Art on the Streets | SVA ContinuEd Newsletter Summer 2024

ART & ACTIVISM 2023

CELEBRATING THE ART AND DESIGN OF HIP-HOP

by Valerie Smaldone

Last November’s Art & Activism event was set against the backdrop of the historic 50th anniversary of hip-hop, so the Division of Continuing Education at the School of Visual Arts explored the art and design of hip-hop, how this musical genre gave rise to street art, and how it eventually became a highly sought after collectible artform.

The accomplished invited speakers included Eric Haze, celebrated artist and designer; photographer Janette Beckman, who documented some of the earliest musical artists in the genre; Gil Vazquez, executive director of the Keith Haring Foundation; and Angel Ibanez, who photographed a famous video shoot during the heyday of hiphop. The evening began with celebrity DJ Tokyo Rose, whose music choices set

in memory of

ANGEL IBAÑEZ

1945 – 2024

(1974, illustration)

Artist, illustrator, photographer and dedicated SVA staff member for 30 years. SVACE was honored to have Angel participate in our fall 2023 Art & Activism event.

the mood for a very special night.

The audience was moved, inspired and delighted by the information that was shared. Eric Haze showed how he rose from being a kid with a spray paint can to a sought-after designer. Janette Beckman, originally from the UK, shared how she was drawn to the hip-hop world in New York, and Gil Vazquez told stories about being the keeper of the Keith Haring flame, not only for his artwork but also to further causes important to Haring. Angel Ibanez brought his huge prints on stage, showing the audience what he saw behind the lens when he photographed the “Funky Beat” video shoot in 1986.

During the panel discussion, all the artists agreed that it was important to keep the flame of art and design going with future generations. ◆

Captions:

1. Posters. From left: Limited edition Art & Activism logo by Eric Haze; Collaged Keith Haring artwork, compliments of the Keith Haring Foundation; “Love Not Hate” poster by Eric Haze.

2. Speakers from Art & Activism 2023. From left: Angel Ibanez, Janette Beckman, Eric Haze, Valerie Smaldone, Gil Vazquez, DJ Tokyo Rose.

DIRTY GRAPHICS: SILKSCREENING THE SIGN OF THE TIMES

Giancarlo Cipri

In the fall of 2023, Andrew Castrucci (BFA 1983 Illustration) offered the fifteenth iteration of his Silkscreen and Street Graphics course in the SVA Printshop.

Andrew, a graduate of SVA and artist in his own right, is celebrated for his two works: Your House is Mine and Fracktured Lives. The works are rooted in activism and stand as a testament to protecting his homeland. Ultimately, Andrew is a master silkscreener who urges for change. This is the ethos of his class.

Andrew begins the semester by highlighting that the class is fun; students not only learn how to silkscreen, but also how to publish their work in various forms such as zines and public posters. Midway through the course, Andrew swaps hats—from teacher to art director—and introduces the “Dirty Graphics” collective. Said collective uses screen-printed posters as a medium offering solutions to current sociopolitical issues. He then coins a phrase or term, relating to the “sign of the times.” This semester, it was “apocalypse.”

The term apocalypse was chosen as it encapsulates everything from climate change and social injustice to political unrest and economic inconsistency. Despite the often negative connotation for apocalypse, he urged for our works to suggest a solution; apocalypse was championed for its qualities of rebuilding, or rebirth, after a fall.

So, with the theme of apocalypse set, prints are made on 20" x 23" sheets of newsprint and paper, lending themselves to be wheat-pasted on temporary construction fences in the Lower East Side. ◆

Captions:

1. Andrew Castrucci, Evolution of a Poster Day 3 (3), 2023, iPhone.

2. Andrew Castrucci, Evolution of a Poster Day 3 (2), 2023, iPhone.

3. Emily Inzero, Untitled, Wheat-pasted Posters 2023.

esign icon Eric Haze (BFA 1985 Media Arts) is a born and bred New Yorker. A multi-hyphenate talent, Eric can be described as a celebrated street artist, graphic designer, art director, branding expert, fashion designer, painter and typographer. Clearly a man of many talents, his artistic journey began in his youth, when he was smi en by the art world. Thanks to his father, a Columbia University professor with many artist friends, Eric was exposed to the modern art world. At just eight years old, Eric had the opportunity to view a family friend’s extensive pop art collection, which included the iconic Warhol soup can image. It was then that he was struck with the notion that art did not have to just be a pre y picture. Through his father’s relationships, he found himself in the studio of Elaine de Kooning, who was commissioned to paint portraits of Eric and his sister. Eric was then taken under the wing of Ms. de Kooning and, today, still has two

