn
posters that we wanted to make. The answer from a professional about making a documentary
was simple: Free. film, the Levi’s® Film Workshop can be one
or all of those things. If you live in the area or
When the second installment of the Workshops are visiting Art In the Streets, the facilities are
opened in NYC with Levi’s® Photo Workshop there for you to use, rent, and learn. If you live
at the old Deitch Projects space in SoHo, in Jackson, Mississippi; Seoul, South Korea;
colleagues and friends alike were, unsolicited, or Cape Town, South Africa, tutorials and live-
telling us about how crazy (they used the word streaming events will be there to explore and
a few times) it was for a major corporation interact with as well.
to create a community-based program that
seemed so seamless and right-on. You were The programming itself is extensive, encom-
being asked by a huge company to go and passing everything from workshops with USC’s
explore your creative talents. And if you had School of Cinematic Arts 3D, a series of film
never used a letterpress machine, or worked a screenings related to art, skate, music, and
35mm camera, here were the tools for you learn. food presented in partnership with LA-based
Create, explore, do it by yourself or with friends, curators and theaters, as well as tools and
it doesn’t matter—as long as you had a place resources available to filmmakers of varying
to go and ignite your imaginative spark. Be levels of expertise, including-latest generation
inspired and inspire. Make art on your own computer and editing tools,
terms. We may be overusing the key words of equipment rental, a film library, and a digital
creation, but there is a feeling that when given collaboration facility.
the keys to something that has always felt
reserved for art schools and professionals, Of course, we can tell you about every single
a person can feel a sense of liberation unknown bell and whistle of the Levi’s Workshops; peel
before. And again, this was all a free experience. every layer off and show you how fantastically
unique the Workshop experience is. How the
This Spring and Summer, as the world of street spirit of giving people the ability to be inspired
and graffiti aficionados descend upon downtown and creative on both a micro, macro, physical,
Los Angeles for the soon-to-be seminal Art and web level is in true spirit with the global
In the Streets at the Geffen Contemporary at spread and popularity of street art and graffiti.
MOCA, the opening of the third Levi’s® Workshop It was about something you can’t and could
will take place within the same building. With never buy, about the seeds of speaking to like-
this being LA and Hollywood, the home of minded people, about opening eyes exposed to
cinema, filmmaking, and the “stars,” naturally the normal corporate outreach for too long.
36 Levi’s Film Workshop JUXTAPOZ

The general
feeling
surrounding
Levi’s and the
Workshops
is that this
is what they
But we think what is most important about genuinely want
the entire Levi’s Workshop series is how a
community of creative-minded individuals can to be doing:
have the access and a platform to be engaged Making films,
learning about
with creation. Even though we can argue that
outsiders have the opportunity to interact with
the world via the Internet, there have always
been barriers of acceptance and accessibility.
photography,
Levi’s, through the energy and commitment of working with
their employees—knowing that community in
the arts and that the exchange of ideas is the
a letterpress.
true seed of originality—have provided a space
for us to succeed and experiment in. In return,
everyone who participates with the Workshops
gives Levi’s a return in ideas and energy to In the Fall of 2010, we wrote about the Levi’s
pursue other community-based initiatives Workshops and how they were the blueprint for
and programs. companies to interact with their bases for years
to come: “This all made us think ahead to 2020
And nobody is more excited about the when, reflecting back on what corporations did
Workshops than Levi’s. In talks with various right a decade before, Levi’s® will be perceived
people involved in the Film Workshop, they front and center as a company that thought on
were energized about the prospect of being both a micro and macro level, and ultimately
involved in all of the tutorials and weekly won. Levi’s® new campaign of community
classes, having people making films after either involvement and spending money in fresh,
experiencing Art In the Streets, or just always progressive ways shows an entity unafraid to
wanting to have filmed something with a green engage and interact with people on a base
screen. The general feeling surrounding Levi’s level.” With thousands of people coming to see
and the Workshops is that this is what they the defining exhibition of this generation at MOCA
genuinely want to be doing: Making films, in downtown Los Angeles, and thousands of
learning about photography, working with a people leaving feeling inspired to create their
letterpress. And the Workshops, in turn, reflect own piece of history, the Levi’s® Film Workshop
a real sense of purpose and authentication in will have its doors open.
how they open to their audience and community.
—Juxtapoz Magazine @ Art In the Streets
In the end, it took a jeans brand—creating a April 14, 2011
clothing item that everyone can identify with as
an absolute everyday necessity—to show the
value of participating with your core audience.
The notion of giving back to the community that
has given Levi’s so much inspiration over the
years is what will continue to fuel the Workshops.
Just as graffiti gave back time and time again,
as new artists redefined the medium and
continued to push the art form to new heights
and now museum acceptance, Levi’s will
continue to give back to the community that
has recognized it as a pioneer for 150 years.
38 Jeffrey Deitch, Roger Gastman and Aaron Rose JUXTAPOZ

Jeffrey Deitch, Roger


Gastman, and Aaron Rose
In conversation with Shepard Fairey
40 Jeffrey Deitch, Roger Gastman and Aaron Rose JUXTAPOZ

you thinking, I have to meet these people? more than spray can art. It didn’t have a voice although it has been a challenge to find where
in LA. Cholo graffiti had a voice, but that was the puzzle pieces fit together, but they really
Deitch: Oh sure, and I met most of the major far different than wildstyle graffiti. do, and I feel grateful to be able to contribute
graffiti artists. Something that was really a different parts of the culture.
On the near eve of the landmark remarkable thing, and that our show is going
to celebrate and document, is how uptown
What happened in the 1990s, and there are
a bunch of catalysts, was that streetwear Deitch: What all the work we are talking
Art in the Streets at MOCA in Los Angeles met downtown. Some of the graffiti artists clothing and bands like the Beastie Boys, about has in common is direct, unmediated

this month, Shepard Fairey sat down with the were downtown, I believe, and lived on the
Lower East Side near the FUN Gallery. It’s a
who were punk and hip-hop together, unified
the West and East Coast scenes into a
expression. None of these artists had to ask
permission to make their art. Whether it’s the
Exhibition’s three curators, Jeffrey Deitch, remarkable thing that thanks to Fab 5 Freddy,
who’s involved with our show, Stefan Eins,
nationwide scene of street culture. From that
point on, it started spreading globally. And our
first subway graffiti or artists who started their
own streetwear lines, I love this difference
Aaron Rose, and Roger Gastman. While each who founded Fashion Moda in the South Bronx, show is dealing with both of these moments, between graffiti and street art from more

represents different backgrounds and Bring and Charlie and John Ahearn, they connected
people like me, Crash, Futura, and Zephyr
that convergence of the 1970s and 1980s,
and then following in the 1990s.
mainstream museum art. If you get into a
museum or gallery in that world, it is after this
specific expertise to the curatorial process, with Jean-Michel Basquiat, Keith Haring, long process of going to the right art school,

the task of capturing the spirit of


Kenny Scharf, and beyond that, Debbie Harry A lot of my understanding about how things with the right teacher, the right assistant job
and Malcolm McLaren. These connections that influenced me and how they connected for a famous artist, the right recommendations,

graffiti and street art Brought are at the foundation of both vanguard and
mainstream popular culture that has created
didn’t happen until later. I intuitively had a
fascination with punk rock and skateboarding,
a review in a the right art magazine, and finally
the endorsement, and you can then show
them together. —Juxtapoz Magazine our world and it’s fascinating that these but later on, Thrasher Magazine declared your work in a little gallery. We are dealing
connections were made. If it weren’t for a few Public Enemy the new punk rock, so I bought with artists that had nothing to do with these
of these connectors, it all would have been that record and started to see that evolution of obstacles. They just went for it, and there
separated and people in the graffiti scene punk and hip-hop coming together. If you were is something wonderful about this direct
would not have met the people in the downtown into Black Flag, you were into the Beastie Boys. expression. I think the audience understands
scene, and these different directions would Streetwear was a big deal too because you had and relates to it.
not have cross-influenced and fed each other. all this visual sampling happening, and then you
had to find out the histories of these references The lack of academic influence is exciting
There was a fluid and harmonious conflux in the graphics. because people didn’t try to filter their natural
of things and the look of graffiti still looks inclination of what was in vogue in an attempt
dramatically influenced by all the stuff that I loved Raymond Pettibon’s work and the to be deemed successful. It was very liberating
was pioneered in that early era by Zephyr spirit of punk flyers, and people promoting in that sense. There was no one who is going
and Dondi, and a lot of the art forms that those punk shows with stickers, stencils and flyers. to put a value on the work because it fitting
guys came up with that are still pretty visible When I got to NYC and saw the graffiti and the into some pre-conceived canon. That is
in the culture. Martha Cooper and Henry different scale, I began to see similarities in the what has always excited me. You can see the
Chalfant’s book, Subway Art, disseminated scenes. The spirit of graffiti definitely influenced evolution in street art and graffiti traced back
that aesthetic all over the world. and pushed other forms of street art, even if to particular pioneers just as you can in the
stylistically the art was different. fine art movement, but there is a spirit that is
Deitch: Doing a show like this gives you very visceral in this work. As cryptic as some
an appreciation for the role of remarkable Roger Gastman: So you both reference graffiti is, when I saw it, the spirit it embodied
communication. What would have happened streetwear and the Beastie Boys, and I got resonated with me compared to things I see
if Henry Chalfant never went out and into punk rock in the late 1980s while in grade in a gallery and feel I need to read up about.
systematically documented the trends? school, then into straight-edge hardcore I gravitate toward rebellious stuff and I felt
Shepard Fairey: The really incredibly exciting art. For a new generation, there didn’t seem what a rock band was supposed to do. It was We wouldn’t have any of this. What if Martha in the early 1990s when living in suburban like the simplicity of doing something in an
thing about this show is that an audience might to be much place to go. These six galleries very open and lot of people who started bands Cooper never took photos of all the artists? Washington, D.C. Everyone in that scene that unauthorized space speaks to people. Folks
see it and do something they wouldn’t have were the only outlets for art and that was really didn’t even know how to play instruments, There are other photographers, but the I knew wrote graffiti. I had no idea that hip-hop who are attuned to that stuff get upset when
done; recognize potential they wouldn’t have limited. If you had this minimalist conceptualist but it didn’t matter because they could make roles of Henry and Martha are so crucial in had anything to do with graffiti, and I remember they see a corporation try to hijack it; they
recognized. I know that for me, for example, approach, that was perfect for you. It was so great music with noise machines or just documenting and creating this history and the going to Chicago in the ninth grade, and smell a rat and get upset because the
I didn’t know anything about the Situationist exciting to go down to the subway and see a rhythmic strumming on the guitars, using them stories: for instance, Barry McGee taking his meeting a bunch of old-school writers, and they authenticity of real street art and graffiti is
influence on the Sex Pistols until I read some whole world of art that didn’t have anything to the wrong way. These two things were the two graffiti kit down to Brazil in a backpack, and asked me, “Do you break?” I had absolutely so rewarding and immediate.
history, and I didn’t know about a lot of the do with this constricted gallery system. It was artistic innovations that excited me the most, giving a copy of Subway Art to Os Gêmeos. no idea what they were talking about. To me,
evolution of graffiti art or punk rock stuff or completely free and open. These artists didn’t and I was particularly thrilled to participate These are individuals hand-giving stories and graffiti was about punk rock and being straight Gastman: To your point, the question that
pop art or Barbara Kruger. I didn’t see that stuff have to go around with slides to the gallery in this process and see these two directions books to others, spreading the word, person edge, and that was it. Only later on was comes up often is how to bring the outdoor
firsthand—I read about it in books. In a nutshell, to get permission to make art, they just did it, coming together. For the past 30 years since to person, before the Internet. I introduced to Spraycan Art, Subway Art, and work inside? The ultimate celebration of the
that is one of the things I feel is most valuable and it was thrilling to see. I was so inspired by experiencing this convergence in a place like Wild Style, and started to dig into the history. show is that those artists who are so great
about this show. this open, citywide gallery. All the subways Fun Gallery or Mudd, I’ve wanted to do a great Aaron Rose: There have been two major in their field are able to capture the feel of the
were bombed, every single surface, and it was exhibition about the history of this work and convergences that I think of as I start exploring That is what interests me about this show, outdoors and the defiant nature in different
Jeffrey Deitch: For me, it starts in New York City unbelievably exciting. The thing that came up how it came together. this history that we are discussing. There was the vastness of the history behind it. The three forms indoors, and intrigue viewers by
in the 1970s. There were about five or six really around the same time was the development the late 1970s, early 1980s in NYC, and, then of us all come from very diverse backgrounds, doing so.
important galleries and each were generally of punk rock, where you didn’t have to play by When you were in New York from the mid- to again, in the 1990s. My influences were Los Jeffrey the luckiest, being able to see and touch
showing a kind of minimal conceptual work of the rules, conform to preconceived notions of late 1970s and seeing this on the subway, were Angeles hardcore and skateboarding, much the trains. All of these worlds connect so well, There are only so many people out there who
42 Jeffrey Deitch, Roger Gastman and Aaron Rose JUXTAPOZ Crash
Times Square
Photo by Henry Chalfant

