Inside Josh Keyes’ Tin Can As Part Of 1xRUN’s 2019 Moon Landing Day Print Suite

As part of 1xRUN’s Moon Landing Day Print Suite we welcome in Josh Keyes, Luke Chueh, Glenn Barr and Erik Otto who each bring us new interspacial editions for this year’s unique print suite. Artists of all styles have mused on a wide variety of spacial themes over the years and 1xRUN is excited to launch this new collection featuring 4 new unique editions from some of our most sought after artists. To kick things off first we caught up with Josh Keyes to discuss his latest edition Tin Can, which drops on July 20th at 12pm EST as part of this year’s collection. Read on to find out more about this edition and sign up for early access to be the first to get access to these highly sought after print releases…

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1xRUN: Tell us a little bit about this piece, anything immediate you would like us to highlight about this image?
Josh Keyes:  I was daydreaming about space, and our place in it, and what our mark has been in/on the universe so far. Wherever we go, or how far we venture, everything we are as a species will likely come along with us, the good, bad and ugly. There has been talk of escaping earth, all of its man made problems, but unless we change our way of life and perception of nature and one another, our existing issues and problems will be tucked away in our carry on luggage.

1x: Was this image part of a recent theme, series or show that you had? If so how did it fit into that given grouping?
Keyes: I have explored a lot of terrestrial themes, nature animals etc, growing up in the 70’s and 80’s space has always held my interest, are there real ET’s out there, or have we already had a close encounter? I think there are three or four paintings in this series, and another of a satellite dish covered in graffiti titled “can you hear me now?” I have a few other ideas percolating in my noggin using this space theme. I am also a massive fan of Jeremy Geddes astronaut series,  while his vision has a solemn emotional magnitude, my take is a bit more Monty Python and tongue in cheek.

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1x: When was this piece originally drawn and created and what materials were used to create this original piece?
Keyes: It was painted in 2016. I work in Golden acrylic paint, and I have found that wood panels really provide a nice surface for working up gesture and details.

1x: Tell us how the idea and execution came about for this image?
Keyes: I searched for a strong image of the earths curve, and debated doing a soft blend of the atmosphere into the black of space. I like the hard separation, like an egg shell, strong but fragile. I also went back and forth between adding stars to the sky, I think the solid black lends itself to the idea of the void, and endlessness, emphasizing the idea that there really isn’t any other place to go or escape, we are where we are. I am a fan of all forms of graffiti and had a few favorite artists and tags that would be fun to see up there. I don’t know if spray paint could really and scientifically work in zero gravity, but sometimes you have to let go of fact in favor of fiction and the story.


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1x: How long did each of this image take to create from start to finish?
Keyes: I suppose around a week or two, it was a larger painting size than I usually work on, but I really enjoyed the scale, up close it felt like you were an astronaut floating around it.

1x: What is unique about this piece compared with your other work?
Keyes: I had to create a maquette of the shuttle and attach the graffiti elements to it, I’m not too savvy with computer modeling so I had to go old school and get out my hobby tools.

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1x: Why should people buy this one of these prints?
Keyes: It might make you chuckle, weep and ponder, “what if?”

1x: Describe this image in one gut reaction word.
Keyes: Spaceballs.

keyes-framed-tin-can-02Tin Can by Josh Keyes

1x: So this is our third edition with you featuring your iconic take on space melding with graffiti, where did the idea come to start combining the two?
Keyes: Space: Moonraker and Star Wars /  Graffiti: The alley wall of a 7-eleven, 8th grade

1x: Did you/do you still write graffiti?
Keyes: I am horrible, I find many around the streets of Portland, and a few well known artists, but I primarily use a Microsoft word graffiti font.

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Tin Can by Josh Keyes

1x: Where are you finding your reference photos for the tags/names in your pieces? Are they friends of yours?
Keyes: All over, some retro from the 70’s and 80’s, many from around town, Portland, or some that I find online. Sometimes an artist will send me some reference tags or photos. Most of the artists are excited to see their tag in the painting.

1x: What are some of the ways you’ve been trying to push yourself with your latest work?
Keyes: Gosh, well I was dabbling with some sculpture ideas and really getting into faux fur, maybe a result of turning 50 this year, mid life crisis work. ;)

With painting I am really working towards creating images with a little more impact, figuring out what is necessary and what to let go, and paying more attention to color. I spent a long time painting every blade of grass and the highlights on each, my hand can’t do that anymore, there is a desire for an impression, and in that expression, like holding a butterfly. Did I really say that?

1x: What are some of the strides you feel like you’ve made over the last year?
Keyes: To be honest figuring out how to be a good dad and husband is where my heart and mind is at. There is not time, or luxury of pondering on an idea for months, I’m learning to pounce faster on the important concepts and ideas and let others go.


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1x: Any artists new or old inspiring you lately?
Keyes:
Oh my god, have you seen Instagram! I follow about 7,000 artist and people. There is so much amazing stuff going on, it blows my mind. I can’t name one or even three, there are so many artist musicians dancers tattoo arts film makers etc. making incredible things. If anything, all the ways people connect and share today is so much different from just ten twenty years ago. All of these voices were already there, they just could not be heard, humans are really wacky and wonderful.

