This is before really there was any frenzy of companies approaching street artists.
There’s guns everywhere, this and that and then you go home and then you look at notebooks.
Painting is real kind of like zen.
You’re 19 years old and you see some work that you’ve done professionally on billboards and bus stops.
I had always noticed the subway signs in the subway. I wonder if there’s a way to change those. I figured I had to break into the [INAUDIBLE].
If I sketch it really light then the last thing I’m going to do is going to be the black.
I never had an established career in graffiti or lack of interest in that but the sentiment of that is what I wanted.
When I tattoo someone I’m putting my 30 years of experience on them. You really get a piece of me. So if I’m in a bad spot and fucked up you’ll get some of that energy put on you, you know what I’m saying?
“It ain’t where ya from, its where ya at…”
STUSSY WORLD TOUR: BULLDOG
I started drawing as far back as I can remember at John Muir elementary school in Santa Monica copying from books and things that I liked. Then I would copy from magazines like Surfer, Hot Rod and Creepy. I loved Creepy Mag. I started skateboarding with Craig Hollingsworth, his brother Dean and Kevin Kaiser. I rode down the driveways and streets in front of Craig’s house on one of their Hobies with white chalky wheels that left white tracks where we had turned on the driveways. I started body surfing around age 13 and soon got into belly boards. Craig, Dean, Kevin and I started making them at Craig’s garage first and we would draw and paint them like something we saw in a surf mag or movie. We drew stony caricatures we picked up from Zap Comics or an album cover or something like that.PAUL REVERE=SUNSET BEACH?
Around 1974, I started making wooden skateboards out of any kind of wood I could find. Some I made out of flexible ply wood: I tied a brick to it to put rocker in it, then fiber glassed both sides of it with sand stuck to the top for grip. The trucks were held in with wood screws and I had Cadillac wheels with loose bearings (this board was a health hazard!). We would skate the local bank, St. Clement’s, everyday and then heard about a bigger bank at a school named Paul Revere. We were told it’s like “Sunset Beach.” Then we heard about some pool (I think Tony Alva told Kevin and I) so we went and checked it out. I was so blown away by pool riding! Watching TA doing upside down burt’s on vert was unreal. I had never seen anything like it and till this day pools are my favorite skating to watch!
DOGTOWN AND WIDE BOARDS
I kept making belly boards and skateboards and hooked up with Jim Muir and we started up this little company called Dog Town Skates. We came up with the first wide boards anyone had ever seen: 8”, 9”, 10”, 11” and 12” boards. We would go buy warped planks of hard wood and cut the first concave boards out of them. It seemed like the better board I had, the better I would skate and was always making new boards with new drawings and paintings! In 1979 and 1980, skateboarding went bust and I got into the graphic arts biz, a.k.a. printing. I free-lanced doing art for friends. I did a bunch for Jim Muir and the 80’s DT crew. I did art for Natas Kaupas’s Santa Monica Airlines board and his skate shoe with Etnies. In the 90’s I did art for Burt Lamar’s snowboard company and for many surfboard companies, but missed making my own skates.
THE REST IS HISTORY
In the mid 90’s, Ray Flores came by my house and I showed him a board I had made for him. He flipped, saying that nobody was making old school skates, and wanted me to start making them so he could sell them in his shop. I started Bulldog Skates, designing the boards and doing the art. I hooked up with my business partner Rich Fozmire, who was a collector and wanted to do a high quality product line of boards and wheels and I have some friends riding their models, too. So that is how we got to this point today.
-Wes Humpston aka Bulldog
Jim was riding for Sims, and he had a few Sims Longboards that were 40 inches, or 44 — they were really big. I go, “Dude, this is an awesome piece of wood.” It was really stiff, so I said, “Screw it”, and I whacked off the tail, and then part of what I cut off I moved up, glued it onto the back of it, and they cut a tail into it. That was it. That was a pool board, and we just kept modifying it from there. We always had an idea for what was going to work, and I was also thinking of the next artwork.
It would always be something I saw from a magazine. I used to be into creepy magazines, or Zap comic books, hot rod magazines — all the custom pain jobs. Frank Frazetta, R. Crumb. In Surfer Magazine, Rick Griffin used to do a lot of stuff for them. He was huge. That’s one of my favorite guys. Robert Williams did a lot of really cool stuff, and kind of whatever I saw I would take it and draw it, or use part of it. I was just always drawing.