Doing a
show like this
gives you an
appreciation
for the role
of remarkable
communication.

can augment the energy and capture the spirit at is the real world and I don’t see a difference Unlike a lot of other art movements, it’s more
of the street and make it work in a controlled between the two. a spirit that defines this. My hope is that
environment. Barry McGee, who does this very someone like Space Invader comes in and
well, was a tremendous inspiration for me and I Deitch: The art market has caught up with utilizes a technique that no one has thought
thought his work beautiful and precious yet still street art and graffiti just as it did catch up of before. Hopefully, street and graffiti artists,
spontaneous. He would paint over things with other non-conformist art forms such as like their predecessors, will evolve and change
that were meticulously rendered as if buffed conceptualism. This happened after the art as public environments force them to adapt.
on the street to show his willingness to capture market ignored street art and graffiti for almost
the energy at the sacrifice of his own work. three decades. Gastman: As a featured artist in the show what
A lot of the artists involved in this show can are you most excited to see?
make work that will stand on its own, but Gastman: I think graffiti, street art, and
there’s appreciation in knowing where they’re skateboarding are all highly undocumented I am excited see how a lot of people want to
coming from. cultures, and even though some of it has been portray their legacy, and I hope that those who
recognized, there is a lot of it that hasn’t been have not valued art in public space will find a
Deitch: One of the objectives of this show is properly chronicled. Everyone can go out and different level of respect for it.
to identify the artist that had that original voice. do it. You didn’t have to have fancy art supplies,
There are so many people who are making an you don’t have to have a canvas; you can just For more information about Art In the Streets,
impact doing various forms of wildstyle graffiti. make it work. All three of these cultures, a big contact MOCA.org.
We are trying to find the innovators and part of their origins, is oral history. All three of
people who changed the history. Hopefully, us in our own right have done the best we can
this exhibition is going to reflect the strengths to tell the stories, the truth and the real history
of these innovators. before all these people disappear. Hopefully,
this show will make the academics pay
Rose: We’re in an interesting conundrum as attention and make the average museumgoer
curators because, it is acknowledged that curious about these cultures and how they
art history really is written by academics. blend together.
Unfortunately, that’s how it’s been and probably
always will be. Re-contextualizing work like this, Although there are a lot of people that
as Roger put it, “the real art world,” is what participated in graffiti and street art, the
I consider the real art world. What we’re looking pioneers, the innovators really stand out.
44 Lee Quinones JUXTAPOZ

Lee Quinones
Interview by Chris Pape / Portrait by Chuck Gibson
46 Lee Quinones JUXTAPOZ Pass The Dawn Onto You
Acrylic, pastel pencil, and spray paint on canvas
50" x 60"
2004

Lee Quinones (LEE) is considered by many


to be the greatest writer to spring from
the New York City subway art movement.
Up until 1976 the best work the movement
offered was a whole car with moniker and
cartoon characters pilfered from comics.
LEE changed all of that as he became a
one man wrecking crew, recruiting the
Fabulous Five group out of retirement
and painting over a hundred whole cars.

More importantly he portrayed the subway as to develop, exploring painting and drawing not deny a broader peripheral audience
an iron kinetic canvas, lasering a hot spotlight techniques with spray paint, oil paint, waiting on deck. My competitive edge has
on issues as diverse as nuclear Armageddon charcoal and found objects. His work is in always blown gaskets at the seams, so after
to the hypocrisy of religion. He continued to the permanent collections of the Whitney 35 years to think it through, I now believe
investigate these themes on canvas. His first Museum, the Groningen Museum and the rivalry is good in that it instigates an exchange
show was in Rome in 1979, and as he was Brooklyn Museum. —Chris Pape between talents that are defaulted by the
represented by New York City’s Barbara status quo. I’ve always been curious as to
Gladstone Gallery for over five years, LEE Chris Pape : Most graffiti writers set out to how and why things instigate others. I could
continued to paint trains during the height burn each other and do battle. You seemed make aesthetically pleasing canvases right
of the downtown art movement. Credited as to have a mission statement while making art now, the same way I could’ve elaborated on
the first street artist for a mural produced on on the trains. Was this accidental or did you the style wars throughout the trains in the
the handball walls at a school in his Lower know it from the jump? ’70s and called it a day, but why let the world
East Side neighborhood in 1978, LEE starred contextualize me by a period or a style? Back
in Charlie Ahearn’s seminal hip-hop film Lee Quinones : Making art, of course. Sure, then I wanted to do something very different
“Wild Style,” a fictional account based I was trying to impress the core writers from that had a broader flair, in short, advance the
loosely on his life. my neighborhood in the LES as well as the avant-garde that makes for something more
Bronx, but physically and emotionally while consequential. Think of it this way—there were
For over 35 years, his work has continued spending many hours in the dark yards I could 50,000 young peers who were going
48 Lee Quinones The Man From Uncle JUXTAPOZ
48" x 96"
2009

there were
50,000 young
peers who
were going to
look for this,
and outside
of that circle
the 3,000,000
commuters who
were going to
be confronted
by it to be either
tantalized or
vandalized.

to look for this, and outside of that circle the For the most part, I was questioning authority technique in formulating 40-foot whole cars
3,000,000 commuters who were going to and organized religion in real time along with in one night’s work. Now my studio paintings
be confronted by it to be either tantalized or the effects of a tumultuous climate in New dictate a more improvised and impressionistic
vandalized. I wanted to gain acceptance from York in order to unleash the results on the approach because too much information says
the latter because I felt it might outlast what trains. During the 1960s the blatant racism nothing on a non-moving object. Each work is
the movement could offer in such a short time. at hand and the conflict in Vietnam were only incomplete, enabling the viewers to have an
Ironically though, I believed at the time that the tip of the issues that were magnified in exchange and finish it within their own state
I would be painting trains for eternity. my head because, yes, the revolution was of experience. If non-drip and crispness were
televised on the CBS evening news. paramount to some writers back when, then
Can you think of any other writers who were one: they weren’t standing in one location for
on the same wavelength? That was riveting to say the least. Shortly all those hours, and two: they were kind of
after, I found my voice in painting, so I applied missing the Trees in the Forest.
The late CAINE 1 from the #7 line comes to these very fresh and immediate issues on the
mind. He thought of conceptual wholecars trains. A few came off in a sarcastic way like CRASH told me that when he painted Connie’s
and often dug deep into his own psyche in his the “Heaven is Life” and “Earth is Hell” double (the side of a bodega) he felt he had made it.
subject matter. He didn’t follow the beaten cars. I was just moved to paint about things When did you get that feeling?
path of lifting cartoons from Marvel or the that were full of sensitive issues, and often
Peanuts characters, instead he chose dark seem flawed to me. Oh, for myself it was the journey throughout
imagery painted within a surreal environment. the numerous handball court masterpieces
I believe his masterpiece, “Welcome to Hell,” One of the few criticisms of your train work of 1978 and 82’. I wanted to challenge myself
flanked by a portrait of Alice Cooper and the is the crispness factor. The outlines were a with those walls. I was thinking that the
Grim Reaper was created more or less around little misty. general public would perceive the walls as my
the same time my “Doomsday Express” took arrival as an artist. The walls were reference
to the rails. While I was painting Ralph Bakshi’s It has to be known that I traveled an hour points. People tell me they actually made
“Coonskin Pimp” rabbits, he was painting on and a half from the docks of the Lower East pilgrimages to go see them, whereas graffiti
the edge of darkness. Side to the Bronx or the flat lands of Brooklyn conceptually made trips to the people. That
carrying multiple concealed rattle cans, so was when I felt I had arrived as someone
At a time when other writers were mining just think how logistical tactics would play out different than a graffiti writer. In 1979, Claudio
the funny papers for material to paint, your once you got there with only a short window of Bruni, a prominent art collector, discovered
concepts seemed to come out of nowhere. 5-8 hours time to paint. I had to learn a rapid the hand ball wall murals through a mural
50 Lee Quinones Photo by Martha Cooper JUXTAPOZ The Lion’s Den
Spray paint on concrete
Lower East Side, Manhattan
1982

service article posted in the Village Voice, of graffiti in its own backyard? and that’s what made me want to do them in and Fred Brathwaite drew me out a bit more. lifted onto canvas and it was time for us to be exposure to the vibrant downtown scene.
and loved my work. He then scouted out for the first place. They had a good insight into what I had been challenged by critics in a lit environment with
Fred Brathwaite and me to create several Where would you place the handball courts vocalizing all along in my work. By that time, the works stationary on walls, not eluding into Fashion MODA was different in that I had a
canvases to show at his gallery in Italy. Making in the lineage of the street art movement? In 1980, after painting anonymously for years, I had done shows in Rome and Milan, was the dark on moving vessels. built in audience of writers. What I remember
the transition to canvas wasn’t that hard of you started to actively socialize, meeting other more comfortable around the art scene, and most about it was that I worked on the painting
a bronco to ride for me because I had been They fall under the category of “fearless writers at the Soul Artists workshop. What made knew how to be discreet in order to keep You were also involved in the Times Square in a subway tunnel right up until the opening
doing imagery beside my name all along. leaders” since their inception in 1978 and you go public? pulling my work off on trains. show and Fashion MODA, both in 1980. night. I carried it on the subway from the LES
The images just naturally elbowed their way 1979. It was pretty early for such a quantum to the Bronx, and it reeked of spray paint the
onto canvas. After the show in Italy, I made leap. Delinquent and misdirected they may That’s not totally true – I did paint with the Prior to the Soul Artists, Fred and I exhibited The Times Square show was great because entire way. When I arrived with canvas in hand,
an intense comeback on the number 5s and have seemed at first, but they revolutionized Fabulous Five members on many occasions. at White Columns, a young gallery on Spring I got to meet so many exciting new people. the show was already in session and stacked
found that my work was more expressionistic, the way this movement was revealing itself to I was extremely careful about who I trusted Street some time in 1980. Maybe four people That was the first time I met Keith Haring, to the walls with a rambunctious crowd. My
and maybe I had exhausted that chapter on both its creators and the public. Early street in the graffiti trenches. The reason I kept a came to the actual opening. We decided Jane Dixon and Kenny Scharf. I had already deliberate entrance parted the sea of people,
the trains. It was all very different to me. Just artists that came along like John Fekner, low profile with graffiti writers of the 1970s to call the show the “Third Wave” to reflect met Jean-Michel Basquiat a year before clearing a pathway to the great wall of choice.
around the time Futura created his incredible Jenny Holzer and John Ahearn were all was because I didn’t want to get caught. the tsunami of back winds exiting the with Fred, and we all painted together in a Many feathers were ruffled that evening.
“Break Car” masterpiece on the 5s, I painted influenced along the same lines to utilize I feared the wrath of friendly fire, as informants underground, demanding a flag site above shared space downtown. With the exception
my “Silent Thunder” car. We were both looking public space with works for a society in seemed to be manufactured overnight, and ground. The invitation showed a virgin new of Claudio Bruni in Italy, none of us had any Were you generally becoming more social with
to challenge the norm. What better way to do it motion, so these walls had definitely given were running the nest. Mark Edmonds, aka subway car, which was the reverse of what real gallery representation here in the states. other artists or did you treat the gallery
then to break away from the very primal heart impetus to further push the boundaries, Ali, the founding leader of the Soul Artists, you expected to see. The paintings were now The Times Square show also gave me a lot of scene differently?
52 Lee Quinones JUXTAPOZ Honest George
Acrylic, pastel pencil, spray paint , and currency on linen
2009

The walls
were reference
points, people
tell me they
actually made
pilgrimages
to go see them,
whereas graffiti
conceptually
made trips
to the people.