1x: What was the last piece of art that you bought?
Keyes: My Little Pony, friendship is magic coloring book, also beautiful print by Zoe Keller, and Tiffany Bozic.

1x: Any upcoming exhibitions or group shows coming up?
Keyes: I have a United Kingdom show lined up with Thinkspace Gallery in October, so I’ve been work on some new pieces for that show. Aside from that I will have work at Scope Miami with Antler Gallery, and then a group show at the Bedford Gallery in CA, never a dull moment!


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1xRUN: Where else can people find you?
Josh Keyes: WebsiteInstagram @joshkeyes.art

-1xRUN

1xRUN’s Murals In The Market Returns To Detroit’s Eastern Market For 5th Year

This September 14th-21st, 1xRUN’s Murals In The Market returns for the 5th consecutive year, bringing more than 25 local and international artists to Detroit’s Historic Eastern Market.  A massive family friendly block party Family Reunion, along with the annual free arts and culture events including a tribute by Tiff Massey to legendary Detroit artist Dave Philpot, and Dennis McNett’s larger than life art parade, will all add to Detroit’s rich history public art for the city’s only international mural festival. 1xRUN is proud to welcome back our partners at the John S. & James L. Knight Foundation and Eastern Market Corporation to help bring this world renowned public arts festival to Detroit’s oldest farmers market.

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2019 Murals In The Market Artists Include: 

– Ashley Mcfadden – Bakpak Durden – Ben Hall – Bre’Ann WHLGN – Brian Nickson –

– Dennis McNett – Diviniti (Little Bit Project) – Ed Irmen – Efe Bes – Ijania Cortez –

– Ivan Montoya – Jake Dwyer – Javier Gonzalez – Joe Geis – Joey Salamon – Kevin Ledo –

– Kevin Lyons – Lindy Shewbridge – Maser – Mike Polakowski  – Mikey Francis –

 – Nick Pizana – Osunlade – Remi Rough – Ron English – Ryan Doyle – Tiff Massey

+ MORE Muralists, Sculptors + Public Art Installations …

  After being named one of the Smithsonian’s Top 5 Mural Festivals In The World, Murals In The Market continues to elevate Detroit’s Eastern Market to the forefront of the international art stage for the fifth consecutive year. This year the festival expands its programming with a massive roller door campaign focusing on bringing local businesses into the fold and highlight often overlooked areas in the city pairing each with a local artist. Unique installations throughout the market will complement over 150 murals throughout the Market’s footprint.

Joining forces with Detroit’s electronic music tastemakers Paxahau, The Crofoot & the Detroit Hustles Harder crew this year’s festival returns with the 2nd Annual Murals In The Market Family Reunion, a massive all ages block party kicking things off on September 14th!

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Find out more MuralsInTheMarket.com + on social media @muralsinthemarket

Building upon the tremendous public support of the festival’s last four years, Murals In The Market continues to expand Eastern Market’s walkable footprint. With more than 200 works of public art including sculptures and installations strategically placed throughout the Market District, the festival encourages exploration of every corner of the market, giving visitors locally and internationally a look into businesses and areas often unseen and underutilized. Once again Murals In The Market will continue to enhance Detroit’s signature market experience that makes Eastern Market a world class, must-see destination for art, as well as fresh food.

In addition to creating new murals, the festival will also host a series of events including discussion panels, a cultural tour, art exhibitions as well as nighttime activities coinciding with Detroit Design Festival’s Annual Eastern Market After Dark on September 21st.

This year, Murals In The Market has partnered with Jason Hall’s, RiDetroit to offer walking and cycling tours year round as well as a series of curated tours during the festival.

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Murals In the Market 2019 opening mural by Olayami Dabls

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Local and national foundations and sponsors will help make 2019 another year to remember, as presenting sponsors, the John S. & James L. Knight Foundation and 1xRUN will be joined by Eastern Market Corporation, Motor City Paint, Montana Cans, Quicken Loans, Brooklyn Outdoor, Detroit Hustles Harder, Paxahau, Faygo, and Community Push.

Paint for Murals In The Market will once again be provided by Motor City Paint and Montana Cans, two industry leaders that are committed to helping artists create outdoor works of art that will stand the test of time.

Public art has always been, and always will be, an integral part of the Eastern Market District experience. The 2019 Murals In The Market festival will continue to expand on 40+ years of large-scale public murals by bringing a new world-class local and international artists to add exciting new works throughout the market.

Find out more MuralsInTheMarket.com and follow on social media @muralsinthemarket.