This is the same kind of thing that Jim and I did back in the 1970s. This is a bent piece of wood that I found. It was curled, side to side, put a tail on it. This is kind of sloppy, but you’re look at this side more than that. We grind wheel wells in it, and that’s pretty much it. That’s what we used to do. Those are the kind of boards we used to make, just like that. Hand-made, one piece of wood — bam.
First I sketch it really light, then work into with the darker and darker colors. The last thing I’m going to do is the black. Then I go back over it with paint pens. I try to do them different so it’s not like the same old thing over and over.
STUSSY WORLD TOUR: MISTER CARTOON
Our graffiti resembles more Old English, it’s hard, it’s territorial. Where we love East Coast graffiti, as kids we wanted to be bombers and as I got older, I knew I had to make something that was my own, so I would use the same techniques of using the spray paint, and the caps and the cutting, cleaning up with the spray paint, but I would draw a Smile Now/Cry Later mask, you know what I mean, or I would draw an Old English piece with crazy 3D on it and I would kind of mix that New York technique of painting with L.A. icons, so as a kid I was doing that. I didn’t know that it would turn into a career and I would kind of get known for that stuff. I just wanted to be known on the street for it, I wanted to get laid for God’s sake, you know what I’m saying? I mean I was a simple man. It was no big master plan involved.
The art is just kind of a skill that I developed over these years, you know what I’m saying? My passion is working with youngsters and teaching kids how to draw. It’s kind of my way to help these guys learn something that’ll keep them interested and hopefully save their ass on the street. I released some shoes with Nike and we did 45 engagements for kids. Nike was sending buses out to these youth authorities, elementary schools, high schools, and junior high to pick up a bus load of kids.
You know what, man, I do that stuff because all this stuff is a mirage, all this stuff is a gift, all this stuff isn’t even real, man. The only thing that seems to be real is when I sit there and I help those kids draw. That’s something that you can’t buy in a store, it’s not bottled, it’s not packaged, it’s actually a one-one-one thing. It’s like, look, this is how I did it. I practiced, I practiced some more, and I practiced after that, and when I got done practicing, I started practicing on this other thing. I ain’t no role model, I’m just a grown man that does what he loves to do. A role model is someone like Mother Teresa, someone that really lives that life of giving. I’m still a knucklehead from the street. A lot of times I’m just focused on how much shit I can accumulate in life, how many toys I got. It seems to balance out when I’m working with a youngster and when I’m working with a kid, I ain’t thinking about myself, I ain’t thinking about how much shit I got, and I ain’t thinking about all the stuff I need to get. On the flip side of that shit, in the style of artwork that I draw, the way I look and the people I surround myself with, and the area I choose my company to be in, if I show up looking broke, punk rocker with a ripped shirt, I’ll be treated like that and I wont get no dough. I show up diamond endowed in a German car, they just have to give me money because they say, ‘this guy looks like he has money.’ So it’s like a double standard, fucked up game, I’ll be the martyr. If I’ve got to suffer and do the plasma screens and the paper plated props and the European whips, diamond chains and all that, I’ll suffer. I’ll be the one to fucking carry the cross on that one, but if I can help one kid, with all that shallow fucking material bullshit, I did the right thing.
STUSSY WORLD TOUR: REAS
STUSSY WORLD TOUR: GHARIOKWU LEMI
In July 2003, he participated in “Black President: The Art and Legacy of Fela Anikulapo Kuti” in NYC, contributing 13 pieces of all original art. On this trip, the president of MTV commissioned Lemi to paint his first painting on American soil. “Everybody’s Gotta Be Somebody” which then inspired film of the same name, which was screened at the Spitz Gallery (NYC) in October 2004.
STUSSY WORLD TOUR: 123klan
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STUSSY WORLD TOUR: EINE
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STUSSY WORLD TOUR: ROSTARR
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STUSSY WORLD TOUR: ANDY JENKINS
“A few years ago I did a couple of… I guess you could call them sculptures, but they were really, toys. Dangerous toys made out of metal scraps, nails and various junk. I think I need to go there again before my wife kicks me out of the house with all my collections.” Most nights, you can find him hunched over his work on the floor of his kitchen studio or behind the keyboard of his laptop. If you’re curious what he does during the day, he’s been the creative director for the Girl Skateboard Company since it’s inception in 1993. To find out more or see some of his current work and projects, visit his personal web site at bendpress.com or the Art Dump Collective site at theartdump.com or the Girl umbrella site at crailtap.com. Busy man, the Jenkins character.