of the paintings he created under her tutelage when he was just 10 years old. Less than a year later, graffiti art came along and, as he says, “wiped the slate clean” for him as an artist. Soon a er, at the age of 13, he joined an art collective, The Soul Artists, who were invited to have an art show at St. John the Divine. Some years later, Eric—along with Fab 5 Freddy, Futura, Lady Pink and Zephyr— was discovered by a journalist from the Village Voice, who featured him in the cover story “In Praise of Graffiti: The Fire Down Below.” Soon came an invitation from influential art curator Diego Cortez to participate in “New York/ New Wave,” a seminal art show at P.S. 1, which would be Jean-Michel Basquiat’s first museum exhibition. By this time, Haze was well known in the mix of the downtown art scene.

Eric worked as a painter for several years, doing commissions and murals as an aerosol artist, but the common thread in his work was always typography. Applying this skill, he became one of the first graffiti artists whose tag

emerged as a recognized brand. With Basquiat and Keith Haring as close friends, Eric had a front row seat to their meteoric rise. While he appreciated that graffiti was his entry point to the art world, Eric was always fascinated by mass production and felt compelled to go in another direction. His “lightbulb moment” came when he decided to forge a different path: chasing a dream as a graphic designer/art director.

Eric Haze: Following Your

With this realization, he understood that to excel in that field, he required professional, state-of-the-art skills. That’s when, at the age of 22, Eric made plans to go back to school and study graphic design. His introduction to SVA was in the Division of Continuing Education, where he took two courses with the legendary Ed Benguiat. Eric brought Futura with him to class, and Benguiat, recognizing their talent, allowed them to sit in. Sold on SVA, Eric then entered the undergraduate program.

Although graffiti gave him a sense of being invincible, it was graphic design that lured him to create his own design studio after graduating. Due to his deep understanding of the hip-hop community, Haze was hired to design logos, album covers and branding for artists like the Beastie Boys, LL Cool J and Tommy Boy Records.

In 1992, Eric also founded his own eponymous Haze clothing brand, which led to three flagship shops in Tokyo. Recent design projects include a collection for Jimmy Choo, the U.S.

Olympic ski team, and an official Brooklyn Nets jersey featuring his unique and iconic hand lettering. Eric has also continued painting throughout the last 20 years, exhibiting personal work in New York, Los Angeles, London, Tokyo and Shanghai.

Eric says that being an art director has afforded him the opportunity to incorporate a wide range of styles into his work, allowing him to create his own special brand of design. Haze admits he has had “high highs and low lows” throughout his life and career. He wants to document all of it and is in the process of writing his life’s story.

Eric Haze’s advice to art and design students at SVA is that “anyone can do it if you apply yourself with a certain amount of belief and determination. Do the work, do the work, do the work.”

His parting words for anyone in the art world are: “what you believe in is always right. Do not let other people tell you what to do with your life. It’s up to you to decide what to do and then enlist people around you to support that path.” ◆

Captions:

1. Portrait of Eric Haze, PHOTO CREDIT: Pak Hei.

2. Eric Haze, MCA Memorial Wall, Jeffery Deitch Coney Walls, NYC, 2016.

3. Eric Haze, G-Shock, model #6, 2023.

4. Shoes from Haze and Jimmy Choo Collection, 2021.

5. Beastie Boys, Check Your Head, album cover design by Eric Haze, 1992.

6. Eric Haze, L.L. Cool J, Bad, album cover design by Eric Haze, 1987.

7. Eric Haze, U.S. Ski Olympic uniforms, Beijing, 2022.

8. Eric Haze, Portrait of Elaine de Kooning Elaine de Kooning House Residency, 2020.

9. Eric Haze, Brooklyn Nets official jersey, 2018.

10. Eric Haze, Group Portrait “Beyond the Streets” exhibition, London, 2022.

11. Eric Haze, Original sketch of EPMD logo, 1988.

12. Haze and Jimmy Choo Pop-Up, Shanghai, 2021.

DRAWING AS SOCIAL PRACTICE

WITH TIRTZAH BASSEL

Tirtzah Bassel is an SVA faculty member and visual artist who brings attention to the presumed neutrality of everyday spaces through her figurative paintings and site-responsive installations. Bassel brings her critical lens to her SVA Continuing Education course, Drawing as Social Practice. We spoke with Bassel to give us more insight into the course and into the power of drawing

How would you describe your course?