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Eastern Market President Dan Carmody + 1xRUN / Murals In the Market Co-Founder Jesse Cory / Local Artists Help Kick Off The 2019 Opening Mural

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-1xRUN

Alpay Efe Takes A Contemporary Look At Still Lifes With Vanguard Series

With his latest series Vanguard, German artist Alpay Efe has returned to take a contemporary look at age old still lifes. Blending classic oil painting techniques alongside modern implements like paint rollers, squeegees and masking tape, Alpay Efe breathes new life…into still lifes with the latest in his ongoing series Vanguard V. Painstakingly painted over the course of a few weeks, this new edition is oversized with each print uniquely hand-embellished by Alpay Efe. Read on as Alpay Efe gives us the lowdown on his latest work, his burgeoning YouTube channel and more…

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1xRUN: Was this image part of a recent theme, series or show that you had? If so how did it fit into that given grouping?
Alpay Efe:  This painting is part of a series of still lifes called “Vanguard.” It is my way of bringing the genre on flower still lifes, that hasn’t aged too well, into the 21st century by interpreting it in a modern and contemporary way.

1x: When was this piece drawn and created and what materials were used?
Efe: The series started in 2018, but this one is from 2019 and one of the most recent. The original painting is on heavy cotton canvas, with oil paints combining various painting techniques using modern tools like paint rollers, squeegees and masking tape.

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1x: How long does each of these images take to create from start to finish?    
Efe: Painting these still lifes take quite some time since I never know what the end point will be when I start painting. I also work in many layers which means long drying times between painting sessions. For those reasons finishing one of these can sometimes take up to 8 weeks, but if  everything goes well I’m able to finish one in 3-4.

1x: Why should people buy this one of these prints?    
Efe:  I mean look at it, it’s not only absolutely stunning, but also something very limited and special.

1x: Describe this image in one gut reaction word.     
Efe: Contemporary.

alpay-efe-vangaurd-v-35x35-1xrun-01-temp-2Vanguard V – Hand-Embellished Edition by Alpay Efe

1x: It’s been a bit since our last release with you, what have you been up to? Any recent exhibitions or projects ?    
Efe:  It’s been a few crazy months. I had a solo Show in late 2018 and after that, I immediately started work on various pieces for all the Group shows in 2019… like Spoke Arts annual Moleskine show, which was a ton of fun this year. 
I also started a Youtube channel which has been incredibly fun and satisfying. Exploring art through a new medium and communicating with people in a different way has been one of the most inspiring things recently.

1x: What are some of the ways you’ve been trying to push yourself with your latest work?     
Efe:  I’m currently trying to get myself to be more daring in my work… in every way. Be it subject matter, color or technique. I’m not getting younger and life’s too short to always do things the same way.

1x: What are some of the strides you feel like you’ve made over the last year?     
Efe: I think that I’ve become a much more relaxed and mature Artist… even more than before. I’m learning to not be so hard to myself, things go wrong and usually things never go the way you want. But that’s ok .. that’s life. No need to loose any sleep over these things.

1x: Any artists new or old inspiring you lately?
Efe:  Always Monet…

1x: What was the last piece of art that you bought?
Efe: I think that has to be a print from the talented Matheus Urbanowitz.

1x: Any big shows or events coming up that you’d like to share?
Efe: Yes,Youtube… Follow me at Youtube.com/AlpayEfe… I’ve got some great content coming up!

1xRUN: Where are all the places people find you?
Alpay Efe: WebsiteFacebook @AlpayEfeART – Youtube @AlpayEfe – Instagram @alpay_efe

-1xRUN

Stella Im Hultberg Delves Into Korean Mythology With Rite Of Spring

For her latest RUN Portland-based artist Stella Im Hultberg takes a fresh look at Korean shamanistic folk culture with The Rite Of Spring. Taken from her recent exhibition the acrylic painting features Hultberg exploring an ongoing thread of Korean mythology alongside her relationship to motherhood in the modern world. Available in two sizes, including an massive oversized hand-embellished edition, this RUN is sure to move quickly. Read on to find out more about Stella Im Hultberg’s latest release and more . . .

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1xRun: Anything immediate you would like us to highlight?
Stella Im Hultberg: I really delve deep into Korean mythology and shamanistic folk culture with this piece and series. All the motifs on the shaman’s clothes represent a lot of the ancient folk philosophy and outlook.
Most of it is well wishing for long, prosperous, worry-free life, similar to what mothers (and fathers) would wish for their children.

1xRUN: When was this piece created and what materials were used?
Stella Im Hultberg: The original piece was painted in 2017 with acrylic paint on printmaking paper, then mounted onto wooden canvas.

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1xRun: Tell us a bit more about this piece, was it part of a recent show, theme or grouping of work that you have?
Stella Im Hultberg: This piece, titled “The Rite of Spring”, was a part of my solo show “Mago” at Spoke Art in San Francisco, back in 2017. I had a running theme of Korean mythology that juxtaposed with my thoughts about current world and my personal observations of its relationship to motherhood.

This piece was especially inspired by Korean shamans, called mudang, or manshin. The central figure is wearing one of many shamanistic ritual garbs, used to call upon spirits to answer our questions. They were channels through which lay people could ask the heavens about their plights and worries, and seek comfort. However, they were also one of the most exploited and persecuted people in Korean history. Something about that reminded me of womanhood in general and motherhood as well.