I was never a shy person, but I’ve always been We were slated to make the front cover, but Rammellzee, Futura, David Hammons,
private about my work. In the art world, I was were bumped off at the last second by Mick Barry Mcgee, Barbara Kruger, Revs, Lady
a hidden extrovert. At that time between 1980 Jagger, which was better for us because Pink, Banksy, and Richard Hambleton.
and 1983, so much had changed! The Fun his handsome grill made the copies fly off They’re important carriers.
Gallery was gravitating in the right direction the racks. Glenn was totally plugged into
because of its attachment at the hip to an the whole emerging downtown scene like What’s the biggest source of material for your
urban vernacular that was revolutionizing how the Mudd Club, Max’s Kansas, C.B.G.B’s. studio canvases, themes you invariably come
art was being offered and channeled through Everybody respected him, and we met a lot back to.
the gallery system. Barbara Gladstone Gallery of people through Glenn.
was very instrumental in introducing the Well, just as history tends to rhyme with itself,
official new arrival of my work at the gates of What do you think of the idea that writers from I guess some sentiments call for revisiting and
57th St. Sidney Janis Gallery followed suit with the subway era probably wouldn’t have made it reinterpretation so that culture can inevitably
my work and others thereafter. into MOCA if not for the emergence of street art? create the art it deserves. Readymade items
that were pretty much exploited into art by the
As a train painter, it was in my best interest to Both siblings needed a convergence to reach Dadaists just after the turn of the last century,
be non-social, a covert nerd. As opportunities great institutions. They both have rushed the have now been reformed as the “readymade”
arose to be known as a legitimate artist, velvet ropes in their respective times, but imagery from popular culture by the graffitists
I became more open, but remained very we are at a merge zone like never before. during this turn. Remnants of the Cold War’s
cautious. I steered away from cameras, not like So it may seem as a bit of an estrangement at open wounds with the cheap generic band-aid
it is in vogue today. I just walked the other way. first, before the crest of the real wave is to be it has applied, and the human condition itself
I was still very active below ground on MTA seen in the horizon. This is where we are now, is the building block for where my work finds
stock, and had to take second looks first time. where the surf is receding to make right of way. spiritual reason, and sometimes treason.
My theory is, both serve as a platform and a
The Village Voice started reporting on you call of urgency at a time where the world is
around then; what impact did that have? a deer in the headlights. So both in concert For more information about Lee Quinones,
will tend to have episodes of opposition contact Leequinones.com.
A fantastic impact. In 1979, when the Voice and cooperation in creation of a broader
covered my handball courts, it was exciting. conversation. It is indeed an interesting time.
Now people beyond the neighborhood would I can count a few on one hand from the old
see it nationwide, because of the Voice’s school and new that have prevailed with great
distribution. But really it was shortly after imagery and great commentary.
that, when Glenn O’Brien put it over the top in
“High Times” with a six-page, full color article. Hit me with some names.
54 bill daniel JUXTAPOZ

Bill Daniel
Text By Shelley Leopold / Portrait by Estevan Oriol
56 bill daniel JUXTAPOZ All photography by Bill Daniel

Ironically enough, attempting to


interview filmmaker Bill Daniel seems a bit
like hopping trains. As we sit down on the eve
of his most recent art tour, that will include
his Who Is Bozo Texino? film debut at MoMA
(during the series, All the Wrong Art: Juxtapoz
Magazine on Film), some music (Sonic Orphans),
and more than a few photos, he’s tense and
excited, riding through a myriad of far-out
life experience in peripetatic anecdotes.

The recording device makes him nervous, recalcitrant University of Texas professor, might were students of Winogrand’s. There was a
even though it is small and sleek and doesn’t unofficially be that guy. Winogrand, famous famous front-page photo of the singer getting
call attention to itself. He turns it off at will, and for realist American imagery and making arrested for playing their song, ‘Eat Death
then on again. Off. On. Off. On. Maybe it’s the his UT students cry, won the Guggenheim Scum,’ and then kissing a cop. I saw that and
ominous red light, or that fact that it’s digital. Fellowship award three times (Daniel has won I knew there was something happening here.”
The otherwise brave, self-described “tramp,” it once so far, in 2008). When Daniel started Bill went on to shoot iconic black-and-white
Bill Daniel is analog: Old School, 16 millimeter, school, Winogrand had just left, but his mark images of almost every hardcore band that
52. And he just moved to Los Angeles. on the university’s art department and its came through town with an aggressive, blinding
students was indelible. “He influenced me as flash. The images that result are grainy, with
Before the landmark wanderlust documentary one of my favorite photographers,” Bill reveals. murky charcoal shadows and blown-out fields
Who Is Bozo Texino? ever existed, Daniel’s “Everything in the frame matters, black borders, of luminescent white that shout what the fuck­at
gateway subculture and introduction to wide angle, and his casual documentary style.” your eyeballs, no matter what the composition.
photography was loud and insolent. “Punk rock “I turned the flash really bright and shot at F8.
often exists on the account of one determined Even as a business major taking photography I shot every band, so they’d kind of have to deal
individual,” Bill muses. “Maybe there’s a group, as an elective, Daniel recognized the power with it,” Daniel explains. “Once I’m onstage with
but it generally comes down to one person.” of the music and visuals that accompanied Bad Brains, and HR starts doing this Tasmanian
The way Daniel describes it, Garry Winogrand, the burgeoning Texas punk scene. “It was devil spinning thing coming towards me, and in
legendary street photographer and one-time The Huns. Three out of four of them in the band one rotation his hand sweeps out and smacks
58 bill daniel JUXTAPOZ

this involved
having a strong
stomach for
the occasional
bowl of
Jungle stew.

the Nikon and it goes flying into the slam pit in So I started photographing them obsessively. over a week, not email, and he says, ‘Oh, you
this truly beautiful arc. Luckily, I had the cord It’s something graffiti people know about, must know BuZ (Blur), you have a collection of
screwed in so I could just reel it back up, and documenting it is super-addictive. I kept a his drawings in your thing.’ The entire time I had
it worked great, except for some beer or sweat camera by my bed so I could hear the trains been making Bozo Texino, I’d never met even
on the lens. There’s a blot on some of the come out slow from the yard. I could be out the one of these writers. There was no Googling,
images—that’s how you know my story’s true.” door in my pajamas by the time the engines you had to be outside to get access to these
came through.” guys,” Daniel exclaims excitedly as he explains
Daniel’s transition from punk club historian his unconventional research methods. “I went
to moniker documentarian appears natural. Thus began Bill Daniels’ 20 years of method around to all the homeless people and asked,
It didn’t require any new equipment and both filmmaking, an amazing rail riding journey through “Have you ever heard of Herby?” you know,
subcultures operate on the same principle a uniquely American culture that required not “Have you ever heard of Bozo Texino?’ I’d pick up
he does: live free or die. “It has to do with the only talent, but also survival skills. Sometimes hitchhikers and ask them. It was not paying off.”
power of an image that you see, but don’t know this involved having a strong stomach for the
how it got there. You don’t know who put it occasional bowl of Jungle stew, (“what you got, Consequently, in making contact with this
there, you know nothing about it, it just grabs goes in the pot”) and always having a good random mail-art fan, Bill got the break he
your entire being,” Bill explains passionately. flashlight and something to sell. needed and things started finally to fall into
“That’s what happened to me in 1983—I was place. Daniel wrote to Blur and planned his
with my Super 8 camera outside an artist However great the idea to make a film about next train trip around the interview. “I had him
warehouse near the Santa Fe yard. A train rolls train monikers was, even your modern day do a drawing for the film and the first thing
by and I’m right next to it, and I start seeing graffiti artist is a tough customer to find. BuZ wrote was “TETHERED” ’cause I had a
the graffiti. And one of the first ones I saw was Without the help of the Internet, Daniel relied microphone on him and the second thing he
Bozo Texino. How did that music go from on snail mail, personal connections, and wrote was “EXPECTING TRAMPS” ’cause he
Close Encounters of the Third Kind? Yeah, tenacity to track down the four artists featured thought we’d be tramps.”
that was it.” A small act of defiance, done with in Bozo Texino. “I found BuZ (Blur) through a
a guitar, aerosol paint, or a rail company-owned ’zine connection because years ago I’d done “A hobo is not a bum. A hobo contributes,
paint stick is as old as the ages, however, a ’zine called Detour and somebody wrote tramps don’t do shit.” —Who Is Bozo Texino?
there used to be much less of it. “Of course, me asking to send them the latest issue.
I’d been to New York and I’d seen Keith Haring By then I was only doing Box Car Pictures, As the universe continued to smile upon him
and Futura 2000, but these monikers were a so I sent that to him instead. Immediately, momentarily, Daniel found Herby around the
form I’d never seen before, especially in Texas. he wrote me back—this is through the mail, same time through a series of hard-won
60 bill daniel JUXTAPOZ

newspaper articles. A meeting was arranged thin narrative to build on, the story of Who is this letter,’ and I hear (in an exaggerated Texas Shuffled within the beautiful black-and-white image of Margaret from 1999, riding an empty other top-notch talent donated work to be sold
on the back of the same BuZ (Blur) excursion. Bozo Texino? suffered a conceptual blow that drawl), ‘Yeh, Bill, well I reckon...’ This was not landscapes, the road worn snippets of gondola at sunset through the San Fernando for a whole new audience to be introduced to
But as one might know, filmmaking is hard, might have been impossible to overcome. a hoax.” wisdom, and the gritty faces of the men in Valley. “We were coming back from a tramp Daniel and his project. Or so it was supposed to
and filmmaking with train writers is harder. However, with all the press Daniel’s project Bozo Texino, fans of the Mission School gathering in Dunsmuir, California, picking up go. “All my friends were so generous. I would’ve
“By the time I interviewed Herby, I was really began to receive, once again, the post office Ultimately it begs the question, when you’ve movement may notice a couple of current day some experiences to use in an installation we raised so much more money if it hadn’t been,
burnt out from the trip and only had two rolls gods pulled a favor for him. “One day, I get a devoted the better part of a decade searching callouts that take their place among Herby and did, Trespass Sign, at Headlands Center for March 21, 2003, the night the bombs fell on
of film. With four minutes left he starts to tell letter from this guy in South Texas: ‘Dear Bill, for someone, an artist that you’ve subsequently Grandpa without much acclaim. “MATOKIE the Arts. We did collaborations where I would Baghdad,” laments Daniel. “San Francisco
me about Bozo Texino. ‘Oh, he died a long I saw the thing in the paper and my friend said based your life’s work upon, what do you say SLAUGHTER” was one of Margaret Kilgallen’s project a 16 millimeter film loop on a metal wall was rioting. You could barely get across town
time ago. These ones you see now aren’t the if I didn’t write to you, he would. Yes, that is my to him? How do you not come off as a nutcase, favorite nicknames, one she used specifically and Margaret would paint some of her shadow for all the protests and that was opening night
real Bozo Texino.’ It went right over my head. drawing.’” This simple missive was from a man or worse yet, a speechless fool? Turns out the for train tags. In the first moments of the film, people. It was amazing, and ephemeral.” of my fundraiser. I had all this beautiful blue
He was, of course, talking about Grandpa. Daniel affectionately refers to as Grandpa, the elderly rail worker had a few things in common we see her tag flash by in an instant, with chip art and there were helicopters everywhere
It wasn’t until later, when a rail worker, an man responsible for writing the “Bozo Texino” with Bill Daniel, notions that many other graffiti another by Twist, her husband, Barry McGee. In 2003, with all this extraordinary footage and the streets were closed. The art buyers
amateur historian who had collected a bunch tag for at least the last 37 years. Daniel finally fans share. “He didn’t think I was weird, or gay, Daniel befriended the couple four years into in the can, Bill was then able to count on stayed home.”
of magazines from the 1930s sent me some had a realistic end for his film, and a face to put or a stalker because he loved that image so the making of the film as all shared a love for his connections in the San Francisco art
Xeroxes that it all came together. I still have the with the tag. “I’d been looking for him for almost much that it made perfect sense that someone train folklore and found inspiration in hobo community to help him fund the finish of the Despite having to jump a few extra monetary,
dent in my forehead from that day.” 10 years and I finally get a letter from the guy! else would like it,” Daniel explains. “Grandpa culture for their own contemporary work. film by holding an unprecedented art auction time, and stamina hurdles, at last Daniel called
His phone number is on there, so I immediately understood, ‘Oh yeah, it got you too.’” Representing one of the only female shots in named “Pretty Gritty.” Thomas Campbell, finish to Who is Bozo Texino? in 2005. His
With this new information, and already a very pick up the phone and I’m like, ‘Hey, I just got the movie, viewers are diverted by a delicate Barry McGee, Alicia McCarthy, and a host of younger brother, Lee Daniel, an accomplished
62 bill daniel JUXTAPOZ

one of the
first ones
I saw was
Bozo Texino.
How did
that music
go from Close
Encounters
of the Third
Kind? Yeah,
that was it.

cinematographer in his own right, supplied the Yet, for the most part, between stops in his
last lingering shot of the film, where Grandpa new hometown of LA to print images in his
is walking down the long line of train cars, the darkroom, he’ll continue touring the United
paint marker echoing against the hollow metal. States in his 1965 van replete with wind
Bill, however, in keeping with the subculture it sails attached to the top—good for mobile
represented, didn’t see a traditional path for the art shows and film screenings—lending his
success of his movie and avoided the festival audiences glimpses into forgotten corners of
circuit. He has personally booked hundreds of society. With all this traveling, does Daniel
screenings. “It was important to me that the resist leaving his mark in other ways?
kids saw it first and that the guardians of culture
hear about it from the kids.” Daniel adds, “I sometimes chalk up X-Tex, a moniker that
“You couldn’t find two people more different Road Hog gave me in 1990, on account of me
than Grandpa and maybe some 14-year-old, being from Texas,” Daniel admits. “I always
super-aggro kid in the northeast, but they wanted to emphasize the past tense on the
operate on the same impulse: the person Texas bit, since I was happy to have escaped
who puts up the most graffiti and actually there.” So, Bill Daniel, in the end, who is the real
documents it. Grandpa said, “I got a joy putting Bozo Texino and what does it matter? Without
it on there, and I hope people got joy looking hesitation, Daniel concedes, “I think Bozo
at it.” And that’s how we finished the movie. Texino belongs to history and anyone who
Expression of joy. That’s what art is all about.” feels they should write it.”