Drawing as Social Practice is an exploration of the relationship between mark-making and specific spaces. The course integrates hands-on drawing instruction with critical and reflective practice. It is based on the assumption that drawing is a tool that we can use to

cultivate our awareness, imagination, resistance and receptivity. In each session, we spend time drawing on-site in seemingly mundane spaces. Additionally, we allocate time for reading critical writing and examining historical and contemporary works that help us contextualize our work and inspire creativity.

How do you think the act of drawing changes in different environments?

Drawing in a space can feel almost like a performance; we become aware of ourselves as agents in the environment. We are conscious of how people perceive us and how our actions affect our surroundings. This sensation can vary significantly.

By Bianca Dunn

It’s also important to consider how a drawing or work of art can impact a space. During the course, we create imaginary “commissions” for different types of spaces. Then, we have to “listen” to the space. The drawings become a kind of dialogue with the place we make it for. We might come in with certain ideas, but ultimately, the goal is to open up to a two-way conversation with the environment.

Do you have any insight for people who are new to drawing or intimidated by drawing?

Start by focusing on the physical experience of drawing. Bring your attention to the touch of pencil or charcoal on the paper, the movement of your hand, and the position of your body in space. Notice what gives you pleasure. Go

back to the five-year-old you were, who was only concerned with how it felt to make marks on a surface—the joy and discovery of that.

Drawing is a fundamental tool for grounding us in the present moment. It’s a way to spend time looking at something, helping us see beyond labels and access our direct experience of what we encounter, giving form to an idea or story. Over time, drawing can also change our relationship to a person or a place; we can use it to share ideas or discover new things.

“In retrospect, I found that the art creation is not trying to make other people believe what I believe. Instead, it’s a creating process of having conversations with myself and letting my own experience be revealed in the space or through a medium to present itself.”

—Ying Zhan, fall 2023 student

“This class was everything I’d hoped it would be. [It] was a great way to continue thinking about place, materials and relational aesthetics (and doing weird stuff on sidewalks). I found this course invaluable in both giving myself space to play as an artist and fresh ideas to incorporate into my teaching practices.”

—Sarah

Gerth v.d. Berg, fall 2023 student

Captions: 1, 2, 3. Students working in the classroom in the course Drawing as Social Practice. 4, 5, 6. Students completing an in-class assignment of drawing in an unconventional space.

STREET TONES: CAPTURING THE ESSENCE OF NYC THROUGH MIXED MEDIA

Inspired by the urban and industrial landscapes of his hometown, artist Jake Wallace tells us how his art practice has evolved over time.

By Nivia Hernandez

Can you describe your art practice?

I combine my passion for design, painting, printmaking and graffiti to create unique mixed media works inspired by the urban and industrial landscapes of my hometown, NYC. When I start a new painting, I organically build up color and texture to create an abstract design that has the feeling of an actual wall you might see outside in NYC, covered in graffiti, stickers, posters, signage and urban decay. I then integrate multiple screenprinted layers into each piece, based on photos that I’ve shot of NYC architecture, factories, trains, bridges, water towers, storefronts and people.

How has your art practice changed over time?

The scale and complexity have evolved significantly since I first started.

Nowadays I am doing much larger scale work and commissions. The amount of layering that goes into each piece is much more detailed as well. Last year, I also launched a new online store with products featuring my art including puzzles, apparel and prints.

When did you start drawing inspiration from NYC urban and industrial landscapes in your artwork? Why?

I started shooting photos of NYC in the late ‘90s and was always drawn to the

more gritty, industrial architecture that is quickly disappearing throughout the five boroughs—buildings like the old Domino Factory in Williamsburg which closed in 2004. These buildings tell stories, they hold the memories of the past that people have long forgotten. These stories are told through the great brick facades, cracked foundations, peeling paint, signage, and messages printed and painted on their walls. NYC itself feels like a constantly evolving piece of art to me. There is so much color, texture and organic beauty on every block, and I strive to recreate that feeling in my art.

What aspects of your courses with Continuing Education did you find most helpful in developing your work as an artist?