1xRun: Along with the flowers there are interspersed arrows, what is the significance behind the arrows?
Stella Im Hultberg: The arrows refer to the wounds that we carry with ourselves throughout our lives. Mixed with flowers, they’re a bit hard to find, but our wounds are sometimes that way – they hurt, yet they are cherished and are deemed beautiful sometimes.

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1xRun: What kind of flowers are depicted here? Were they chosen for a specific reason? If so what?
Stella Im Hultberg: Flowers, to me personally, mean my mother, or my connection to her, now both as mothers. She loved flowers, especially peonies, depicted here, among some others (poppies, anemones, and some other random flowers I imagined up).

After we moved to Portland with a then-baby (now 5), I was suddenly incessantly bombarded with flowers and plants of all kinds, and found myself noticing them more and being reminded of my mom and her youth. I had forgotten how youthful and colorful she had always been – literally colorful, always wearing bright colors, red lips and finger nails. She had a certain vitality and energy, and she would run around any new city we were living in.
I think, perhaps, our nostalgia for our childhood isn’t really for our young selves, but maybe we are missing the youthful, young, healthy, near-invincible looking parents we once had.

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Also, a while back, I heard a podcast about flower vendors and deliverers, who commented on how heavy they are once grouped together in large bunches and buckets. Somehow that always stuck with me – the fragility of flowers, contrasted by how heavy they are once piled up together, seemed very representative of the emotions often attached to the said flowers. Love, especially – it feels so delicate, beautiful, sweet, yet so heavy and even burdensome at times.

1xRun: How long did this piece take from start to finish?
Stella Im Hultberg:  I worked on this piece concurrently with many other pieces that went into the solo show. I have to work around my kid and being a parent, so it’s hard to really measure the amount of time it took. It probably took 3-4 months off and on.

stella-large-rite-1xrun-02 The Rite Of Spring – Oversized Edition by Stella Im Hultberg

1xRun: What is unique about this piece compared with your other work?
Stella Im Hultberg:  It’s my first painting featuring a mudang (shaman), with Korean motifs on the clothing. It’s also heavily referenced (the clothing), as opposed to normally imagined or enhanced patterns and shapes I tend to paint. Also, it’s unique in a sense that it is on paper mounted onto wood. It’s got a different texture up close.

stella-news-rite-1xrun-05The Rite Of Spring with Custom Hand-Embellishments by Stella Im Hultberg

1xRun: Why should people buy this print?
Stella Im Hultberg:  As an honor to/in solidarity with women, mothers, and even humanity :D

1xRun: Describe is piece in one gut reaction word.
Stella Im Hultberg: Mystical?

stella-small-rite-1xrun-02The Rite Of Spring by Stella Im Hultberg

1xRun: It’s been a while since our last release, what have you been up to over the past year?
Stella Im Hultberg:  I have been trying to balance parenting with work, mostly. Trying to space out work just so that I can be an involved parent for my preschooler. We don’t have any type of childcare or family near by so it’s an important balance to learn.

1xRun: Any shows or other big news coming up?
Stella Im Hultberg:  I have a mini solo show at Thinkspace this fall, which is taking up most of my time.


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1xRun: What are your plans for the rest of the summer?
Stella Im Hultberg:  Working away on my solo show pieces, and getting my kid ready for kindergarten.

1x: Where else can people find you?
Stella Im Hultberg: Instagram @stellaimhultberg – Twitter @stellaimhult – Facebook

-1xRUN

1xRUN Retrospective: 10 Years of Movement

1xRUN artist Kevin Lyons is the official Artist-in-Residence at this year’s Movement Festival Detroit. This weekend, Lyons’ music-loving monsters will come to life in the form of a massive mural and freestanding wood sculptures in the center of Hart Plaza.

WDET radio personality and columnist Ryan Patrick Hooper profiles Lyons and his beautiful installation in the Detroit Free Press:

“There’s an energetic rhythm that radiates from Lyons’ line work and the color palette of his characters — and that’s because a love of music bleeds into the DNA of the pieces.” 

Read the full article HERE!

A Retrospective:

1xRUN has collaborated with the music festival since its inception, providing life-size, interactive art installations that bring techno’s heavy bounce into the physical realm. It all began in 2009 when 1xRUN was called “Ohm Digital”, and Detroit artist Mark Arminski released a limited edition of 100 screen prints as official Movement merchandise. Since then, 1xRUN has worked hard to give its artists the center stage almost every year.

Detroit-based fine artist and legendary car designer Camilo Pardo created the official poster for Movement 2012, released as a limited edition of 50. Ron Zakrin followed with his design of the official Movement 2013 print, “Transmission”.

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Movement 2016 was the first year that 1xRUN facilitated a live art installation in Hart Plaza as an interactive part of the festival.

Watch below to see Italian artist 2501 install a massive mural and a live, moving canvas that allowed for active contributions from festival goers.

German artist 1010 brought his signature portal-like murals to the Pyramid Stage at Movement 2017.


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Ouizi was 1xRUN’s Artist-in-Residence at Movement 2018. She created a three-dimensional “Movement Shrine” featuring a mural, sculptures, and hanging installations:

This bring us to Movement 2019 with artist Kevin Lyons!

