In NYC for a few days this past week, the legendary UK-based artist Stik left his mark at Bushwick Five Points. Here are two more images:
Photos by Lenny Collado, Dani Mozeson and Sara Mozeson
Stik hits Bushwick rooftop
Causey Contemporary Presents “Purple”
Produced by YOUNITY, an international collective of urban female artists, and curated by Alice Mizrachi and Diana McClure, Purple opens tomorrow from 6-9pm at Causey Contemporary Gallery in Williamsburg, Brooklyn. Featuring an eclectic range of artworks by female artists from across the globe, the exhibit will remain on view through November 19, 2012. Here’ are two more images from the exhibit:
Images courtesy Causey Contemporary
In San Juan, PR — “Los Muros Hablan” Part III: Jaz, Eyel, Pun18 and Hello Again
During our brief visit to Puerto Rico, we had the chance to view Jaz — one of our favorite artists — at work and discover the enchanting aesthetics of Mexican artist Eyel and local artists Pun18 and Tony Rodriguez, Josue Oquendo, Aslan Uno, and Esteban Ruiz of the Puerto Rican arts collective, Hello Again. Here are some more images:
Photo credits: Jaz and Hello Again by Lois Stavsky; Eyel by Dani Mozeson; Pun18 in progress by Lenny Collado and close-up courtesy of the artist
In San Juan, PR — “Los Muros Hablan” Part II: Sego, El Coro, Ever & Neuzz
As the walls continue to speak in the Santurce district of San Juan, Puerto Rico, they have begun to attract increasing attention and admiration from passersby. We even noticed a group of students speaking with Mexican artist, Neuzz. Here are a few images of works in progress by: Sego, also from Mexico, Rimx & the Puerto Rican El Coro collective, Ever from Argentina, and Neuzz from the Carribean’s first international urban arts festival:
Photos by Dani Mozeson
In San Juan, PR — “Los Muros Hablan” Part I: Roa, Aryz and Bik-Ismo
The walls are talking in Puerto Rico, as over a dozen first-rate artists are busy gracing the walls of the Santurce district of San Juan. Organized by local artists Celso Gonzalez and Alexis Diaz of La Pandilla, along with Emil Medina of Buena Vibra, “Los Muros Hablan” marks the Carribean’s largest urban arts festival. Not only are we seeing some of our favorite artists at work, but we are also meeting many whose works is new to us. Here are just a few images we took today — many more to come:
Sponsored by Coor Light, “Los Muros Hablan” continues through the 14th.
Photos of Roa by Lois Stavsky; photo of Aryz by Dani Mozeson and of Bik-Ismo by Lenny Collado
MOMO at Bushwick Five Points and in “Geometricks” @ Red Hook’s Gallery Brooklyn
It was quite a delight coming upon MOMO at work this past week, as the last time — and only time — I”d seen him paint was back in 2008. Here is the finished piece:
And the entire block as it is shaping out:
I also loved MOMO’s work in Geometricks, wonderfully curated by Hellbent with BSA, over at Gallery Brooklyn.
Photos by Lenny Collado, Dani Mozeson and Lois Stavsky
ND’A, OverUnder & LNY at Bushwick 5 Points
Bushwick 5 Points has quickly become one of NYC’s most exciting and enticing open-air galleries. ND’A, OverUnder and LNY, three of my favorite street artists, have recently been gracing its walls. Here are some captured these past two days:
Photos by Tara Murray and Lois Stavsky
NEVERCREW’S magical murals grace Swiss school
Whenever I pass bleak-looking school buildings, I imagine their exteriors transformed into playful wonderlands. NEVERCREW, a first-rate Swiss-based artists duo with roots in graffiti, did just that to an elementary school in Lugano. Here are some close-ups:
Photos courtesy of Pablo Togni of NEVERCREW
“Just My Type” @ Bushwick’s Low Brow Artique
Opening this evening from 7 to 10 pm at Bushwick’s Low Brow Artique at 143 Central Ave is Just My Type, an exhibit featuring the work of four Brooklyn-based artists — Gilf!, Dirty Bandits, ND’A and QRST — who utilize typography in their artworks. Ranging from the playful to the poignant in a variety of styles and media, the pieces often amuse and always provoke. Coordinated by Low Brow Artique’s resident curator, Rhiannon Platt, the exhibit continues through October 7th.
Images clockwise: Gilf! close-up, photographed by Lois Stavsky; QRST photographed by Tara Murray; Dirty Bandits on postcard courtesy of Low Brow Artique and ND’A photographed by Lois Stavsky
Speaking with Chelsea gallerist Jonathan LeVine
I’d always wondered about Jonathan LeVine, the self-described owner, proprietor, and head honcho of one of my favorite galleries anywhere. Curious about the roots of his passion, vision and success, I recently read Caleb Neelon’s 2011 book, Delusional: The Story of the Jonathan LeVine Gallery. Providing an intimate glimpse into not only the gallery, but into Jonathan LeVine himself, Neelon’s book, brilliantly introduced by Carlo McCormick, also features dozens of wondrous images and reminiscences by a range of artists whose work LeVine has exhibited.