– Carl Sanger
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STUSSY WORLD TOUR: BEN DRURY
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STUSSY WORLD TOUR: JIM PHILLIPS
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STUSSY WORLD TOUR: TET
The reason I started drawing Harleys is because Taki Shin (Shinsuke Takizawa from Neighborhood) had a Harley, and I wanted a Harley, too. Before that, I was riding a Japanese, Harley-like motorcycle, but I really wanted this, because it’s a real Harley. So I bought one, and that was the start. That’s how I got into Harleys.
Initially, it was Shin-chan (Taki Shin) who had a Harley. He taught me stuff, and my first motorcycle was this one here. So styles have since changed.
I was skateboarding because, at the time, it was something a teenager would choose to do. It was one of those things. I like American things. American commercials made a strong impact in Japan, and I was attracted to American commercials, so maybe that’s how I started skateboarding. It looked awesome. I think it was more popular back then than now. I don’t know.
If I was that age now, maybe things would be different. 14 years ago, I wanted something as an outlet — clothing or something. So the first thing I made was a silk-screen T-shirt. With Shin-chan (Sk8thing), we were called 40% and made T-shirts using silk-screen. That was the start.
We felt good and kept on doing it. We kept on doing it until it became our job. So, in a sense, it was a natural flow. So these concepts and inspirations that I have now, and my ideology and philosophy which my creation is based on today, they’re totally different from what they were back then. I’m now trying not to put too many sub-culture elements up front. Maybe it was different back then. Things have changed a little since then.
Mura and I have a private garage called “Spit” in Tamagawa, and like this, for motorbikes, I mean, we had all the equipment for them so we could fix here and build there. So, the ideas involved fixing, building, taking apart. That’s inspiration.
The way Harley is, there are elements other people can build on. It’s not quite complete. That incompleteness is attractive and free. It draws more ideas. Trying cutting them and so on. That leads to making them better. How can I say it? It looks simple and hard to ride, but the way they build allows others to add on.
This has been changed many times before it got to this shape. Not having much leads to simplicity, which leads to something cool. But you have to be able to ride it. You have to be able to ride it. If you can ride, that’s fine, but I can’t ride this every day. If it rains, I don’t want to ride. I don’t know. I’ve made it into something I find easy to ride. There’s still some room for playing with it.
I want to make clothing the same way — simple but something people can play with. I want to leave a little room for people to play with. In what I make and what I do, I do everything thinking that way.
I was born in Tokyo. Shibuya in Tokyo, so we had everything but didn’t have anything. It is a place which already finished evolving, so there is no “zero.” For me, this city is done developing, so I don’t have a good impression of Tokyo. And that image of Tokyo, to some people it might look good. It’s progressive. It’s “hip.” So in that sense it looks good, but for me it’s the worst place. But, since it is the worst place, I somehow feel proud of it. Being born there was the biggest influence on my life.
I wasn’t doing things wanting to become something in particular. For instance, when I was at school, I wasn’t studying for what I’d do after graduation. I wasn’t thinking about anything. I think I just jumped on what was happening at the time. What was big for me then was getting to know Hiroshi (Fujiwara), and Shin-chan (Sk8thing) and guys like that. That was what led me to what I do now.
The beginning happened just naturally, like the flow of a river. It was what the era was like; that’s how it happened. I took apart the engine and put it back together, to rebuild it. At the same time, I rebuilt the interior of the office. It’s been about two years since I did the interior decoration. And now I have certain skills. So maintaining and developing those skills, maybe that’s what I will be doing from now on.
STUSSY WORLD TOUR: MAROK
• 1995 founding LODOWN magazine
• 1997 production of the first video for LODOWN called SUPER LO8, all filmed on super 8 material
• 1999 co-founding the LODOWN ONLINE project www.lodown.com
• 1999 publishing and creating the first LODOWN graphic book, called LODOWN ENGINEERING at ‘die gestalten verlag’
• 2001 publishing and creating the second LODOWN book called SCHIZOPHRENIC- ‘lodown Engineering part 2’ at ‘die gestalten verlag’.