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Read his profile in the Detroit Free Press HERE!

 -1xRUN

Kevin Lyons Brings His Monster Party to Movement Festival as 2019 Artist-in-Residence

1xRUN artist Kevin Lyons and his gang of merry monsters have been busy in Detroit this week preparing for Movement Festival Detroit 2019!

This weekend, come hang out with Kevin’s Monster Party at 1xRUN’s Artist-in-Residence installation at Movement. Kevin’s music-loving monsters will come to life in the form of a massive mural and freestanding wood sculptures in the center of Hart Plaza!

WDET radio personality and columnist Ryan Patrick Hooper profiled Lyons and his beautiful installation in the Detroit Free Press:

“There’s an energetic rhythm that radiates from Lyons’ line work and the color palette of his characters — and that’s because a love of music bleeds into the DNA of the pieces.” 

Read the full article HERE!

Check out our photo series below, and follow us on Instagram for more updates!

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-1xRUN

Camilo Pardo Talks Shop on “Jay Leno’s Garage”

This week, Detroit’s own Camilo Pardo was the featured guest on “Jay Leno’s Garage”, a prime-time television series about motor vehicles, starring Jay Leno.

The episode largely focussed upon Leno’s 2005 Ford GT, a project on which Pardo served as Chief Designer. Throughout the interview, Pardo discusses the challenges associated with updating a classic car while meeting modern safety standards, stories of heated arguments with engineers, and the pressures of competing with Ferrari.

At one point, Pardo details his experience arguing for his particular door design, which mimics the shape of the original 1967 GT-40:

“Lots of parts of the car have their story, but the door story was a heavy one, because you couldn’t full-open a door with a car parked next to it. So that was a huge issue, and I was out there measuring parking lots and distances … Everybody that was important in the company hit their head on it: Bill Ford, Jack Nassar, Jay Mayes, all of them. Makes you really nervous because you’re trying to get a green light from this guy.”

Pardo continued with another amusing story about receiving critique from racing legend Niki Lauda, who was leading the Jaguar team at the time.

“He told us paddle shifts is the only way to go right now. But, he respected the [stick] shifter. He had some things to say, and that guy doesn’t hold anything back […] He goes, ‘Why did you do that?’ [referring to the Pardo’s air scoop design] ‘It looks like shit!'”

Watch the full interview above, and check out more available works by Camilo Pardo HERE!

 

1xRUN Hosts Meet and Greet with Ron English for “Star Skull” Print Release and Beer Launch

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Ron English and “Star Skull” Imperial Pilsner by Sons of Kent Brewing Co.

For the first time ever, 1xRUN will host a meet-and-greet with the legendary artist Ron English for a special signing and print release at its Detroit headquarters.

Ron English has partnered with the Sons of Kent Brewing Co (Ontario, CA) to create a new craft beer called STAR SKULL, featuring English’s design work. The artist also has 24″ x 24″ print dropping today. To celebrate, a limited number of Star Skull prints and craft beers will be available at 1xRUN in person –– don’t miss out!

Meet & Greet with Ron English at 1xRUN HQ
2905 Beaufait St
Detroit, Michigan 48207

May 11th, 12:30pm – 2:30pm

 Click HERE for Directions. This event is free and open to the public.

 

"Star Skull - 24" x 24 Edition" by Ron English

“Star Skull – 24″ x 24″ Edition” by Ron English

A limited number of prints and craft beers will be available in-person at 1xRUN HQ!
 Following the meet-and-greet at 1xRUN, join us in Windsor, Ontario for Part Art Part Party pt. 19! A free event featuring some our favorite artists, including:

Ron English, Denial, Syx Langemann, Peter Baillie, Michael Difazio, Cary Wilkins, David Creed, Matthew Fitzios, Asaph Maurer, Em Mo, Greg Maxwell, kevkav, Stephen Gibb, Jeff Denomme, Dave Derkatz, Michelle Tanguay, Sybil Lamb , Jay Verspeelt, Clowntearz, Heidi Barlow, Reannon Price, Ghostbeard, Tracy Paterson, Brendan Burke, Brian Dawes, Debbie Kay, Churchwood Pictures, Farrah Fontaine, Laura Fontaine, Angela Desjardins, Steve Chauvin and more!

 

RSVP to the event on Facebook HERE!
View more works by Ron English HERE!

 

-1xRUN

Tackling the “Buff”: How Buff Monster’s Melty Creatures Are Changing Graffiti

Take some heavy metal music, ice cream, pop art, and the color pink––mix it all together and what do you get? We’re not sure, but critically-acclaimed street artist Buff Monster has some ideas.

The Hawaiian-born, NYC-based artist has spent more than 15 years animating city walls with melty, one-eyed creatures and candy-colored landscapes. His distinctive style is at once delightful and repulsive; vibrant and absurd. Commanding viewers to “Stay Melty,” Buff Monster’s work has caught the attention of Disney, Hello Kitty, Coca-Cola, Miller Lite, The New York Times, and Banksy.