After reading the book, I had the opportunity to meet up with Jonathan and speak with him:
It’s wonderful to have someone with your passion and aesthetic sensibility sharing and promoting the art we love in a gallery in the heart of the art world. What motivated you to bring your vision and business to the Chelsea art district?
I chose New York City because it is the best platform for artists’ works to be seen. It is also the best setting to encourage artists to reach the highest level possible. An artist needs to be seen in a gallery that’s in the epicenter of it all to gain recognition and be taken seriously in the art world. That is the only reason why I’m here. If another city were as important to the success of an artist, I’d be there.
According to Delusional – the Story of the Jonathan LeVine Gallery, you were initially friends with many of the artists whose works you promote in your everyday ventures. You would also just pick up a phone and call anyone whose work spoke to you. Is that still the case? How do you consistently find and feature the work of so many first-rate artists?
It’s mostly the Internet these days. The blogs out there – like Arrested Motion and High Fructose — make it easier for me. But I still check out bookstores. I read magazines, and I speak to people. I also look at art that is referred to me.
How did you manage to establish a collector base strong enough to support your wonderful space?
It’s a slow process. I’ve been at this for 17 years. After curating downtown in the 90’s, I opened a spot in New Hope, PA and then moved to Philly before coming here. I’ve been fortunate to attract such preeminent collectors as Nike CEO Mark Parker who began purchasing artworks from my Philly space and has continued to do so. And I aggressively use the Internet to promote business.
You describe your initial curating ventures as an “addiction” that you couldn’t walk away from. Is that still the case? How do you keep from “burning out?”
Yes, it’s still the case. I see my work as my calling. I couldn’t walk away from it even if I wanted to. I’m married to it and I often tend to take on too much. But to avoid burnout I do take necessary breaks. I travel when I can, and I always try to get sufficient sleep. I also maintain a sense of humor.
Much of the work your gallery features is rooted in pop culture, blurring the lines between pop surrealism, illustration, graphic design and fine arts. Included, too, are works by artists whose main canvas is the streets. Have you any favorite genre? Which artists – in particular – speak to you?
I love them all. I don’t like drawing distinctions among genres. I only feature artwork that I love. I see it all as contemporary art, but for lack of a more distinct term, I came up with the label, “pop pluralism.”
It was your “Streets of São Paulo” exhibit that not only introduced me to your gallery, but moved me to visit São Paulo and explore its streets. How did that come to happen?
I had come across the book Graffiti Brazil by Tristan Manco and Caleb Neelon. I was taken by the raw beauty of the Brazilian street art featured in the book, as it is quite different from what I’d seen elsewhere. I also thought it was important. I decided to visit São Paulo, and that was the first of many trips there and an ongoing relationship with São Paulo’s Choque Cultural Gallery.
What was your most memorable experience since moving your business to NYC?
My visit to São Paulo was my most moving experience, as it was life-changing. A particular moment that stands out here in NYC involves a Shepard Fairey show that I curated back in 2007. Shepard had installed work in a space in DUMBO, Brooklyn for the opening party. I didn’t know what kind of turn-out to expect. I’ll never forget seeing a line that stretched around the block of folks waiting to gain entry to this opening event.
In his intro to Caleb Neelon’s book, Delusional – the Story of the Jonathan LeVine Gallery, the noted art critic Carlo McCormick describes you as both charming and candid! That’s a hard act! How do you manage it — as everyone seems to speak well of you!
That’s good to know! I’m a Northeasterner — honest and straightforward. I suppose that’s how I manage it. I don’t understand greed and selfishness. I have a strong work ethic that is driven by a sound morality. And I don’t compromise.
What is your greatest challenge – as there are certain to be many?
Yes, managing others — getting people to do what I want them to do – is, perhaps, the greatest challenge. And dealing with a range of personalities – involving other people’s issues, along with my own – demands extraordinary skills and patience. Conflict-management is a huge part of my job.
How have other Chelsea art dealers responded to your presence here?
At first, there was a great deal of curiosity. They seemed to be wondering, “Who is this kid?” But their question was answered when they saw me selling art.
How would you define your professional goals?
I would like my gallery to continue to grow and for the art that I exhibit to increasingly gain recognition and respect. I’d like to be a modern version of the late Leo Castelli, the influential New York art dealer who played such a huge role in promoting the works of so many groundbreaking artists.
I meet so many folks in their 20’s who would love to be “the next Jonathan LeVine!” What advice can you offer them?
I don’t think I would recommend this line of work. It is difficult and carries a huge amount of responsibilities and pressures. I would not have chosen to be an art dealer. Folks often make assumptions about me based on my name and the kinds of people who tend to work in this field. But I was raised by a single Italian mother, and we struggled. School was always a challenge, and I disliked it. But when I found my calling, I answered it with passion, perseverance and patience. I view what I am doing as a service to others. I would advise anyone who is interested in this field to acquire basic business — as well as art — knowledge, read extensively and develop a huge network. This is not an easy business! It is demanding and challenging, and it requires tremendous resourcefulness.
What’s ahead?
I’d like the Jonathan LeVine Gallery to become one of New York City’s big blue chip galleries and gain an international presence. I’d also eventually like to have a huge storefront. That would be my next move.
Photos courtesy of the Jonathan LeVine Gallery