Tape recorder off. Bill averts the damned For more information about Bill Daniel and
red light for the moment, and I rely on my Who Is Bozo Texino?, contact Billdaniel.net.
short-term memory for the duration. We have
both retained all our limbs. Daniel is noticeably
more relaxed, but he’s still on the spot. Off the
record we talk about his participation in the
MOCA Art in the Streets show, where he will
be contributing an installation celebrating
hobo culture.
64 margaret Kilgallen JUXTAPOZ Half-Past (installation detail)
Institute of Contemporary Art, Boston
1999

Margaret Kilgallen Text by Elizabeth Pepin, Juxtapoz May/june 1999


all images Courtesy of the Estate of Margaret Kilgallen and Ratio 3, San Francisco
66 margaret Kilgallen JUXTAPOZ Three Sheets to the Wind (installation detail)
The Drawing Center
New York
1997

It was only our twentieth


issue, may/june 1999, but undeniably
margaret killgallen was someone special.
with the potential to define a generation of
contemporary art, her untimely death in 2001
at age 33 left an unfillable void. but her spirit
and body of work endures. From the juxtapoz
archives, rediscover the consummate
embodiment of not only Public art,
but all of art. —Juxtapoz Magazine

In an era obsessed with an ever-intangible a ­staple for creating murals. Algia-Mae. I saw a video of her playing her
concept of perfection, Margaret Kilgallen is an guitar, singing, and buck dancing. She has
anomaly: an artist who delights in the wobble of Much of Kilgallen’s art is based in reality— raised seven kids by herself and supports all
a line, the accidental misstroke of a paintbrush, real people, real ­situations, real places— of them solely by her music. It’s amazing.”
the crooked stitch of a needle and thread. Her inspired by things she sees, hears, and
giant murals—colorful collages containing experiences. One recent mural featured Kilgallen was born in Washington, DC, in 1968,
travel logs, history lessons, and musical several foot tall ­old-fashioned letters reading and received her BA in printmaking at Colorado
compositions—are refreshingly different in an “Slaughter,” referring to one of Kilgallen’s many College. She continued her westward migration
art world increasingly sanitized by technology. musical heroes, an old-time banjo player and after graduation, landing in San Francisco in
singer named Matokie Slaughter. Kilgallen is so 1989 because of the city’s history of letter-
The art of the hand, the homemade, calls to taken with Slaughter’s music that the artist has press printing.
Kilgallen. She admires people who are able to begun to teach herself the instrument.
create something beautiful and unique from Settling into San Francisco, Kilgallen landed a
what few resources may be available. Applying “I am really moved by music, from punk to series of letterpress internships. While working
this ­philosophy to her own life, Kilgallen gives old-time stuff,” Kilgallen says. “I take a lot away one day, she happened across some beautiful
rebirth to items cast off by others. Old wood from the stories in the songs and the people handmade books by local artist Dan Flanagan.
converts to canvas. Ripped ­wetsuits transform who play the music. There is this African- Taken with the care in which the volumes had
into surf caps. Discarded house paint becomes American woman who lives in the South named been made, Kilgallen tracked down Flanagan,
68 margaret Kilgallen Three Great Walls (installation detail) JUXTAPOZ Detail of unknown installation
Yerba Buena Center for the Arts San Francisco Arts Commission Gallery
San Francisco San Francisco
1997 1996

phoning him to discuss the possibility of The women tattoo their mouths in a way that swimming, spending most of her ­summers at she says. “I tried to hand-sew it while I was favorite markings include a man in a 10-gallon affluent Marin County, north of San Francisco.
working for him to learn book binding, but resembles the way I paint the mouths on a lot the local pool, and she jumped at the chance to on a road trip to Baja, but it turned out really hat—the trademark imprint of an artist with the Another project is set in San Francisco’s
he wasn’t interested. However, a week later, of my women. The similarity was uncanny.” learn to surf in her 20s. badly. So I got a machine and restitched it. handle, “Bozo Texino,” and a glass of bubbly, Tenderloin district, a notorious neighborhood
Flanagan called back and said there was an I occasionally put them in my shows or give left by a source known only as The Rambler. that has also become home to hundreds of
opening at the San Francisco Public Library as The day-to-day interaction with people gives Kilgallen admires women surf pioneers who them to friends. It’s great to combine the two “A lot of the train markings are so simple,” newly arrived immigrant families, many of
a book repairer, where he was also employed. Kilgallen ample experience from which to draw overcame sexism and societal pressures in things I really love—art and the ocean. Kilgallen says. Train imagery has not only which face a constant struggle to better their
He told Kilgallen if she got the job he’d teach upon. “Things I draw come from a combination order to pursue their pastime. Not ­surprisingly, I’m drawn to the ocean because it moves.” inspired Kilgallen’s paintings, but also serves commu­nity. Kilgallen is working with five-to-
her everything he knew about repairing and of people I see,” she explains. “I once saw a many of these early women found their way into as the ­subject of a series of photographs she seven local adults to paint a mural in an alley
making books. Kilgallen got the job in 1991 photo of a female surf pioneer named Marge the artist’s work. Linda Benson, legend of the Movement and travel play continuously snapped and hand-bound into a book. sponsored by the SF Art Commission and
and works there to this day. Calhoun that inspired me to do a painting of 1960s and world champion, who was also the in Kilgallen’s work. Her love of trains and the 509 Cultural Center. “I like going to local
her, but the way I depicted her stance on the surf double in many of the Gidget movies, is the fascination with those who ride the rails is Taking a break from doing shows, Kilgallen organizations and choosing people interested
Kilgallen doesn’t consider the repair of tattered board and the position she has her arms in is subject of a piece by the artist titled “Backside,” worked into panels and installations. The is spending the ­summer doing mural projects in making art in the community,” she says. “It’s
and abused books an art, but rather a craft. actually taken from an old man I saw surfing an homage to Benson’s famous backside railyard is a world unto itself, one with its own in conjunction with several Bay Area nonprofit really good for me because all I’ve been doing
“My job is a difficult thing, but it inspires me in Malibu.” surfing style. The ­distinctive hand-sewn surf secret language, known as “Train Markings.” groups. One is with the Headlands Institute/ lately are shows, and after a while you wonder
and my art because I get to see so many caps Kilgallen makes to shield her from the cold These names and images are drawn or Headlands Center for the Arts in Marin, which where your community is. And it’s important to
interesting books. A lot of amazing things come In fact, much of the artist’s free time is spent in is another outgrowth of surfing. “I wanted a hat scratched on the sides of boxcars by drifters pairs the artist with five ­children from Marin inspire kids with art. I feel I have something to
right to my desk. Just the other day I found a the chilly ocean waters of Northern California but didn’t like what was for sale in surf shops, to communicate information, or simply to let City, a poor community stemming from offer them.”
book about the Ainu people of Northern Japan. riding waves with her friends. She grew up so I took an old neoprene vest and made one,” others know they were there. Among Kilgallen’s World War II shipbuilding in the otherwise
70 margaret Kilgallen Backside JUXTAPOZ
Oil on wood
8" x 10"
1998

It’s great to
combine the
two things
I really love
—art and
the ocean.
I’m drawn to
the ocean
because
it moves.

Murals are what Kilgallen is known for, whether after mural. It’s also a freedom which has
they be large-scale paintings on the sides allowed her to remain confident, even in the
of buildings or small, multifaceted gallery face of “accidents.”
installations. The artist welcomes the change
to get out of her studio and interact with people “Sometimes I make mistakes,” confesses
as she paints. Usually, Kilgallen will fly to the Kilgallen, “but, it’s only paint. A lot of times,
gallery or museum, her paint carefully tucked mistakes can be interesting additions.
away in bags, and then set up shop, taking You shouldn’t see them as mistakes. My hand
as much time as the gallery will give her. is imperfect. I like to go over and over the line
“The longest I’ve ever had was two and a half until it becomes perfect in its own im­perfection.
weeks at the Drawing Room in New York City,” I feel like it’s a self-reliance. I really enjoy
she says. “I finished right before the opening. that process. The obsession with imperfect
That night, I caught a plane at five am back to perfection has changed my work.”
San Francisco and had five days at the Center
for the Arts in San Francisco to paint the largest
mural I’ve ever done. The letters were 25 feet
tall, which I ­created with a 12-inch roller with
an extension. I had a cherry picker and I’d
put paint on the roller, press the ‘descend’
button, and paint the mural that way. I like
that my murals in the galleries and ­museums
get painted over at the end of the show.
It is a freedom to go and do something and
then have it disappear. I sometimes even
paint it over myself. It doesn’t bother me.”

It is perhaps this philosophy of freedom that


allows Kilgallen to be at peace with her work,
the faces and textures that inspire her work,
and all the tools that combine to erect mural
72 dash snow JUXTAPOZ

Dash Snow
Text and photography by Joshua Blank
74 dash snow JUXTAPOZ All photos by Joshua Blank

Usually when discussing artists


in the context of art history, one is
inclined to categorize their genre into
a movement. This will be the case with the
Art In the Streets show at MOCA this month,
Dash Snow grouped into the street art
movement. The next step is to compare and
understand the artist’s work through the
pretext of the art movement And Everything
In the subject’s Career that took Place
before the Classification.

In the case of Dash Snow, it would be hard understood by few as we did. This day was like and through a railway tunnel, a half-mile in
to clearly classify his place in art history. His a reunion at a place we had once held dearly. length, to a large concrete enclosure that the
past as an art maker is complicated. While he tracks passed through.
was born into a family of art collecting fame, Dash picked me up from my Bushwick
Dash spent much time immersed in the diverse apartment at five in the morning. We walked The 100-year-old walls on either side of us
culture of people who made up the New York to what was a major terminal of transportation stood at least 100-feet tall. Vegetation grew
City graffiti scene, beginning in his youth and many years ago, the origin of the Old Atlantic up their sides toward the sky. The remnants
lasting throughout his life. He spent his last Railway, and now the current site of a major of those who had lived there were scattered
11 to 13 years living in the Lower East Side, a disposal station for Waste Management. While across the ground, as were the bodies of
place that became an influence to Dash as well. walking toward the entrance, we were stopped creatures that had died there. Dash picked
Later he transformed into a nightlife celebrity, by security when sighting our cameras. After apart one carcass; a life that was probably
and at this point, some began to refer to him they made sure we were not terrorists, we taken by a passing train, and who knows how
as the second coming of Andy Warhol. The continued into the foggy, debris-filled track long it had taken to become a pile of bones,
rest of his career is a well-documented history area. Moving along, passing overturned almost unidentifiable. Dash used many found
of personal accounts from people who barely cars, we saw piles of porn mixed with used objects for his art, but also just liked to collect
knew him and several exhibitions of his art. condoms, building materials, a child’s notes interesting debris. I am unsure what he did with
His photography concerned a reality meant from grade school—all these pieces of people’s it, possibly made into a work of art or hung
to shock, and his installations were seemingly memories, furtively dumped, evidence of events it on a wall in his apartment. Maybe what’s
similar in their intent to encompass that feeling. that they wanted to forget. These objects were interesting about the object was how it was
Dash’s obsession with finding and collecting there for us to find. As Dash moved along the unearthed. Maybe the process of finding things,
presents his acquisitions in a new context. tracks, he carried a plastic bag from a liquor and the story told in what you create with it,
A lot of this can be found in the three published store, employing it to hold the objects that is the work of art.
monographs of his work. we collected.
As we continued on through the last leg of
I had the opportunity to spend an unusually We made it to the mid-point of our trip, the our journey, passing people’s backyards that
foggy morning with him in 2005 when we Woodhaven Freight Yard. Passing through this opened into the track area, we crossed a
navigated from Williamsburg, Brooklyn to yard was the most hectic part of our journey bridge that still exposing some of our work from
Jackson Heights in Queens along a seldom- across the railway because it lay adjacent to years before. After stoping to take pictures,
traveled stretch of tracks, once known as the parking lot for a K-Mart and a large Conrail we climbed back up to the street and parted
the Old Atlantic Railway. This place where station. We moved between the trains so as not ways. I had only seen Dash a few brief times
Dash and I spent much of our teenage years to be seen by the authorities who where just in passing after this day, but I’m happy to have
practicing our skills at graffiti and exploring on the other side. We raced up the tracks to a this final memory of him, in a place spent in
the vast, desolate landscape was known and bridge heading Bronx-bound through Queens, our youth. —Joshua Blank
76 dash snow JUXTAPOZ
78 jamie reid JUXTAPOZ

Jamie reid
Interview by Caroline Ryder / portrait by colin o’brien
80 jamie reid JUXTAPOZ God Save the Queen
Newsprint collage on paper
297 mm x 420 mm
1977

Artist, punk druid, and nature-lover Jamie Reid


likes to plant things, sweet peas, carrots, shallots—
and dissent. In 1975, he was asked by his friend the late
Malcolm McLaren to conceive the entire visual language
behind The Sex Pistols, resulting in some of the most
controversial and enduring pop culture imagery of
the twentieth Century. Like his smiling Queen of England
with a safety pin through her nose, which grew
synonymous with the punk rock movement, and
the garish fluorescents and cutout block letters
from the cover of Never Mind The Bollocks,
appropriated by art students, ad men and
t-shirt bootleggers the world over.