• 2001 SCHIZOPHRENIC EXHIBITION @ ffwd gallery – Berlin
• 2001 finishing the second LODOWN video ‘SUPER LO8 part 2’
• 2002 ‘m – transforming language’, publication @ ‘die gestalten verlag’
• 2003 casual phrophecies, Marok solo exib.. Berlin
• 2004 Marok Gasbook 16 at Gasbook publ… japan
• 2005 superstar 35 book
• 2006 quitting LODOWN as art director
STUSSY WORLD TOUR: KR
STUSSY WORLD TOUR: MODE 2
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STUSSY WORLD TOUR: FUTURA
1955: Introduction: new york city • 1955- 1969 Experience: limited • 1970: Invention: graffiti artist: dawn of a decade • 1971: Nom de plume: futura 2000 • 1972-1973: Education: minimal • 1974-1978: Military: honorable • 1979: Insertion: street art community • 1980: Exposure: subways & galleries: dawn of a decade • 1981: Influence: recognition • 1982: External: cultural exploration / exploitation • 1983: Conclusion: chemical imbalance • 1984: Soviet: moscow metro • 1985: Aftermath: death of a movement • 1986-1989: Employment: messenger • 1990: Computing: extensive: dawn of a decade • 1991: Acceleration: graphic design: painting • 1992: Professional: companies. Kinkos • 1993: Incorporation: tokyo • 1994: Medium: clothing • 1995: Transition: internet • 1996: Crossover: Bathing Ape: Mo Wax • 1997: Retail: reconnaissance • 1998: Extension: Futura Labratories. UNDER COVER • 1999: Production: three dimensional characters • 2000: Millennium: book release: dawn of a century • 2001: Commercial: Levis x Futura • 2002: Experience: advanced aerosol abilities • 2003: Placement: Nike. Medicom. North Face • 2004: Cache memory: toshiba • 2005: Hawaii: Steve Mc Garrett • 2006: Event Horizon: Silly Thing
Occupation: battery charger • Conclusion: the futura is written05.12.2006 Thank you..
I had a friend of mine named Ali, Mark Edmonds, he’s since passed away, but he’s the guy that actually got me into graffiti and he was kind of my partner and we started an organization called Soul Artist. In September of ’73, we were painting a train, here in the city, in the number one tunnel, and there was a fire, a sort of very unfortunate accident, and he was badly burned. Shortly after that, a lot of things kind of changed, my whole involvement with graffiti completely got turned off, so, I winded up joining the military and just left New York. But when I came back, Mark, Ali, who had recovered from the fire, was involved in starting this second phase of the Soul Artist, which was more legitimate. Artists were working on street projects/sign paintings. That’s when I met Hayes, Eric was part of that whole scene, and that was 1979. It that was my reintroduction to New York, to the movement and I witnessed, once again, what was happening in the street. Obviously, now, what’s happened is that underground street movement in New York, unbeknownst to us because we were not part of any art world movement, we were just simply these sub-culture icons or not really at that time, but little outlaw hero dudes that crossed over into New York social scene, where there was galleries, artist, people wanting to have exhibitions and that was the transition from being an underground subway writer in New York to kind of put on the map as an artist.
It’s become another part of continuous evolution of that creative person adapting to conditions and what’s available, what tools you have. At one point, the marker gave way to the spray can, the spray can had to live with the brush and have to keep adapting your mediums and now we have the this ability to share information a completely different level. It’s no longer localized to what you might see on a walk to somewhere and back, what you might view while you’re on the subway but it’s now this virtual expanse. So, for me, as an artist, as a communicator, the real changeover for me was the 90’s. It’s so hard to evolve into new things, when people hold on the olds things that they done.
For me, it’s all about the characters that I’ve created, that aren’t even a big deal for me but its something that people, locally and in Asia, wherever I have gone, people gravitate to, that whole universe of figures, Moax, Unkle, Pointman. I just hope I can continue to have some interesting ideas or happen upon something that people get and appreciate. I want to continue to justify my place by being productive and continually trying to come up with something.
STUSSY WORLD TOUR: DR. REVOLT
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STUSSY WORLD TOUR: ERIC HAZE
+ VIDEO TRANSCRIPT
When I went to design school, I don’t know that I really learned anything about art or design so much but I did learn to sort of intellectualize the process of what your doing and why your doing it. To elevate the game or take it to the next level you really do have to understand, you know, how you got to where you were in order to be able to take it to some new place. You know, it’s one thing to just write your name over and over again and be pure about it. When you can add some real intention and awareness of sort of how your shaping your work with the style it kind of takes on a deeper meaning.
I chose to sort of walk away from the fine art world. Partly for stylistic reasons but also because I never really was totally comfortable or totally bought in to the idea that graffiti had a place in galleries. Graffiti by definition is illegal. Graffiti in spirit is against the grain. The fine art world and some of the basis of being a painter is kind of bougois by nature. It’s elitist. It speaks for a monied class and a way to be successful in the fine art world you sort of have to reach this level of acceptance. Graffiti was not about acceptance. It was about self- empowerment and operating outside the framework of the so-called establishment.