As subway cars and building façades bloomed with color throughout the rapid graffiti movements of the 70s and 80s, city officials combatted artists with increased police surveillance and efforts to remove the paint. The practice of graffiti removal by city officials and landowners became known as “the buff”.

Where many graffiti artists dread the almost-certain reality that their territorial markings will someday be wiped clean, Buff Monster embraces the prospect. Buff Monster’s work explores the dichotomy of graffiti art and the inevitable “buff”: what becomes of graffiti that can anticipate its fate? how does the “buff” play into the fleeting nature of graffiti art? Buff Monster has used his subversive take on the art form to create some of the most recognizable images in the genre.

In celebration of Bicycle Day (which, of course, has little to do with bicycles), we took some time to chat with Buff Monster about his latest print editions: an LSD-inspired, 3-print blotter sheet set for exclusive release on 1xRUN.

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Buff Monster and mural in Lower Manhattan, courtesy of the artist

1xRUN: Tell us a little bit about these Bicycle Day print editions, is there anything immediate you would like us to highlight about this imagery?
Buff Monster: I wanted to make images that people could actually use as blotter sheets, so that even if the recipient wasn’t aware of me, or of the full image, it would resonate with them. I don’t expect anyone to lace them with LSD and sell them, but I’d like them to.

1x:Was this imagery a part of a recent theme, series, or a show that you did?
Buff: I chose each of the images because they’re good representations of my work, and cranked ‘em up to 11 to fit the theme!

1x: What materials were used to create these blotters?
Buff: One is a photo of a section of a mural that I painted last year; one is drawn digitally, and the other features hand-painted elements on top of a digital background. So they’re all over the place, but I think they work well together.

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Lower Manhattan mural (left) and “Melty Spray – Blotter Edition” (right) by Buff Monster

1x: Do you listen to music while you work? If so what? If not then what is your environment like when you work?
Buff: Of course! I listen to a lot of heavy metal. It fuels and inspires everything I do. When I’m working on particularly tedious work, I switch to the Adam Carolla podcast. I’ve been listening to his “nasally drone” for over half my life, and it never gets old.

1x: What was the first piece of art that you bought? Do you still have it?
Buff: The first piece of art I bought is a pencil sketch from Series 3 of Garbage Pail Kids. I found it in 2001, after discovering that John Pound was the original GPK artist. I bought it directly from him, and it’s currently hanging on my wall. I’ve since bought tons of other artwork that John made for GPKs; sometimes from him directly, sometimes from other collectors selling off their collections. I love ‘em!


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1x: What was the last piece of art that you bought?
Buff: I bought a canvas from graffiti pioneer Dr. Revolt recently. He had it at a show, but ended up delivering it to my studio. We hung out for a while. That was fun.

1x: What’s next?
Buff: I’m planning on doing another show with Dalek this year, so that’ll be fun! I’m also included in a few group shows that are pretty sweet too! Follow me on social media for more info!

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3-Print Blotter Set by Buff Monster

Buff Monster’s Infinite Gradient, Melty Spray, Motley Rainbow, and 3-Print SetBlotter Edition are available now, in limited editions of 75, as part of 1xRUN’s Bicycle Day 2019 Print Suite.

Follow Buff Monster on Instagram at @buffmonster.

-1xRUN

Inside Stories Behind Prolific Photographer Tim Page’s Counterculture Icons & Wartime Photos

Photojournalist and author Tim Page created some of the most iconic and memorable images of the Vietnam War and captured the bubbling counter culture of the 1960s and 70s at seemingly every turn. Wounded in battle four times, Page’s thrill seeking was never ending, and his eccentric personality would serve as the influence for Dennis Hopper‘s character in the landmark film Apocalypse Now.  He would go on to be the subject of several documentaries, two films, and the author of ten books. For two years he was the Photographic Peace Ambassador for the UN in Afghanistan and was recently named one of the ‘100 Most Influential Photographers Of All Time’.

Page joins us for Bicycle Day with 4 new editions taken throughout his expansive career, two captured in Vietnam, more than 25 years apart, the first taken at second Tet Offensive in Saigon in 1968 and the second in 1994 as Page returned to the tunnels of Cu Chi to find a Huey helicopter with Charlie Don’t Surf. After recovering and returning home from Vietnam, Page began taking photos for music magazines like Rolling Stone and Crawwdaddy among others, with editions featuring the infamous arrest of the Doors’ Jim Morrison with “Say Your Thing Man” and on a shoot with the Clash as they prepared to release their opus Combat Rock. Read on as Page gives us the story behind some of these iconic photos . . .

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1xRUN: Tell us a little bit about these Bicycle Day print editions, is there anything immediate you would like us to highlight about each of these 4 images?
Tim Page: So the first is the hippie on the tank. It was on about the 4th day of the second Tet Offensive, that was in May of 1968. Things got really bad, so they brought American troops in the 9th Division from the Northern delta of Vietnam to try to contain the fighting. The North Vietnamese had infiltrated the southern suburbs of the city. Most of these dudes were draftees, so they didn’t really fucking care about the war I guess. You know what I mean? They just wanted to survive their year and get out.