I took a silkscreen printing course at SVA 15 years ago and absolutely fell in love with the process and the aesthetic. I have been taking classes and working out of the studio ever since. Being hands-on in the print shop is one of my favorite parts of the process. Learning alongside the experienced teachers at SVA has been invaluable and allowed me to grow from doing small, simple one to two–color prints to the large format 20 to 30–color mixed media pieces I create today. ◆

Captions:

1. Behind the Scenes: Jake with extra large silkscreen in the studio at SVA.

2. Jake Wallace, Checks Cashed, 2019, spray paint, acrylic and screen print on wood panel, 30” x 20”.

3. Jake Wallace, Williamsburg Bridge 2019, spray paint, acrylic and screen print on wood panel, 36” x 48”.

4. Jake Wallace, Domino Factory 2022, spray paint, acrylic, screen print and collage on wood panel, 90” x 36”.

5. Jake Wallace, NYHC Legends— Vinny Stigma, 2023, spray paint, acrylic and screen print on wood panel, 48” x 36”.

6. Behind the Scenes: Jake screen-printing in the studio at SVA.

STUDENT HIGHLIGHT

COFFEE AND COMICS: DAILY NUANCE WITH SYD LOW

By Calley Nelson

Syd Low creates and self-publishes comics, a large part of which are about working as a barista. They took Wren McDonald’s Minicomics: From the Page to Production (VNC-2362-A) with me over the past summer semester, and I was enthralled by their comics detailing bike rides; relationship highs and lows; the pitfalls of working in customer service; and Portrait Studies, their magical realism minicomic about haunted paintings.

When do you know you have a good idea for a comic? For me a good comic usually comes from something that’s goofy or unique that makes for a fun story or something that’s

relatable to a certain group—in my case, most often food service workers. There’s a kind of catharsis from drawing some deranged customer acting out and then having people online commiserate and also feel represented for a change. I used to worry about being too niche or needing to give more background, but, increasingly, I think the way to interesting work is specificity.

You took Wren McDonald’s RisoLAB course on minicomics. How did that influence your practice?

Wren’s course was helpful in that it forced me to sit down and put time into one comic; it let me take the process more seriously and slowly than I

usually do and proved to me that I could! I’m more interested in creating longer pieces now and, especially, in printing them and really trying to participate in comic zine circulation. For anything even a touch longer, I really try to do at least a thumbnail or two now and give myself the time to see if, say, one layout or another would be better.

Is there anything that you’re working on—or planning to work on—that you’re really excited about?

I’m trying to compile a zine of all my coffee comics; I think it’d be fun to see all together and maybe would let me get barista comics out of my system for a bit. I know that’s how most

people find me, so it’s a little scary to not focus on, but it’s easy to excuse staying in a rut.

I’d like to do another short story like I did for the Riso minicomics course—multiple pages (not formatted for Instagram!) with original characters. I’m also a fan of informational zines, and I’m working on one zine about tips and tricks for doing your HRT injections, since doctors and nurses often leave us in the lurch to figure it out. Hopefully, all of these schemes will be ready to share in print soon at syds.website and @quicknip! ◆

Photo

1

BLINK

ARTIST RESIDENCY ALUMNI NETWORK SPOTLIGHT WITH DAVID M. WONG

By Rachel Gisela Cohen

In the bustling cityscape of Chicago, artist David M. Wong, a participant in the Residency Alumni Network, finds both his home and inspiration. Specializing in digital photography, Wong employs intricate long exposure and projection techniques to craft pieces that serve as nuanced reflections of his personal experiences and immediate environment.

Joining the Residency Alumni Network was a deliberate choice for Wong, motivated by a quest for a supportive and inspiring environment. He sought a space where he could not only connect with like-minded individuals but also be immersed in unexpected and stimulating experiences to fuel his artistic journey.

Wong’s venture into public art took an unconventional turn when tasked with overseeing a building at One West Grand Avenue in Chicago, previously a brew pub restaurant. Recognizing an opportunity to transform the space into

a vibrant hub of artistic expression, Wong faced a unique challenge with the expansive 20,000 square feet and minimal walls for traditional art displays in the lively River North neighborhood. Inspiration struck during Wong’s SVA residency when he encountered the concept of a bring-your-own-projector show by fellow participant Trevor Nathan. Collaborating with artist friend Jeff Phillips, Wong envisioned using the building’s 14 massive windows as spaces to display artwork. Jeff’s fleet of 20 commercial-grade video projectors became the tools to bring this vision to life.