Much of the Pistols imagery was based on work has evolved from socio-political protest Caroline Ryder: What kind of household did you
the output from his Suburban Press, the art to the predominantly Gaian, shamanistic grow up in, Jamie?
underground publishing outfit that Reid ran work he creates today. So what’s up with
between 1970 and 1974. Ordinary people would all the magick? It’s just another side of the Jamie Reid: From an early age, I was dragged
see these images wheat pasted on walls, evolutionary coin, as far as Reid’s concerned. off on demonstrations. Both my parents were
stickers, in shops, and splashed across the “If there’s one thing I’ve always been aware involved in Campaign for Nuclear Disarmament.
covers of newspapers, and they couldn’t of, it’s that if you need political change, you The first one I remember going on was one of
help but react. Sometimes they’d be scared, also need spiritual change,” he says. Either the CND Aldermaston marches in the 1950s.
sometimes they’d be amused, and sometimes way—whether he’s creating abstract paintings I thought it was great! I never realized adults
they’d start wondering what was really going on. inspired by Druidic ritual, or angry collages that
could have that much fun. That’s the thing,
say “Fuck Forever,” Jamie Reid’s art urges us I’ve always wanted my political work to have
Born in 1947, Liverpool-based Reid has always to look around, examine what’s really there, a sense of fun. I think it makes the message
been inspired by two things: the anarcho- and open our eyes as wide as we dare. stronger. So much of politics is devoid of any
Dadaist ideas of the Situationist movement, sense of humor at all. Likewise with so much
and the magickal utopianism of his Great Uncle, Dozens of Jamie Reid’s early pamphlets, stickers of Christian and Islamic religion. I did a show in
George Watson MacGregor Reid, a turn-of- and posters will be featured in the upcoming 1990 in Tokyo, and remember talking to some
the-century socialist reformer and Chief Druid Art In the Streets exhibition, opening at the MOCA young monks at a Shinto temple. We were
of the British Isles. This explains why his Los Angeles, April 2011. —Caroline Ryder talking about the Bible, and one of the monks
82 jamie reid Culture Rape (left) Suburban Press Sticker Collage (right) JUXTAPOZ Skull in Living Room (Don’t worry Cecilia)
Digital print on paper Gouache, bromide and gummed paper mounted (opposite bottom)
44 cm x 49 cm on board and signed Type and collage on newsprint
1992 423 mm x 487 mm 300 mm x 252 mm
1975 1972

It was all
about just
having a go,
and putting
said, “The Bible? No good jokes in the Bible!” I don’t really know what it means. It’s involved ideas into
with energy lines. Basically it’s the antithesis practical
You met Malcolm McLaren in the 1960s, at art
school in Croydon. McLaren would eventually
of modern planning. The situationist idea is
based on just wandering around and walking practice.
bring you on board to work with the Sex Pistols. to discover things about the environment. Not Plus it was
enjoyable.
Do you remember the first time you met him, going to do a job, or going to school or working,
and how the conversation went down? or having that kind of structure.

Not really. I have very blurred memories of that How did Malcolm come to involve you with
So enjoyable
time. Of course, we really got along well and the Pistols?
we became both very involved with the student
politics of the time. We immersed ourselves in It was a weird one. I was living with some
a student occupation at Croydon College. friends in the Isle of Lewis (in the Outer
And we were aware of political uprisings in Hebrides, small islands north of Scotland) that
other countries, the Vietnam anti-war movement had a croft (a small farm). It was completely
and particularly what was going on in Paris. different to life in London and I ended up there at the time.
There was something powerful in the ether in for over a year. Then Malcolm got in touch,
those times. saying he had formed this band in London, Magazines, album covers, stickers, posters—
and would I be interested in working on it? what was the most powerful way of relaying a
I heard you and Malcolm traveled to Paris together So I moved back and worked with the Pistols. message, in your opinion?
for the 1968 student riots, but missed them. It was my way of being able to put across
ideas that I cared about. A lot of the stuff we Posters on the streets were always great. Very
We didn’t make it to Paris. That is a myth. did ended up being banned—which was great powerful. Particularly with the Pistols stuff,
of course, because it ended up on the front and also with the work I did with Boy George.
Either way, you and McLaren were both heavily page of newspapers everywhere. And I liked it He had a single called “No Clause 28” (which
influenced by the situationist movement that because it wasn’t elitist, our stuff could get banned “promotion of homosexuality” in
was flourishing there. Tell me how situationist through to working class kids; it wasn’t in a gallery, schools), which I did a poster for, and to see
philosophy would influence your work as an artist. it was being fly-postered all over the country. that stuck up all over the country was good.
I thought that was okay. Particularly if the
One of the things with my early graphics was What do you understand to be your role or record company as paying for it. It said “No
to demystify situationist messages—so much influence in the world of contemporary street Clause 28” and showed a picture of Boy
situationist text was long-winded and hard to art and graffiti? George’s face looking like Noddy (a gnome-
get your head around. I felt like you could say like character in children’s storybooks).
the same things, but with much more punch, I’ve been part of it and it has been a part of
if you said them visually and with a sense of me. But anyone can take what I’ve done and Do you think that postering is more effective
humor. So I started the Suburban Press and we interpret it in their own way. than dissemination of images and messages on
would make stickers, pamphlets and posters the Internet?
that reflected situationist ideas, like our “This In your Suburban Press/Sex Pistols era,
Week Only this Store Welcomes Shoplifters” did you see yourself as a street artist? Used together they are a really good way to get
stickers that we put up in shops, and “Closing things done. You can create an image and put it
Down Sales, Due To Lack of Raw Material,” No. I was much more concerned with up on your website and people can download it
which we stuck up in department stores. It was magazines, posters, and leaflets rather than as their own image and do what they want with it.
all about just having a go, and putting ideas “street art.” Although, yes, the stickers actually The Internet is great but in general I prefer things
into practical practice. Plus it was enjoyable. were put up all over the place. Ones that were that are tactile. I think they are more powerful.
So enjoyable. to do with transport went up on buses and
railway stations. Ones that were to do with Many of the graphics you used for the Pistols
What’s your take on psychogeography, another consumerism were in shops. To that extent, artwork you had designed years earlier in your
big part of situationist philosophy? I was a street artist but I didn’t see it that way work with the Suburban Press.
84 jamie reid JUXTAPOZ Nowhere Buses (Suburban Press)
Lithographic print
352 mm x 275 mm
1975

Yes, like the Nowhere Buses. They originally Comparisons between you and Banksy have been Albert Museum). But you know, it all just boils the Aquarian Gallery, with this guy Steve Lowe. My work has always been on two fronts: the Madame Blavatsky (founder of Theosophy),
came from LA, actually. An activist group in LA made aplenty. What do you think about that? down to people knowing what “art” is, and It is now called 113. He has put on some great much more spiritual, esoteric work, and the returned to England and befriended members
had sent us a timetable that looked like the bus thinking for themselves. We have had so much exhibitions with Billy Childish and others—but political work, even though people see the of the Golden Dawn (a ninteenth century
company’s timetable, except the buses weren’t Banksy comes from a different time and damage done by the Brit Art movement—the none of the shows we have done there have two as being diverse. The Eight-fold Year is magical order whose members included
going anywhere. And I reused it. The shoplifting different age. Before he was well known we whole thing was spawned by Saatchi and gotten attention from the mainstream art circuit. based on seasons, and the critical times of the Aleister Crowley and WB Yeats), and became
stickers I had made; they inspired the look of actually did an exhibition together at the Arches Saatchi (advertising agency), who were the In this country, the critics are all friends with the seasons, like the equinoxes and solstices. If a swami-type figure. Then he was made the
the Never Mind the Bollocks album cover, lots in Glasgow. I believe the posters for it are worth people involved in getting Margaret Thatcher artists. Critics won’t go to new galleries, and you have a garden or allotment, you’re already chief druid of the British Isles and led druidic
of fluorescent retail colors designed for a quick a fortune on eBay. into power. Brit Art, to me, is like nouveau the whole thing is so corrupt and so negative. working to that pattern. This project links in ceremonial rites at Stonehenge. You’ve often
sale. Reusing that stuff just epitomized the cuisine—a lot of money for fucking nothing. I’m not depressed about it at all—I just choose with my background, because my family were cited him as a huge inspiration.
spirit of the time, for me. How much has the gallery system been part of I think better art is done in times of recession to do things my own way. political activists who were also involved with a
your world? than in times of prosperity, anyway. In this druid order for three generations, starting with my Everything in my life has dovetailed from him.
When you came up with the God Save the country, far more seems to get done than when The Eight-fold Year is your latest project, in Great Uncle George Watson MacGregor Reid. He died before I was born, but I grew up with
Queen graphic, did you have any inkling how It hasn’t, really. In the early days, there’s no way people have fuck all. which you upload a new painting, photograph, a knowledge of the tradition of druidism and
iconic it would become? we could have done what we did in the confines and piece of writing to Eightfoldyear.org each Yes, I’ve heard about your Great Uncle. how, in his case, it was linked with the birth of
of a museum or art gallery, anyway. It’s never Have you been to Art Basel? day for a year. It’s totally different to your He started out as a union activist working socialism. If there’s one thing I’ve always been
No. I had no idea. You’re too busy getting on really been part of my world, until recently, work with the Pistols and Suburban Press, with dock workers in Boston and New York, aware of it’s that if you need political change,
with things. Once one thing’s done, you’re onto I suppose. The Tate Modern got around to No, I haven’t been to Basel. A lot of the work and has a much more Gaian, shamanistic type and once ran for Parliament as one of the first you also need spiritual change. Look at the
the next thing. buying some stuff, as did the V&A (Victoria and I have done in the last few years was done with of message. Labour Party candidates. Then he met history of the Labour party and socialist
86 jamie reid Fuck Forever JUXTAPOZ
Color print collage board-mounted paper
204 mm x 304 mm
1979

In the early
days, there’s
no way we
could have
done what
we did in the
confines of
a museum or
art gallery.

tradition—it stems back to spiritual visionaries I often collaborate with a Russian laser artist
and philosophers like William Blake and called Alexei Blinov. He told me he had a couple
Tom Paine. Sadly, today politics is mainly of friends who were top-end hackers, who
about commerce. became disillusioned. They had decided that
the microchip was an alien invention
Your Great Uncle was active during the turn of designed to get us so utterly dependent on that. They are cutting libraries and children’s
the twentieth century, a time of huge political computers that once they were taken away, benefits too. They’re cutting everything.
and spiritual evolution. the whole planet would be thrown into
complete chaos. So yeah, personally, I am What does the future hold for Jamie Reid?
Yes, there was an incredible sense of new age quite wary of computers. Mostly I use them
and enlightment—and then the First World for communication and some graphics. Who knows. Survival. Birth of new paintings.
War happened. It was like a massive fucking But I have a suspicion surrounding them. Planting things.
ritualistic suicide. People look back on the incas If computer systems broke down, all means
and the druids and say, “they must be terrible, of public transport would fail, communications How’s your allotment?
they practiced ritualistic suicide.” But modern would fail. We aren’t prepared for those kinds
society happily kills people in the millions for of scenarios. We have just planted broad beans, onions,
power, greed, and control. Poor soldiers. It breaks shallots, and sweet peas. It’s such a great
my heart. Our reliance on computers, modern farming, concept, the idea of allotments. They are so
fossil fuels, etc., its much less scary if you democratic! After World War II, there wasn’t
What do you think about Wikileaks, and know at least how to grow your own food and enough food so people were granted their own
cyber terrorist groups like Anonymous, who generate your own energy. little bits of land to grow vegetables on. The
are protesting corporate and government whole concept was born out of crisis. So many
corruption in a whole new way? I couldn’t agree more. I evenly split my time good things are.
between painting and gardening nowadays.
Physical protest is more restricted and I do that every day. I have a garden and an For more information about Jamie Reid,
oppressed than it used to be. So yes, in this allotment, and there’s nothing like growing your contact Jamiereid.org and Isisgallery.org.
day and age, and with the options available, own stuff. You don’t need massive amounts of
cyber attacking is an effective way people space. You can do it.
can fight back. With most Western politics
there’s the veneer you see, and then there’s What kind of politically driven art do you
the corruption and secrecy behind it all. It’s create today?
interesting, the way that terrorism is being
used to inhibit any means of protest, and keep The Tory government has just announced that
people under control. they are going to sell off British forest and
woodlands to private companies, and I wanted
What are your thoughts on computers? Obviously to do a graphic about it. The Tory party logo is
there were no laptops and no Internet when you a tree, so I have used their logo being cut down
began working as an artist and activist. with a sword saying “Tory Cuts.” Something like
88 fab 5 freddy JUXTAPOZ

FAB 5 FREDDY
Interview Michelle Joan Papillion / Portrait by 13thWitness
90 fab 5 freddy JUXTAPOZ Haymaker
6” x 6"
2010

Fab 5 Freddy has been at the


beginning of it all. The Brooklyn-bred
artist is legendary, a pioneer paving the way
for many, himself included, who have taken
their art from the streets to the galleries,
museums, and the heights of pop culture.
Few artists have uniformly fused together
a multifaceted career in visual art, film, and
television all born out of one culture.