Graffiti was so much populated in essence and in practice. It was by the people, for the people with no price tag and trains were the means of distribution, the means of exposure. At least with graph design and clothing it sort of mass production of it, it always felt much truer in that popular sense. There’s a choice there. Do you want to aspire to do one painting that you sell for a million dollars to one rich person? Or do you want to do a piece of art that can be reproduced a million times and a million people can own it for a buck? Intellectually and politically, I’d rather reach a million people as cheap and accessibly as possible. That was graffiti, you’re trying to reach the most people, you know, everybody who took that train to work got exposed and became part of the landscape of our lives.
STUSSY WORLD TOUR: KEVIN LYONS
STUSSY WORLD TOUR: ERIC ELMS
I’m from San Diego. When I was growing up, I think I drew, probably like all kids do. I paid attention to skate graphics. Those are the type of boards I bought. I remember all that stuff. I never really considered it an option as far as a career or wanted to do it. When I was in high school, I was a Matt Shepard Fairey. He was living in San Diego at the time running Black Market. I would see all the stuff around and I was kind of confused by it, just because it was San Diego and there was really nothing else going on there.
I knew how to screen print, so I ended up screen printing his posters when I was 16 and 17 and working in the office. That exposed me to that whole world and made design and art a tangible thing.
As far as painting, my mindset is pretty design oriented. I really think about it and I have to know what it’s going to look like before I start. That’s my design mind working into it. That’s why I like these paintings, because I can do the collage and think about it. It’s really graphic and I can use all these elements from all my design jobs. Then, it’s very methodical. I can make it into a painting, and I like the whole process of that.
STUSSY WORLD TOUR: EASE
STUSSY WORLD TOUR: GHOST
STUSSY WORLD TOUR: TAKA HAYASHI
STUSSY WORLD TOUR: PUSHEAD
STUSSY WORLD TOUR: NECK FACE
I’ve always been painting since I can remember. I just started noticing it more when I was in high school. The things I started to draw and paint have always been the same , violence, monsters, superheroes, villains, dark humor, things that would make my sick mind laugh. So I’ve always been into graffiti, since I was really young, and then high school is when I started doing it for myself. I had to discover my roots, and what I liked about graffiti is making people mad and making people laugh.
This guy wearing sunglasses at night, eight ball on his neck, eagle on his neck, F for Freddy, upside-down eight. This guy is a playboy with playboy tattoos on his neck. Upside-down spade on his forehead, which means bad things. It’s definitely still important to go out on the streets and keep letting people know that you’re still out there, you’re still alive, you’re still doing your own thing. Because, as soon as you stop doing that is when you stop remembering how you got where you are. I like to keep it on the streets as much as I can. That’s how I think it should be always for me, because that’s what got me here. That’s why people know about me. I can’t forget that and I don’t want them to forget that.
STUSSY WORLD TOUR: KOSTAS SEREMETIS
“Everything in my spectrum is accounted for and I define myself in a creative process. I am only a conduit in my actions of creation.”
I don’t know what was the connection. I think I had a massive case of ADD, you know? Comics were kind of like more stronger than words some how. Comics was something that I could comprehend; visually, mentally, and the 2D-ness of it was kind of interesting. I think the truth would be, like when I was very young I was exposed to Subway Art — that book by Martha Cooper and Harry Chalfant, and that was even more engulfed in flames of ideas. I thought that sh** was just awesome.
I grew up in Boston, but I was born in West Roxbury, Massechusetts. When I was young I used to fill in for my brother. He wrote Plaid 132. Yeah, my brother is really a big influence because there were really cool at drawing, and the three of us, and we both kind of found our different paths. One brother is a graphic designer. The other brother customizes hot rods.
I was exhibiting my work at the age of 19. I moved to New York when I was 23? That lapsed time between 19 and 23 I gave Boston everything that I had. I never had an established career in graffiti or a lack of interest in that, but the sentiment of that is what I wanted. That’s what I wanted to do with my paintings.
This one right here, which is FFF, stands for Fearless Front Facer or Fight For Freedom, and I used that title later for the exhibition in Australia, but the painting never went. I think I was working on it during the time. This one I think might be incomplete. I don’t know. I’m kind of having second thoughts about it.
Skulls. I was Crash’s assistant for a while. Kind of like artist apprentice. Helping his stretch canvases and helping gesso canvases. Never painting, never filled in, just cleaned up the studio, but good times, what have you. This guy has been very inspirational for damned sure. Brian Bolland is a killer, like Judge Dredd artist.