In February 2023, Wong orchestrated his first curatorial project by installing screens on the inside of the windows and using gray shower curtains. In April 2023, he organized the exhibition “Blink” for the Spring 2023 Residency Alumni Network cohort. The collaborative effort featured contributions spanning diverse art forms such as photography, painting, sculpture, fiber and video. The 100-plus images ran on each projector, creating a dynamic display where each window presented a unique combination of images. Group members contributed their work and time, creating graphics for social media, street displays and a web page for the exhibit.

The success of Blink propelled Wong into a realm of fearlessness regarding public art. Breaking free from the notion that art should be confined to indoor spaces with pristine white walls, Wong has since organized four more shows, including three for photographers and one interactive video exhibition.

Being a part of the Residency Alumni Network significantly influenced Wong’s artistic journey, exposing him to diverse techniques, philosophies and a collegial exchange of ideas. The experience of organizing shows not only enhanced his comfort with curation and operation but also inspired him to explore new mediums and venues, embracing a continuous evolution of his artistic expression. Wong emphasizes the network’s importance, stating, “It is invaluable to have people whose art I admire and whose opinions I trust.” David M. Wong’s journey reflects a fusion of innovation, collaboration and an evolving artistic mindset, nurtured within the Residency Alumni Network, as he continues to explore public art, testifying to the transformative power of creative communities.

Captions:

1. David Wong, Portrait of the Artist 2022.

2. David Wong, Portrait of the Artist, 2022.

3-4. Installation view of group exhibition “Blink,” located at One West Grand Avenue, Chicago, Illinois, 2023.

5. David Wong, Untitled 2022.

DÍA DE MUERTOS WITH ARTIST ANDREA ARROYO

By Stephanie McGovern

During the fall of 2023, SVACE was back in collaboration with the Flatiron NoMad Partnership for their second iteration of Día de Muertos. On November 2, community members flocked to the Flatiron North Plaza to enjoy several elements integral to the historical Mexican tradition. Activities included sugar skull decorating, face painting, and an interactive community altar, presented by SVACE and brought to life by award-winning artist Andrea Arroyo.

Andrea is an artist working in a wide range of media, including painting, artists books, mixed media, digital art, public art and site-specific installation. During the fall 2023 celebration, participants were invited to honor loved ones who have passed by contributing an offering or message inscribed on paper skulls or gathered ribbons. “It was a really beautiful day!” Andrea noted. “Seeing the altar come to life little by

little as the day progressed was wonderful, and once we opened, witnessing the public interaction gave me a deep sense of connection. To watch so many people in the community being so moved and engaged was the best gift an artist can get.”

Andrea’s remarkable design of the community altar featured various fruits, garland arches, candles, papel picado, flowers, succulents, pothos,

tin hearts inspired by Mexican Milagro Hearts and sugar skulls. “The driving force behind the altar’s design was to honor and share the richness and complexity of Mexican culture with the NYC community at large, presenting a meaningful celebration that enabled participants to connect to their own ancestors in a memorable shared experience. Additionally, it was important for me to underscore the depth and sacredness of the Día de Muertos tradition,” Andrea said. She also included a contemporary art piece in the form of a pair of life-sized wings on the back side of the altar, where participants could have an opportunity to take a photo and memorialize the day.

The 2023 celebration had an additional special moment when evening fell onto the plaza and the altar was lit by the glow of candles. The marigold and cockscomb flowers that adorned the altar were gathered, wrapped and

given away to the community, as a final farewell and closing of the day’s celebration. “This project was extremely meaningful and rewarding,” said Andrea, “It showed the immense power of public art and community, and how embracing our humanity at the deepest level is a way to create hope and envision a better world for everyone.” ◆

Learn more about Día de Muertos from Mano a Mano: Mexican Culture Without Borders (MexCulture), a NYC–based 501(c)3 dedicated to celebrating Mexican culture: https://www.manoamano.nyc/about-the-day-of-the-dead

Día de Muertos

Captions:

1. Nathalie Marti, Welcome To America 2023, oil on canvas and clay sculpture, 31 x 19”.

2. Nathalie Marti, Rainy Days 2023, mixed media and metal sculpture, 20 x 16”.

3. Nathalie Marti, The Red Gummy Bear, 2023, oil on canvas and clay sculpture, 15 x 15”.

Captions:

1. Nathalie Marti, Welcome To America 2023, oil on canvas and clay sculpture, 31 x 19”.

2. Nathalie Marti, Rainy Days 2023, mixed media and metal sculpture, 20 x 16”.

3. Nathalie Marti, The Red Gummy Bear, 2023, oil on canvas and clay sculpture, 15 x 15”.