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I mean who knows who wrote hippie on the hat? It’s one of those things you see and say ‘oh, that’s a great picture. I better take more of that.’ I never thought more about it until l was doing my book back in 1981, and somebody said, ‘have you seen this picture? Look at the detail!’ It’s one of those images I wouldn’t have thrown in the bin, but that I just would have missed it. I saw it at the time, I shot it, but it didn’t register at the time as a big deal, you know what I’m saying, it was only discovered years later.

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9th Division Trooper On The ‘Y’ Bridge, Mini Tet, Saigon, 1968 by Tim Page

And…it wasn’t a very good day, that was a week that we lost  9 people. 9 correspondents were killed in one week. The fighting went on in the streets for about 5-6 days. It wasn’t a good time, but then immediately after that the war just stopped and everybody kinda took a breather. At that point armored vehicles and tanks that were going through the suburbs. I’m trying to think of a suburb to compare it to…it was like Watts back before it burned down in the late 60s. There was a lot of 1 and 2 story buildings and shop fronts. Then suddenly it didn’t exist because you put an armored battalion through the place with air support, then bye bye suburb.  It was just a total fucking rubble after they went through there. That area now you an go through it and it’s all fancy studios and flats. It’s tarted up. Back then it right on the edges of the city. It was the first built up suburb.

 


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1x: So what were you shooting for at the time? How were you developing film? How did that all work?
Page: I was on assignment at the time for Life. So I had just gotten back, maybe 12 days earlier. Penniless. I didn’t have a visa. I was arrested at the airport, and a big party of all these journalists came out to pick me up. Then in the first week I was back I had 5 pages in Life magazine, so suddenly I had money in the bank again. I would guess that picture was probably shot on a 200mm Nikon F4. All the color film was shipped back to New York. You couldn’t process until much later in the game, and you couldn’t process color film in Vietnam, so there was a Pan Am flight every day, which went right round the planet. It just circled the planet and got back to New York, so it would take 24 hours and then they would be able to develop it and go to press. Black and white film you could develop in Saigon, but that was sent with a radio transmission. You color you couldn’t send color by radio until 1970, and this was shot it May of 1968.

1x: How many rolls would you shoot in a day? What was a typical day like? How long would it be for when you would go out and come back?
Page: Where that fighting was, that was maybe a 20 minute bike ride from where all the hotels were, it wasn’t that far outside of town. Saigon wasn’t really that big then, it was big, but it wasn’t enormous with 12 million people like it is now. So you could be at the scene of the fighting in 10-15 minutes bike riding because the streets were deserted. You could go out and shoot for maybe an hour or two, maybe three depending how bad it was, how difficult it was to move about.


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Then you’d come back to the office, get some new clean film, have a drink, have a bit of smoke. You could process the film if it was black and white, but you could literally come back and then go back to the fighting, it was a very weird kind of life. It happens when you have massive street riots. It happens still in Syria, you can take a taxi to the office and photograph a war. But it’s not often that the war comes to the city like it did in Vietnam. It didn’t happen that often. The cities were usually pretty safe. Occasionally there would be a bomb or grenade or something, but generally the cities were safe. You could ride around all night long on your bike, you could go to brothels and opium dens and all kinds of shit without having to worry about these trigger happy people. There were guards and MP (military police) and shit. But you were fairly safe unless the VC came into town and made it a hornet’s nest.

 


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1x: What were things like at this point in terms of the war, how long had you been there at this point?
Page: I had been back in town 10 days, so I came back in mid April of 1968, and that was the first week of May 1968. That fighting, that spasm of madness went on for maybe two weeks, and then it calmed right down and nothing happened for a few months, in terms of big battles and action. Both sides had kind exhausted after the Tet Offensive, and the second Tet Offensive in April/May. Both the South Vietnamese (VC) and the Allied forces were exhausted. It was the highest casualties of the war. The enemy, the VC probably lost 12,000 people in that offensive. All their infrastructure was blown away. Then the war took on a different shape in ’68. There were big sweeps and big operations through areas that the VC had controlled. They went through and occupied then, but then as soon as they moved out the area went right back to the VC again. But the war changed pace in ’68. Now that I think about it, the Morrison picture was actually before this. That was in 1967.

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1x: Ok, let’s talk about that photo with Jim Morrison being arrested on stage.
Page:
I was taking a break from the war and I had arrived in New York just as the anti-war movement surged across the nation. An assignment for Life found me heading for New Haven, Connecticut with writer Fred Powledge who was “in-sighting” the current psychedelically edged music through the eyes of his teen daughter for the magazine.

On arrival we saw a squad of New Haven’s finest sentries posted to prevent their daughters from groping the man in the taut black. Pre-concert Jim was supposedly caught receiving oral sex in his dressing room, the police overreacted and maced Morrison backstage just before he went on. When he came out onstage he was charged with what the Vietnamese would call ‘revolutionary zeal.’