When I first made it, I was going for building my own flag out of objects, and I don’t know how it turned out. I like it but, I don’t know. It’s a bit confusing, but it’s fun to look at.
James Jebbia bought some paintings from me, and then later Eddy [SP] contacted me about painting Union L.A. I painted Union L.A., and that was during spray paint and comic series. Early — we’re talking 1999. Then that spawned Stussy-Japan. They flew me over to paint their Shinjuku store. When that Japan thing more or less started kicking, of course it was exciting in being able to say, “OK, well I’m flying to Japan for nine days to do this” and then I’ve got to go back to Hong Kong, and now I’m doing something in Berlin because of the Japan thing. At the same time we’re making all these things, more or less products. it just grew, and grew and grew, and I used it more as a platform so I could continue painting and continue exhibiting my work. All in all it’s quite amazing.
I’m looking at the bigger picture. I’m looking at, not so much the next painting, but the next 40 years of painting and then the catalog of painting, following the work and seeing the history in it. It’s cool. That’s what I’m looking for.
STUSSY WORLD TOUR: GREY PVC
STUSSY WORLD TOUR: DELTA
STUSSY WORLD TOUR: ROB ABEYTA JR.
STUSSY WORLD TOUR: KAWS
The last ones that I was doing were just painted on paper. Then I would paint out the black and leave the white of the paper, so you could see it from blocks. It was only when I started doing phone booths and bus stops that I started doing characters. Before I was mostly painting over Marlboro, Camel, and all these cigarette and liquor companies, or the type of stuff you find on billboards. With the phone booths and kiosks, it was all fashion stuff, so it was girls. Then I started also getting into thinking about how to reach a broader audience.
I had this bag made that it fit phone booths in it, and I would be on my bike and I keep rolling then and stuffing them in this bag, and they would expand until it just got tighter and tighter. I didn’t drive, and I still don’t drive. If I had a car back then? Forget it, there would be no advertising in Manhattan.
This is one of the hairiest spots that I ever did. This is right at Time’s Square, and it was congested with people. There was a police house here and all these police dudes outside. It was one of the most intense sort of times.
When I was photographing all this stuff the ad was only really part of it. I kind of really wanted to get the whole sort of vibe. This chick was wearing the same color outfit. It’s like — reality — advertising. One time I stole a whole bunch of ads in France and put them up down Houston Street. Houston was in French for a day or two. I was young. It was the first time I was ever traveling, the first time I was seeing these other countries, just bugging out. People take tourist shots, I would do a phone booth or a bus shelter.
That’s Figaro, a French magazine. These three are French. This is a magazine called Julius. This was on the street, too. With these I saw that they were changing them down the street, down Houston. They were down here changing them, and I said, “F***, I’m grabbing mine”, and I just took them back out. The thing is I used to have the keys for the Masterlock, so it was like I could put it in and take it out. These are the only ones that I took back out.
This is before, really, there was any frenzy of companies approaching street artists or graffiti artists. At that time, all those fashion companies never even imagined; the combination of it, too, was strange. There was a nice dynamic. Now I wouldn’t even want to do it because people would just think it was a campaign that I did. Honestly, I didn’t get paid for it, so why the hell?
This time, in the 1990s, was a good time for advertisements, and then it got really lame. That’s another reason why I lost interest in it.
When I got out of high school I took a semester off, and then I went to The School of Visual Arts, and I studied illustration. I would just do painting day and night. It was oil painting, realist and into Gerome, Bougereau and all this classic sh**. When I got out of school, I would be out at night painting graffiti, and doing loud, sort of high contrast paintings. The two never really mended, so I just stopped painting in oil.
I used to steal so many of these ads that . . . I don’t even know what that is. I’m kind of content with what I’m doing now, I just want to do it at a different scale and different quality level. As long as I can keep pushing what my capabilities are, I’m psyched.
STUSSY WORLD TOUR: Geoff McFetridge
STUSSY WORLD TOUR: ESPO
STUSSY WORLD TOUR: KOA
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STUSSY WORLD TOUR: CODY HUDSON
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STUSSY WORLD TOUR: BRENT ROLLINS
SO HE’S A GRAPHIC DESIGNER — YET ANOTHER ONE. HOLD UP… DUDE WROTE BOOKS AND PRODUCED TV SHOWS? As the opposable thumb in NYC’s five-fingers-of-death media squadron known as “ego trip” BR has co-authored two books (“ego trip’s Book of Rap Lists” and “Big Book of Racism!”). He co- produced their VH1 network specials (“ego trip’s Race-O-Rama!”). BR also designed/art directed those shows, and new projects are in progress.