Since the early ’80s Fab 5 Freddy was at the career, his new works—and yes—Jeffrey Deitch was called Andy Warhol’s Interview Magazine.
epicenter of New York’s downtown scene and artist Blu. —Michelle Joan Papillion We became good friends when he invited me to
calling shots and building cultural bridges. He work the cameras and be a regular guest on a
helped draft the blueprint and pave the roads Michelle Joan Papillion: A lot of people heard public access cable TV show he was launching
traveled by countless from urban backgrounds the name Fab 5 Freddy for the first time called, Glenn O’Brien’s TV Party. He was like
who found a way to get their work seen and mentioned in Blondie’s ’80s hit, “Rapture.” a mentor/big brother to Jean-Michel Basquiat
heard. Fab is a cultural ambassador with How did you hook up with Blondie? and myself. Through him I met Blondie’s Debbie
diplomatic presence respected worldwide for Harry and Chris Stein, as well as many other
his creative contributions. He is often cited for FAB 5 Freddy: That all came out of me exploring musicians, filmmakers, artists, and other cool
showing people their first glimpse of hip-hop the New York downtown new wave and punk creative types on the scene then. Chris and
culture through the seminal film, Wild Style, scene in the late ’70s. Early on, I had ideas Debbie were also the first Americans to collect
that he co-produced and starred in along with about being an artist and helping spark a pop my work. And the shout-out they gave me on
Lee Quinones, and his tenure as the original cultural revolt. I was looking for an audience “Rapture” was indeed, fly.
host of the groundbreaking, YO! MTV Raps. that would understand the things I was trying to
do. I met Glenn O’Brien, who wrote a column on So you felt like the downtown New York
I sat down with Fab, who’s also a curatorial music and culture called “Glenn O’Brien’s Beat” scene was similar to the uptown hip-hop and
advisor for MOCA’s, Art In The Streets historical for Interview Magazine and he was also one of graffiti scenes?
survey, and discussed the beginnings of his the original editors for that publication when it
92 fab 5 freddy From Ace Gallery JUXTAPOZ Under Brooklyn Bridge
1987 Photo by Charlie Ahearn
1980

At that time the whole idea of rap music, break would be underground, arty, and radical, but we What was the first thing you directed and how Luis Buñuel, and this is such a new, immediate real estate section on this amazing discovery. Shortly after that, you debuted new work at a
dancing, graffiti painting and DJing were raw, were surprised to learn his friends and clients did that come about? way to get the work in front of lots of folks. The experts in the article confirmed that there show at Art Basel Miami in 2008. At the end of
street, and not at all linked as one but I felt in
were the elite of Italian society and business. After that video that I directed in May of ’88, to were various prominent artists that had tagged 2010 you exhibited a body of this new work at
essence, they were. To me, they comprised a Making Wild Style with Charlie was like my my surprise I was asked to host MTV’s first rap and spray painted on the walls in this building, the new Cosmopolitan Resort & Casino in Las
series of explosions going off in different partsSo this was before Wild Style came out? film school. Classic, hard core, independent, music program, YO! MTV Raps, in the fall of including myself. The backstory is that in 1979, Vegas. Tell us about them.
of The City set off by a rainbow of rebellious guerilla filmmaking. Investors laughed at us. that year. I did that into the mid-’90s, the golden fresh out of Bed-Stuy Brooklyn, I’d met an art
urban teens. I sensed that punks and new wave Yes. Wild Style came out in 1982–83. In the They were like, “Rap music, graffiti, are you era of hip-hop music. critic named Edit Deak who liked my work, The new works are these mixed-media on
types would feel the synergy. I introduced them, beginning when I began making art, many guys serious?” Ha-ha—we showed them! I was invited me to a dinner party, and before leaving canvas pieces. I select photographs and
and they did. people I was meeting and becoming friends showing my work at Holly Solmon’s gallery on The 151 Wooster Wild Style Wall was a big asked me to tag a wall in her loft. I drew an digitally alter them, placing my subject in a
with downtown were all interested in different 57th Street in NYC, and had a big show at the event in the NY art world a few years ago. airplane dropping a bomb and put up a few black void. Then I have the images blown up
Tell me about the first time you showed in mediums like film, photography, video, and Ace Gallery in LA by 1987, but I was getting Elaborate on that event, and did you remember tags. In subsequent years, others who visited and printed on canvas. From there I place
a gallery? music. Most everyone worked in at least two restless. Rap music videos hadn’t kicked tagging in that building? her loft would also tag the wall after seeing I’d colored Swarovski crystals on the canvas, one
mediums and we all supported each other’s in strong yet by the late ’80s, but I thought left my mark. The wall was later Sheetrocked by one, pointillism style.
It was in Rome in 1979. Lee Quinones and endeavors. Jean-Michel and I talked about directing would be a great way to get my work A developer was renovating this old Soho over and sealed up for many years. The
I had a two-person show at Galleria Le Medusa. film, music, and art constantly, as I’d do with in front of much larger audiences, then parlay loft building at 151 Wooster Street and he developer decided to higher conservators Where did this idea come from, using the crystals?
An Italian art dealer, Claudio Bruni, had read Keith Haring. While Charlie Ahearn and I were that exposure back to my art. MTV was still uncovered a wall splashed with a bunch of to remove the work from the brick wall, and
about Lee and I in the Village Voice. He’d been putting the film together, Glenn O’Brien and practicing television apartheid with few, very graffiti tags and drawings. He’d heard rumors do an exhibition in the space. He arranged early The specific idea of working with the crystals
noticing graffiti develop on NYC trains and was Edo Bertoglio were making Downtown 81, few, exceptions besides Michael Jackson’s that Jean-Michel Basquiat and others had left works by Keith Haring from collectors Kenny came from seeing a lot of it around lately,
curious, so from that article he looked us up, Henry Chalfant and Tony Silver were making videos. I wanted to go wider, go pop as in their marks somewhere in the building, so when Scharf, Basquiat, and myself, and the event he particularly on clothing. I was attracted to the
loved the work, bought a couple of paintings, Style Wars, and Patti Astor started the FUN popular, and reach more people via film when workers uncovered this wall, he contacted gave was mobbed with art fans from then and materials and found that Swarovski makes the
commissioned us to do more, then offered us a Gallery, all at the same time. It was such a I was asked to direct My Philosophy, the the Guggenheim Museum and their experts now. While there I got flashbacks, déjà vu, and best crystals, like getting that certain brand of
show at his gallery. Lee and I thought the crowd frenzied period of creative expression where first music video for KRS ONE. I thought, consulted with others, and next thing I hear an explosion went off in my brain that it was now paint. It’s a tedious process, but it’s invigorating
that would come out to see our work in Rome we felt anything was possible, and it was. Warhol made films, as did the surrealists like about it in an article in the New York Times the time to ramp up and make some new work. making these new pieces. It’s an amazing
94 fab 5 freddy JUXTAPOZ New work
2010

Rap music,
break dancing,
graffiti painting
and DJing
experience watching the viewer move in front and street art. Showing folks how it developed
comprised a
of the work as the light dances and fires back into this wild explosion on the streets of series of
these thousands of tiny explosions, making you
a part of the process. The new work has a lot to
metropolitan areas like NYC and Philly, and in
30-plus years spread and sprouted itself into explosions
do with light and movement. many different chambers of visual expression going off in
Can you elaborate on the new work you’ll be
on a worldwide level. From the streets, to
galleries, and now in a big way, museums. different parts
showing at MOCA? of the city set
off by a rainbow
What are your thoughts on the mural Italian
My new pieces will use crystals and other street artist Blu painted on the side of MOCA
mixed-media, while referencing my past in
graffiti using a process similar to the works I’ve
that was taken down within a day of going up?
of rebellious
recently created. In the ’80s, we were reluctant Jeffrey Dietch has been showing and dealing urban teens.
to refer to ourselves as “graffiti artist,” but the with cutting-edge contemporary art for 30
media descended and called us that. Out of years and was one of the earliest champions
our respect and reverence for the process and of myself and others from the graffiti scene
practice, we were conscious that we weren’t moving into the NY art world. He also
technically doing “graffiti,” as the true meaning showcased, at his former NY space, many of forum when the show opens.
of that term is akin to making an illegal mark or the leading street artists, including Blu. True
scrawl on a wall. But I’m aware that meanings to form, I believe Jeffrey trusted Blu’s creative Is there anything else you would like to share
of words expand based on popular usage judgment and didn’t ask to approve a sketch about your history as an artist that maybe
over time. I like to use the term New York style for the MOCA mural, but left him to do his hasn’t been shared before?
graffiti because that explains the style of spray thing. Blu is from Italy and very talented, but
painting and tagging developed in New York in I doubt he was aware of the complexities of As a kid I was restless, wild, and curious. I would
the ’70s and ’80s most associated with graffiti the community, the war memorial very near take my own holidays from school, hop on the
as an art. Some use the term aerosol artist the MOCA Geffen building, and a Department train from Brooklyn and explore, mainly museums.
to reference that they are using spray paint, of Veterans affairs building also very close by. My favorites were the Brooklyn Museum and
but not necessarily creating graffiti in that Personally, I’m anti-war but pro US troops, the Metropolitan Museum of Art on 5th Avenue,
NY-based style. My new work references and this is an all-volunteer military. How which would let you in for a nickel, though not
NY-style graffiti painting but in a cut up, would those screaming censorship feel if the their suggested admission. I’d look at everything
sampled, remixed, and reformed manner. mural had remained, and the certain furor to from Egyptian art to tribal to renaissance
Obviously, there are many digitally-based follow resulted in the cancelling of the entire paintings and Caravaggios, and their great
ideas now common that were originally exhibition? When a filmmaker cuts out a scene collection of classic modern art. Everything
developed and perfected around the process they feel doesn’t work, or distracts from the from Pollock to Kline, Rothko, de Kooning to
of creating hip-hop and modern dance music. whole, do we call that censorship? Jeffrey’s Rauschenberg, to Johns. There I developed
Conceptually that is inspiring my current title at MOCA is director, and like a film, this a love for art, artists, and making art and
creative output. It’s like a narrative I’ve shot, exhibit has a narrative, a strong one. What’s I realized to do it big was gonna have to be like
edited, and stored on my mental hard drive, and on the outside of a museum is public and we Malcolm X said, “by any means necessary.” That
these new paintings are scenes from the film. don’t have a choice, whether or not we see became my foundation, and the journey began.
it. But what’s on the inside, we make that
How necessary do you think it is to have a choice. I also think it would have been helpful For more information about FAB 5 Freddy,
museum survey like this about the history of to the discussion early on had Blu spoken up contact Fab5freddy.com.
graffiti into street art? more on his creative relationship with Jeffrey,
and provided more specifics regarding the
I think it’s very important that this Art In the circumstances of the mural, so those rushing
Streets show is happening at MOCA. It’s a to judgment would have a more balanced view
really heroic decision on Jeffery Deitch’s part and understanding. I’ve been talking to Lee
to provide an opportunity for a historical survey and Futura about this, and Futura served in the
of one of, if not the most resounding, radical, US Navy, so we all have strong feelings on this
and relevant movement in art history; graffiti issue that I’m sure will be discussed in some
96 rammellzee RAMMELLZEE JUXTAPOZ RAMMELLZEE
Lords’ Minus, 1999 Vocal Well’s God,1999
Photo Angela Boatwright Photo Angela Boatwright
Courtesy of The Estate of Rammellzee and The Suzanne Geiss Company Courtesy of The Estate of Rammellzee and The Suzanne Geiss Company

rammellzee
98 rammellzee RAMMELLZEE JUXTAPOZ RAMMELLZEE
, 1991 Votive, c. 1983
Collage on Canvas with Resin Spray paint on photograph in epoxy resin
41.5 x 41.5 inches, 105.4 x 105.4 cm 37 x 39.5 inches, 93.98 x 100.33 cm
Photo Adam Reich Photo Adam Reich
Copyright The Estate of Rammellzee Copyright The Estate of Rammellzee
Courtesy The Suzanne Geiss Company, New York Courtesy The Suzanne Geiss Company, New York
100 rammellzee RAMMELLZEE (top) RAMMELLZEE (mid) JUXTAPOZ RAMMELLZEE (opposite page bottom) RAMMELLZEE
Letter Racer “ R”,1988 , 1988 Letter Racer “ Z”, 1988 Lords Minus Description, c. 1995
Found objects assemblage Found objects assemblage Found objects assemblage Collage on paper
Photo Adam Reich Photo Adam Reich Photo Adam Reich 11 x 8.5 inches, 27.94 x 21.59 cm
Copyright The Estate of Rammellzee Copyright The Estate of Rammellzee Copyright The Estate of Rammellzee Copyright The Estate of Rammellzee
Courtesy The Suzanne Geiss Company, New York Courtesy The Suzanne Geiss Company, New York Courtesy The Suzanne Geiss Company, New York Courtesy The Suzanne Geiss Company, New York
102 rammellzee RAMMELLZEE (below) RAMMELLZEE (opposite page) JUXTAPOZ
Memory, c. 1986 Trixter Bolt from A Assassin, 1985
Paper, spray paint and photograph on wood Spray paint, film paper and rocks in epoxy resin on canvas
36 inches diameter, 91.44 cm diameter 41 x 30 inches , 104.14 x 76.2 cm
Photo Adam Reich Photo Adam Reich
Copyright The Estate of Rammellzee Copyright The Estate of Rammellzee
Courtesy The Suzanne Geiss Company, New York Courtesy The Suzanne Geiss Company, New York
104 GUSMANO CESARETTI JUXTAPOZ