02405c-tim-page-morrison-7.5x5-1xrun-03-newsJim Morrison – Say Your Thing Man, New Haven, CT – Dec. 9th 1967 by Tim Page

The police surged onstage as the power was cut. Morrison had enough power left to parry the mic at Lt. Kelly’s face with a ‘say your thing man’ before the whole hot moment was stunned briefly into ill-lit silence.  As the cops dragged the protesting performer off stage, a riot erupted. Five thousand erstwhile peaceful fans went ballistic. I danced about with my camera shooting the punch out. An officer grabbed me and began beating me and told me to move on. I protested to the Lieutenant in charger. Instant arrest. I was shoved into a squad car back seat. An hour of cruising and collecting knife-flicking drunks, we arrived at the New Haven central tank in time to share central holding with the star himself. We presented a motley spectrum for the night’s catch. It was only then that they wanted my cameras, shoelaces and all the other good stuff to prevent me from suiciding.

Jim Morrison was recently exonerated from his crime in New Haven. As for me, I am still a wanted man in Connecticut, having skipped the $350 bail Life deducted from my fees. though the magazine ran the story with give pages of black and white photos they promptly lost the negatives.

02405c-tim-page-clash-7.5x5-1xrun-03The Clash – Under The Westway Overpass, Notting Hill, London UK, 1982 by Tim Page

1x:Let’s talk about this image of the Clash. When was this taken?
Page: What do you say about The Clash? This was in 1982. Such is my exposure to music. These are my offerings about music.  I got a call out of nowhere to come to their practice studio when they were doing Combat Rock. They were had a manager called Kosmos Vinyl.  I met them at this pub, and we went over to their studio and Joe Strummer just gave me a big shopping bag — I hadn’t heard their music — a full shopping bag of all their EPs and their LPs, and a biiiiiiiig, big lump of hash. Then they played about 4-5 numbers from Combat Rock and said, ‘Can you come on tour with us?” and I said, ‘I’d love to.’ I didn’t know really know who they were. Then they said, ‘we’d also want to buy a bunch of your images to project onstage during the tour.’ So I went ‘oh fuck. yea.’ and then the till was ringing again. No idea who wrote that. That was just at underpass, Notting Hill was the first part of London that became reggae central. Now it’s very swish and street market, now it’s a very hip part of London, but that’s where the fly over and motorway goes out of town. Three of them lived in Notting Hill, then their practice studio was on Victoria Road right down the river. It was maybe 4 different venues that they would do. It was mostly just hanging out. Fucking about. Doing lots of fucking drugs. That was the time you know what I mean?


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So I went on tour with them through France to begin, and it was sex, drugs and rock and roll. It was pure fucking insanity. It was all a lot of fun. Then I did two or three concerts in the UK.  If you’re not quite sure what fucking day it is because you’re so fucked up. You’re back on the coke just to do another performance, then you’ve gotten so involved since you’re backstage. I’m looking after bimbos, I plan on taking pictures, but I’m struggling to make sense of my life because of drugs and alcohol. It was a great time, but it was a totally gonzo tour. I had no idea who the Clash were. Then at the time they had just launched this incredible album Combat Rock. So it was a real treat to go on tour and shoot pictures for them, and have my pictures projected. Jesus. What more could you want?

1x: How big of venues were they playing at this point? How big were they?
Page:
In France we played the Hippodrome, that must have been 15-20,000. We played a football stadium in, we played Wembley Arena, which is not as a big as the stadium, but that was still maybe 25,000? They were playing big audiences. They were major venues, let’s put it . They were big. They were selling lots and lots of albums. They weren’t necessarily recognized on the street like the Rolling Stones or something.  I mean we would take pictures of them eating baked beans and toast in Notting Hill, and there would be few locals knew who they were and they weren’t household faces. But in terms of pulling crowds they were big, and Combat Rock was the last album that they put out before they started breaking up.


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1x: What were you shooting on the tour, would you shoot the live show, or backstage or just a bit of everything?
Page:
I would shoot everything. Being on tour with any rock group you want to shoot everything. You shoot backstage in the bus, you shoot the performance. The advantage is that you can shoot through the stage and get the audience in there. If you know the venue you can wander out to the back end of the audience and shoot the whole performance of the stage, when you’re really free to do that it is really a nice trip. It’s the advantage of being part of the crew in a sense.

charlie-dont-tim-pageCharlie Don’t Surf by Tim Page

1x: To wrap it up, tell us about this last image, Charlie Don’t Surf.
Page:
I went back with Ryan Adams in 1994, who was the first rock and roll performer to go to the Vietnam since the war, and he wanted me to go along with him as a companion and a guide. We went out to the tunnels of Cu Chi, there’s a big complex and museum and all this kinda shit. In the middle of the museum complex they’ve got a Huey helicopter sitting on a slab of fucking concrete, and some French tourist, I was told, put that “Charlie Don’t Surf” on the windscreen of the helicopter and outside of the Cu Chi tunnels, which has just turned into this massive tourist compound that is maybe 40 clicks from Saigon/Ho Chi Minh, so it was right on Cambodian border.


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1xRUN: Where else can people find you?
Tim Page: Website – Facebook – Instagram @timpagephoto

-1xRUN

 

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