A’IGHT, A’IGHT. WORD. “THE BRENT ROLLINS DESIGN EXPLOSION!” IS ALL OVER THE PLACE AND NOW I’M COVERED IN SHRAPNEL. JUST DON’T TELL ME HE’S ALSO “GETTING HIS ART ON.” In recent years he’s created collage murals for Nike, UNDFTD in Santa Monica and exhibited at the Cincinnati Contemporary Arts Center (a collab with photographer Jamil GS). His work has been featured in IDN, Tokion, XLR8R and Made.
OK. RESPECT. HE’S BEEN GRINDIN’. And to quote the late, great Mister Notorious Biggie… “if don’t know, now you know, n*gga”
I wanted to get into doing album covers. One of the ways I got started was one by [??] Lester, who was editor and chief of a magazine call Rap Pages in L.A. I got to doing hip hop mags, so I figured it would be a good way to get in touch with artists that I was fans of. The Blackalicious album cover was cool because X from the group said, ‘I want you to do what no one else would let you do.’ This was all collaged. I’d always liked playing with the idea of dimension and depth, like 2D in a 3D space. I came up with the basic image of the kids playing with all the musical instruments, and these were all images that were found from old magazines. I assembled it and I gave it to D plus. This was his original, he found this location. I had everything output onto film and got another layer, glass with more images, and put them on top, and finally there was a third, and then we backlit it.
I like design. If you take already existing stuff, fonts, pictures or whatever, and then you figure how to put them together. I always wanted to push that even a little bit further.
STUSSY WORLD TOUR: SKATETHING
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STUSSY WORLD TOUR: MARK WARD
London based Graphic Artist Mark Ward, graduated from Central St Martins, and has since worked freelance for such brands as Stussy, Nike, Medicom Toys, New Balance and Island Records. At the ripe old age of 25, he’s a washed-up skateboarder turned snowboarder with a dodgy knee, who concentrates more on the graphics than the tricks these days. Mark doesn’t like to take himself too seriously, but is serious about his artwork. Heavily influenced by the worldwide graffiti scene, Mark’s interest began with spraying his Dad’s patio in leafy Surrey, which didn’t go down too well. We’re pleased to say he’s come a long way since then…
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STUSSY WORLD TOUR: GONZ
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STUSSY WORLD TOUR: MICHAEL LEON
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STUSSY WORLD TOUR: FLYING FORTRESS
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STUSSY WORLD TOUR: GARY PANTER
Back in the ’70’s, I started painting in this format on heavy watercolor paper with acrylic, and I’m still doing it 35 years later. All my stuff starts in sketchbooks. I’ve been doing them since the late ’60s. There’s a ceiling idea for a light show of floating helium balloons above a perforated ceiling that has air jets that can blast the balloons, and then it lets in light from above.
I worked as a janitor in an insurance building, and then I worked at a printing place, a dot-etcher at a color separation place for a year in Dallas after school. Then I went to LA in ’76 until ’86. When I got there, it was really right at the beginning of punk rock. These are the ones that are in the gallery show now. They end up framed under glass. It’s nice that way, but it’s also nice that they have a nice surface. When you see one on canvas, you’re actually seeing it without glass in front of it, which is kind of nice.
Here’s another old sketchbook. It looks like it’s hundreds of years old, but it’s not. It just got worn out from handling too much. At art school, I had been drawing this kind of jaggedy type of style since about ’72, and couldn’t find a place for it. When punk came out, I saw Slash magazine, and it looked like the same kind of stuff: black, ripped up, and black and white. After that, it had a place to be.
I have this character Jimbo who is a punk rocker, and he started out just having adventures that are punk rocker. Over the years, I guess I decided nobody was reading this, and so I would just amuse myself with it. It’s gotten stranger and stranger. For 10 years, I’ve been drawing this monthly strip in a Japanese reggae magazine called ‘Riddim’. It’s a serealistic strip and it’s more poetic than literal, in a way. I think up the story every month, and then I typically don’t tell the story.
My father is a cowboy and Indian painter. He’s a real cowboy. He’s got a hat and boots and cuts brush and all that stuff. He tends to go back and forth between these emblematic kinds of paintings and the more illusionistic kind of paintings, because he’s half Indian, half Choctaw.