GUSMANO CESARETTI
Interview by Aaron Rose / Portrait by Estevan Oriol
106 GUSMANO CESARETTI JUXTAPOZ Gallero
East Los Angeles
1971

Sometimes, just when you


think you’ve seen everything,
when you feel that there are no more
hidden gems, the universe shakes everything
up and surprises you. This was the case for me
when I was introduced to the photographic
works of Gusmano Cesaretti. Cesaretti is an
Italian immigrant who came to the united states
in the 1960s. The work he did in the early 1970s
documenting the East LA lowrider and
graffiti scenes are some of the most
intimate and poignant images
I’ve ever seen of that time.

Street Writers, his book from the period, rock and roll, the new jazz, everything! When On the Road. When that book came out I said,
is a rare publication that I highly suggest the station went off the air at four in the “Wow!” Then I found out about Allen Ginsberg.
hunting down. He is one of the best street morning, then I would go to sleep. So the This was 1961, 1962, 1963. I was in a transition
photographers I’ve ever met in my life, and as American culture that I got from the music and where I didn’t know what I was gonna do with
these photographs attest, an important part watching the movies had a big effect on me. my life, so I said to myself, “I need to go to
of the legacy of graffiti and street culture. I would go to the movies all the time. I admired America.” I talked to my dad, he got me a ticket
—Aaron Rose all these great actors and the locations and on the boat from Genova. Eleven days later
even the studio stuff. It was a world of fantasy. I arrived in NY. The moment I stepped out of
Aaron Rose: How did you end up in America? Films had a way of. the boat and I had my feet in NYC, Kennedy
was killed.
Gusmano Cesaretti: I had relatives here. Projecting!
My uncle lived in Chicago… another uncle No way. Wow. The same day?
lived in Los Angeles. At that time, to me, Yes! Exactly. Projecting the American dream.
America was like a dream! I remember So everybody in the world is watching American Yes. I’m watching a country going through an
spending nights when I was a kid listening to movies and they see how they live in LA and incredible devastation. People were crying on
Radio Monte Carlo, which was a station where NY. You know, the big houses and the big cars. the street. They were lined up in front of TV
they played American music. They played all Those dreams are in films. So I really truly loved stores watching the news. All day long it was
the latest everything about America. I read Jack Keroac’s just “Kennedy was killed, Kennedy was killed.”
108 GUSMANO CESARETTI David, Sonia, and Blackie Chaz’ Skull JUXTAPOZ
Highland Park, Los Angeles Highland Park, Los Angeles
1973 1974

the big cars.


Those dreams
are in films.
So I really
truly loved
everything
about America

I was like, “Wow! This is amazing!” So the German descendent. He taught me everything I would see grafitti on the wall, but I didn’t know
moment I put my foot in America, the President about photography. He taught me about the what it meant. I was used to the Italian grafitti
got killed. So that’s how I came to America. chemistry of developing film, how to make a that was more political. The stuff in East LA
print, how to make your own developers for looked very exotic to me. I liked the style of the
How did you get from NYC to LA? specific purposes. I worked there for three writing. It was almost like a different language.
years and it was the most incredible training. In some moments it even reminded me of
I lived in Chicago for a while and then in Chinese lettering. It was amazing. Those
1970 I moved to LA. To me, LA was the real It’s like a dream job. guys were Mexicans, but it was different from
dreamworld because I loved the films. I loved Spanish. I wanted to know more about this.
James Dean and Marlon Brando. Even though Yes! A dream job. I would spend hours in I realized that I had access to a subculture
some of the movies were shot in NY, or in the darkroom everyday. It was an incredible there that wasn’t available to everybody. That
Texas, LA was still the center. Plus, everyday experience. While I was working there it gave excited me and made me want to get more
was sunny so it really pumped me up. I relate me time to discover the city. I had a little involved with these guys. I wanted to know all
to the sun. When I’m in the sun I feel like a Volkswagen and I would go everywhere, the meanings of things. I would wake up in the
hundred-million dollars. When it rains I feel but I really found that I was drawn to the culture morning and go to East LA. I would spend all
depressed, I feel that things are not going right.
of the Eastside. It was the most interesting day there walking around, talking to people.
The sun just brings everything together. to me because it was raw and accessible. I would take pictures of the kids, their school,
You know, in Beverly Hills I would never see the murals of the virgin on the walls. Little by
Were you taking photographs at that point? people walking on the street. To me it felt like little, I began to understand the whole culture.
a wasteland. But I would go to East LA and
I started taking photographs seriously in 1968. there were people in the street! I would see What year was it when you started hanging out
In 1970 I got a job at the Huntington Library in writing on the walls and paintings. I saw people in East LA?
Pasadena. One day I thought that I would try to walking, and eating, and chasing each other,
get a job there. The guy asked me, “What kind and singing, and arguing, and experiencing I actually first visited East LA in 1969 and I took
of work do you do?” I said, “I’m a photographer, emotional moments. So I thought to myself, a few snapshots here and there. But then I was
but I’d like to work in the garden.” He said, these are the real people here! like, “I need to know this!” I started walking the
“Well, we have a photo department here.” streets in 1970. I would park the car and walk
They needed someone to help, and there was How did you discover grafitti and the guys that through every neighborhood. I would just walk
a job opening so I got the job. My boss was were doing it down there? and walk and talk to people. Old people, young
Frank Reinhardt. He was a photographer and people, kids, mothers, you know. Also,
110 GUSMANO CESARETTI JUXTAPOZ The Godfather
East Lost Angeles
1977

if you are an
artist, you’re
not going to
get involved
with anything What year was this? neighborhood and the walls I always respected
it. The walls speak to you. You can go to any
because your This was 1971 to 1974. city in the world and if you start looking at

art ultimately the walls you’re going to find out a lot about
But these guys weren’t affiliated with gangs, right? the place. There is information there. To me,
is what’s going when I did the graffiti pictures I thought it was

to save you. No! Chaz was maybe at the edge. He lived in


the gang neighborhood. But the thing is, if you
important from the graphics point of view. I was
interested in the lettering, the different styles
are an artist, you’re not going to get involved and symbols associated with different gangs.
with anything because your art ultimately is I never thought that these photos would
what’s going to save you. The gangs respected become an historical document.
him, everybody knew who he was. He did
graffiti, but it was graffiti with an edge. He How did the Street Writers book come about?
wasn’t just marking territory. Also, he never did
graffiti outside of his own area. He knew the I had photographed all this material and when
everybody respected me because I wasn’t law of the land. He did it right. I don’t think his I started putting all the pictures together
American. My English was very bad. I was just graffiti was ever crossed out. They left it alone. I started thinking that it would make a great
learning English and they knew immediately. book. I met a guy named Tony Cohen, who
They would ask me if I was Latino. When I So you guys became friends? was starting a publishing company called
told them I was from Italy they were always Acrobat Books. Tony is a writer. He’s quite
excited. Also, I had a lot of respect for them. Oh yeah, we would party together. We used to successful now. So I met with him and showed
Before I took a photo I would always ask first. go dancing at night and then do graffiti. You him what I had been photographing. He
I would say, “Can I take your picture?” or “Can know both psychologically and physically we immediately understood it and offered me a
I see your house?” Then I would come back would get dressed up for the night. You’d have book. When I was going around with Chaz
the following week and I would bring them a your cans, smoke a couple of joints and you I had a tape recorder with me and I would
print. Some of those families down there still were ready to go. Then you’re in the mood. tape our conversations all the time. I couldn’t
have prints of mine in their houses! It’s pretty You drive around. You find the right spot, the remember everything so I would tape what he
amazing. I also photographed the Clique Car right corner. It was always very strategic. It was said as we went around. He had an enormous
Club and those guys have prints that I can’t funny because we would paint with a guy called amount of information. So we transcribed all
even remember. You know prints of their kids, Kingfish, and he would wear a white suit with the tapes and that became the text for the
of weddings. a Hawaiian shirt and a white hat. So this is the book. The book was done in a very traditional
middle of the night and we’re doing graffiti by documentary style. It was very naïve in many
How did you meet Chaz Bojorquez and begin the freeway! This guy is 300 pounds wearing a ways. Street Writers was very, very simple.
following that group that was looking at white suit and he’s got sunglasses on! But we
Mexican-American graffiti in a different way? never got caught. Never. At that time I don’t Was there an exhibition when the book
think the cops were on us the way they would was released?
I met Chaz through a little scene of artists be now.
I knew in Pasadena. I told him that I had been We had a party at Tony Cohen’s house in
photographing East LA and I showed him Well, graffiti hadn’t spread the way it has now. Hollywood. I invited all my lowrider friends to
some stuff. He suggested that we go around that party. They all came, saw the book and
sometime together. So I started going out with Exactly. told me I could photograph them anytime
Chaz while he worked. Sometimes we would I wanted. That’s when I really got involved with
just go to the river and look at the graffiti and he When you were shooting that stuff did you think the lowriders.
would tell me all about it. I would photograph that it was an important historical document? Or
him doing his pieces. At the same time I was was it just like you hanging out with your friends? What camera were you using?
also photographing this scene of artists around
him. All these guys were using graffiti as an I never really thought about the importance. Nikon. But most of the stuff was shot with a
artistic expression. But because I was documenting the Nikkormat because my Nikon broke down.
112 GUSMANO CESARETTI JUXTAPOZ Klique Car Club
East Los Angeles
1973

I realized that
I had access to
a subculture
there that
wasn’t available
to everybody.
That excited me.

There was a great photo shop in Pasadena For instance, I would use Tri-X film and I would I had a relationship with every single person
called Lemac Camera. The guy who owned the push it to 1600 asa, sometimes even more. that I photographed. I wonder about some of
shop was a wonderful human being. He liked Then I would develop the film and put the the people. Did he ever make it? or I wonder
my work so he would loan me cameras and chemicals in the tank, but instead of gentle what happened to his wife? You know what
lenses. Some weekends I would have a real agitation like one would usually do with this I mean? I still keep in touch with a few people
nice wide angle lens, sometimes a flash. You film, I would instead put the tank on the floor from that time. When I look at the photographs
know the shots I have of the lowriders on the and I would kick it with my foot. It would roll I think about the good times that I had hanging
street with the flares? I would shoot with a low all the way to the end of the studio. Then out with those guys. We had a great time! The
shutter speed and then I would flash it so there I would walk over there, turn around and kick dancing and the graffiti and the beautiful girls—
would be a little movement to it. it back in the other direction. I would do that it was amazing! I never thought that someday
for just the right amount of time that I needed they would be in a museum. I was just taking
Your style of printing is also very unique. to develop the film. Consequently it was pictures, that’s what I do! Like the same way
The prints have a real signature to them that is rare agitated in a very brutal way. The film and the a mechanic fixes cars. They used to call me
with most photographers. Was that on purpose? images became very grainy and full of contrast. Picture Man. They would say, “Here comes
But I had developed this technique and I knew the Picture Man!” It was beautiful.
Yes. I had this little formula in my head. The what I was doing. Sometimes I would take a
training that I had at the Huntington Library cigarette lighter to the stainless steel tank and For more information about Gusmano
was incredible because I learned to really warm it up. Between the warming it up and the Cesaretti, contact Gusmanocesaretti.com.
understand the chemistry of film. When I would agitation it became just like an explosion of
take a photograph, I was already visualizing grain. It was an amazing and beautiful thing.
in my head the way the final print would look.
The photographs I was taking were of subjects When you look back at those pictures now from
that I thought were on the edge. I started 40 years ago, how does it make you feel?
applying this philosophy to my photography.
114 martha cooper JUXTAPOZ Broken Promises/Falsas Promesas
Stencils by John Fekner
Charlotte Street, South Bronx
1980