Paintings just gradually change over time. I’ll come up with some idea and do a lot of variations on it, like these white on black paintings, and I’ll move on. I might come back to it or use it as a part of something else. It’s got a title down there, I don’t know what it’s called.
Paul Reubens has approached me to do a poster for a stage show he wanted to do, and years later, that led to designing the ‘Pee-wee’s Playhouse’ TV show. Paul and I are still friends, and we’re still working on new ideas all the time.
‘Keyhole’, it’s called ‘Keyhole’. The titles are a little bit arbitrary. Sometimes to get titles, I have this big book that lists sound effects. It’s all part of the same project in a way. The sketchbooks are fun and vital. Comics are really hard. They take hundreds of hours and I have to erase it over and over and over to even make it look crappy. Painting is kind of like zen. Anyway, that’s what my paintings are about.
STUSSY WORLD TOUR: KEGR
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STUSSY WORLD TOUR: ANYTHING
In 1994, he captured the attention of James Jebbia, founder of New York’s most exclusive skate label Supreme, and was hired to work in the newly-opened Lafayette Street retail flagship of the insider-y brand. From shop boy to marketing guru, to creative consultant and public face, Bondaroff climbed the ranks quickly and learned the ropes of what could surely be dubbed “organic branding.” For six years, Bondaroff curated photo shoots, merchandised collections, occasionally modeled and drew upon the talent of creative friends like photographer Ryan McGinley or artist Dan Colen for the benefit of the Supreme brand. In the office or in the shop, Bondaroff naturally made moves that kept Supreme in demand for six years.
Networking – that intuitive, enigmatic skill that combines social grace, a charming like ability, an inquisitive nature and underlying love of humanity – comes easily to Bondaroff. His mixed (Puerto Rican and Brooklyn Jewish) background, a liberal and open upbringing and his purely native New Yorker high tolerance for both different strokes and different folks, have granted Bondaroff a healthy does of magnetism coupled with a genuine interest in alternative perspectives. His post at Supreme allowed him easy access to a mixed bag cast of downtown characters – skaters, graff heads, weirdoes, painters, club kids, nerds, lesbians, poets, thugs and everything in between. Their cumulative energy epitomized the oft talked about energy of New York City, and thus became Bondaroff’s passion.
Inspired by the way the city came together as a unified force in the days after the monumental and horrific events that took place on 9/11/01, Bondaroff founded the brand aNYthing – his personal vision for the future distilled from his vast social circle and his love for the big city. It began with T-Shirts, but has become a social contagion. There is the aNYthing line of clothing that is graphically inspired by the iconography of local sports teams, advertisements and other essentially NYC eye candy, the aNYthing retail shop on Hester Street, deep in the bowels of downtown at a symbolic crossroads of ethnic enclaves and the aNYthing record label, made up of diverse talents and rising stars from the city’s underground. Each arm of the aNYthing brand is an expression of a new bohemia, a modern counterculture made up of misfits and dreamers all stamped with approval by A-Ron – the pied piper, the connector, or as he is called, the Downtown Don.
STUSSY WORLD TOUR: COMMISSARY
Upon moving to Califoria, Andrew has opend his Commissary shops, in San Diego and Costa Mesa, Stocking his friends and families brands…
STUSSY WORLD TOUR: HIT
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STUSSY WORLD TOUR: MADHECTIC
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STUSSY WORLD TOUR: LEILOW
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STUSSY WORLD TOUR: ROGUE STATUS
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Spring 2018 is one of our most diverse collections yet, setting the tone for another year with a mashup of past aesthetic triumphs for those who don’t subscribe to any particular way of being. We made a strong range of heavyweight coveralls,… Read more »
Introducing Stüssy Spring 18 with friends in the studio, alongside a mask, a jester, a gravestone, a civil war surfer and someone doing karate at the beach. Stussy Spring 18 will be available at all Chapter Stores, DSM London, and… Read more »
Stüssy presents the Extra Tough Workgear pack in advance of their Spring’18 Collection. The release includes a range of gear that channels the brands early ethos of reinterpreting classic workwear pieces through Stüssy’s laid-back Californian aesthetic. Both new and archive graphics emblazon tie-dyed and pigment dyed… Read more »
The latest instalment of Stüssy outerwear with GORE-TEX® and WINDSTOPPER® technology offers total weatherproofing for Holiday 2017. The collection celebrates our favourite silhouettes worthy of high-altitude expeditions with a range of technical down and fleece. The Mountain Parka is built to… Read more »