Martha cooper
all photography by martha cooper
116 martha cooper Village Voice, 1982 JUXTAPOZ TV Party (Fab 5 Freddy) David Wojnarowicz Jean-Michel Basquiat Jean-Michel Basquiat
Text by Richard Goldstein (reference to NYC public Lower East Side, Manhattan Lower East Side, Manhattan Lower East Side, Manhattan
Photos by Martha Cooper access show by 1982 1982 1982
Glenn O’Brien)
1982
118 martha cooper JUXTAPOZ Kenny Scharf, IZ the WIZ, Richard Hambleton
Lower East Side, Manhattan
1982
120 martha cooper Keith Haring JUXTAPOZ Richard Hambleton Keith Haring and LAZ
East Harlem Downtown Manhattan Avenue DJ
Date of painting unknown 1982 Avenue D and Houston Street
Lower East Side, Manhattan
1982
122 martha cooper JUXTAPOZ
124 PROFILES JUXTAPOZ Photo by Evan Pricco

lady pink PHOTOS


1

ART IN THE
STREETS
april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California

1 Shepard Fairey piece a few blocks

from MoCA 2 A Space Invader piece


just mysteriously showed up on the
Sacha Jenkins SHR: Your eye has always Do you think that the lines between "graffiti"
Geffen building 3 JR’s mural for
been amused by figures, both human and and "street art" have been blurred?
“Wrinkles of the City” a few blocks
other worldly. What do you find inspiring
from MoCA
about fleshy forms? I think graffiti has morphed into "street art"
in the way that rock n' roll morphed into
Lady Pink: I've always drawn females— different sounds—like metal, punk, pop,
sometimes as sexual beings, sometimes as and rap. The form is growing up, inspiring all
victims. Guys are hard to draw for some reason. kinds of people to do vandalism. Better yet,
But truthfully, I've never thought about why inspiring young folks to take control of their
I do what I do and how I do what I do. As a environments. Your average Joe or Joan now
graff writer, lettering was cool, but I never has no idea what the difference is between
wanted to be confined to it. So my homeboys graff and street art. It’s as if there isn’t a line
made me do the characters on the trains. separating us anymore. We're all “street artists”
And my husband, Smith, has a serious romance now. “Street” makes us sound so dangerous!
with letters, so my characters made our
productions a ménage à trois of sorts.

Photo of art by Martha Cooper


126 PROFILES JUXTAPOZ Photos by Evan Pricco

Jon Naar
When I arrived in New York in 1973, graffiti vessel through the city. Jon’s photos capture 1 2
was in full bloom on the lines, and Jon Naar had the exuberant tangle of those early paintings PHOTOS

ART IN THE
already caught the tags and pieces by Stitch, that brightened the dilapidated city and
Piper, Stay High 149 and Phase II on film and turned deferred-maintenance wrecks into

STREETS
published them in The Faith of Graffiti. These brilliant canvases. It was a time when the
were the legendary ancestors of the artists culture of writing was new and everybody was
I would document years later when I began to experimenting with style. I was inspired by
shoot masters like Dondi, Crash, and Lee who the art and by Jon’s photos, and happy that april 17, 2011—august 8, 2011
stood on the shoulders of those titans who someone was showing the world this entirely MOCA, LOS ANGELES, California
challenged the industrial power of 600 miles new art form. —Henry Chalfant
1 Street style 2 A segment of
of steel and machinery running like a blood
Barry McGee’s contribution to the
2011 version of Street Market 3 Mister
Cartoon’s mural inside the Geffen 4
Levi’s Film Workshop begins to take
shape 5 Greek artist Stelios’ mural in
the Geffen

3 4

Graffiti writers
1973
128 PHOTOS JUXTAPOZ Photo by Evan Pricco

PHOTOS

Levi’s
green
screen set
levi’s film workshop
april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California
130 INSIDER JUXTAPOZ

Patti Astor created the world I started it in 1981. The FUN Gallery was an Who were some of the other graffiti artists that
famous FUN Gallery (1981-1985) artist’s gallery. The first show was kind of an you picked up?
accident, my partner Bill Stelling who I knew
the first art gallery in the
from the Mudd Club said he had this little There was Futura and Fab, but Fred Brathwaite
East Village. She starred space fixed up into a gallery. At this point was a multi-talented kind of dude. His stuff was
as Virginia, the intrepid everyone like Keith Haring and Diego Cortez revolutionary. Most of the shows were for fun
“downtown” reporter who had been doing these one night shows and and we didn’t sell very much. We didn’t give
ventures “uptown” in Charlie art was the new thing after the whole Hip-Hop a shit about the money! That is what drove
culture came down to the East Village. So people crazy about me, but I would just tell
Ahearn’s classic Hip-Hop film,
I said okay and Steven Kramer just happened them how it was.
Wild Style.
Insider to jump on it and he did 20 drawings. We were
so broke we just shrink-wrapped them like You’ll appreciate this story, in ’83 I flew out to
Patti Astor Patti Astor: I grew up in Cincinnati, which
is a pretty culturally aware city. In 1967, the
record albums and we sold all of them in one LA with FUN artists Futura, Dondi, Ero, Lee
day, and at the time the art world was very stiff and Zephyr and we were working with Doug
Summer of Love, I was 17 and told my Dad
Interview by Saber and so closed. Christmas. We were painting his ACE Gallery
I didn’t want to go to college, “can’t I just drop
Portrait by Estevan Oriol building on Melrose and he comes up to me
acid and listen to Jimi Hendrix?” and he blew
Here is Haring and Basquiat coming from the and starts yelling at the artists and says, “you
up, “You were brought up to be an intellectual,
whole Warhol angle, how integral was the tell your boys…” and I cut him off right there
you’re going to be an intellectual and dammit
graffiti writers essence and mixing with Haring and told him we were going to take a walk
you’re going to college!” So I chose Barnard
and Basquiat? How much of an influence down the block. All the artists stopped painting.
College to get to New York. I arrived in the
were they given by the train writers, because I said “these were not his boys, these are
Fall of ’68 and right at that time the anti-war
the train writers were innovative and the other artists who deserve your respect and if you
movement was in full swing, so I ended up
being simpler. How much of an influence was don’t respect them, we are all going to get
dropping out of school and spending two years
graffiti art? back on the plane and you can kiss your gallery
in NYC SDS, which is where I get my kick
show goodbye.” We walked back and the crew
ass attitude.
I think that it was a tremendous amount and started painting again.
it went both ways. The success of the FUN
How did the energy, political time frame and
Gallery was that we were never a graffiti It was thrilling that the artists would sit down
things that were happening on the street help
gallery, although people like to categorize and have a serious talk to tell me how they
form the era of graffiti and hip hop.
us as a “Graffiti gallery”. We gave one man wanted their art presented. They all had a
shows to people whom Bill and I thought very clear vision of what they wanted. A-ONE
I always had an outsider mentality, and I don’t
were doing interesting things. That first year, was one of my favorites, who was tragically
think I was ever going to go back and go to law
besides Steven, we had non-graffiti artists young when he died. It was terrible. But one
school. I was a hippie. I don’t think anyone who
Arch Connelly, Jane Dickson, Kiely Jenkins, of my favorite parts about the FUN Gallery
went through the whole Vietnam era, whether
and Kenny Scharf, who gave the gallery it’s was that you’d have the little kids from the
you were in the service or stopping the war,
FUN name. Each person had a totally separate neighborhood, Rock Steady Crew, the Beastie
your life was never going to be the same. You
technique. It was a real trade off because all Boys when they were 14, the Clash, rich
were never going to go back into the system
of a sudden there was this complete freedom. collectors in their mink coats, punk rockers,
because you had totally lost faith in it.
I mean Keith became famous from his chalk artists, and we also had a gay crowd because
drawings on the subway. Once the FUN Gallery my partner Bill was gay. The AIDS thing was
So you met all these characters, guys like
opened everybody would hang out there every day. tragic it was like the black plague and hundreds
Futura, Lee, and Dondi. What was Dondi like?
of people were taken. It was quite a struggle
It was almost like a new horizon? at times, for four years we never had a heater,
Dondi White was always the keeper of the
Bill got punched in the face a few times and
flame for the children of the grave. It was a real
The writers were people the system had given I faced down the neighborhood Mafia and saw
honor to meet and work with Dondi. I think one
up on, the hip-hopop culture came out of a couple of knives from the wrong end.
of the reasons I got in so well with these guys
being told they were nothing. But they were
and eventually earned their trust was because
something so they created their own dance, From all your experiences, all the people you
I kept my mouth shut. I was a toy, I’d be
music and art form. I found it valuable that the met and everything you’ve been through, is
running along behind them, and what is just so
little kids from around the neighborhood would there one thing you have taken from it all,
perfect is that usually in the movies when there
come in because this is where they heard what’s your message to the world?
is a white person going into a black culture they
they could see their heroes, and I got to tell
solve everything, tell everybody what to do and
them that everybody has something to offer. I feel the purpose of art is to create something
have all the answers. In Wild Style everyone’s
Everyone has a talent, don’t listen to anyone beautiful that people can see and inspire them,
always telling me to shut up and get lost.
else and you can find that inside yourself. You and also to make the world better. I don’t have
I think that was great and I was smart, I could
can see how hard these artists, musicians and any money but I don’t care ’cause I was not in
go anywhere and learn.
dancers work to make this happen and you can it for monetary rewards but I have many people
find that inside yourself. who have told me that I changed their lives.
When did you start the FUN Gallery and what
was your first show?
132 PROFILES

mark
To me the definition of art is one’s symbiotic
relationship with the world around them.

gonzales Mark achieved fame early on in his life through


skateboarding, so, as a revolutionary, really his
art’s an extension of his life. It’s mimicry, what
he sees and how he interprets it, and then how
he pushes it out onto the world around him.
That’s being in tune with your surroundings,
and that’s the art that Mark Gonzales
exemplifies. Whether he’s jumping a picnic
table full speed ahead on a skateboard or
kicking a sign 'cause he’s mad about something
or just playing in traffic with his bike going 150
miles an hour—believe me, that’s art. To be in
control, to see things in a different fashion, to
get so much emotion out of a Schmoo or his
little thumb head drawing, it’s infantile, you
can see its most simplistic form. He’s not
trying to jock you with his strokes or his sky-
rising tagging ability—it’s fucking weirdness.
It’s interpretive.

Mark’s paid some fuckin’ heinous dues in his


life. He was running the streets of LA when he
was 13 years old unaccounted for by anybody,
from Southgate to Hollywood to digging in
dumpsters on Venice Beach—that dude was
everywhere and nobody cared. He wasn’t no
latchkey kid. He was just on the run, “whatever
I can get into, whatever I can see, whatever
I can ingest.” He pays attention to stay in the
game. Some of his art is too overblown, like
German Schmoos, like, whatever corny as
fuck—I laugh—so I like the pieces I have that
are just random shit that’s funny to me. Even
his texts are fuckin’ funny. He’s a writer, artist,
movie guy, actor, jerk of all trades—he does it
all—and he’s funnier than shit. So that’s what
I think about when it comes to the art: Mark’s
a whole package. A rapid transmission of
talent, you know, he’s just so arty. He’s just
thinking, he’s always percolating, he’s never
sitting still. Mark’s art isn’t this kind stuff that’s
like “I’m going to translate it to what you want.”
I think in some regard his art is his being, it’s his
whole creation, it’s one unit. Mark Gonzales is
way ahead of the curve. —Jake Phelps

Juxtapoz Handmade
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2010
134 PROFILES JUXTAPOZ

Invader

If you were to ask us to name the artist we feel


most embodies street art sensibility, there’s
no question that we’d put French artist Invader
at the very top of our list. It was Invader’s
tile mosaics that became our entry point for
discovering that street art coul be so much
more that just stencils, stickers, and wheat
paste posters.

For more than a decade, Invader has been


getting up with a vengeance, not only hitting
countless cities around the world—but hitting
them hard. For us, the best thing about coming
across a Space Invader tile is that you know the
man put it there himself. Like Banksy, Invader’s
choice for anonymity only adds to his intrigue
and mystique.
—Wooster Collective for Juxtapoz, March 2008
Hilary Pecis
Kingdom
48" x 36"

CLASSIFIEDS
2010

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138 PHOTOS JUXTAPOZ Photo by Evan Pricco

PHOTOS

ART IN THE
STREETS
april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California

A detailed look at Ed Templeton’s wall


in Art In the Streets
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144 PHOTOS JUXTAPOZ Photo by Evan Pricco

PHOTOS

ART IN THE
STREETS
april 17, 2011—august 8, 2011
MOCA, LOS ANGELES, California

Perhaps the most detailed exhibit


within Art In the Streets, Barry McGee,
Todd “Reas” James, and Steve “Espo”
Powers’ recreate Street Market, an
update of their seminal 2000 show at
NYC’s Deitch Projects