art

Beware of Feds, COOP by Alex Young

COOP and Wreckaz Gang affiliate Kyle spray paint railcars stopped in Swissvale

COOP and Wreckaz Gang affiliate Kyle spray paint railcars stopped in Swissvale

COOP, one of Pittsburgh's resident graffiti artists, immerses himself in graffiti wonderland. An adrenaline rush overcomes him after successfully tagging billboards, railroad cars, and public wall space visible to masses of people.

Graffiti is criminal when people spray on public and private property they do not own or have permission to use.

COOP acknowledges the legality of graffiti, and it makes him wary. However, when the adrenaline high hits him, he wants to write his tag and throw up more frequently and in more places across Pittsburgh. COOP is captivated by the exploration and boastfulness of the creative expression.

The artist participates in a risky business where each outing could be his last. Nosey neighbors, property owners, and police could happen upon COOP's process at any moment and arrest him for his second time.

One occasion COOP tagged a staircase viewable in Pittsburgh's Greenfield-Squirrel Hill neighborhood. When he finished I told him, "Do not push the limits, you already hit one spot today. The longer you go, the greater chance you have of getting caught." COOP was attentive to what I said, but he played the odds and tagged a billboard hanging over the highway, as well as bridge dividers and trash can covers.

COOP's throw up along a staircase in Greenfield-Squirrel Hill

COOP's throw up along a staircase in Greenfield-Squirrel Hill

Eventually, I convinced him to call the day a wrap. On the way back to basecamp, I stopped at the Speedway gas station on Browns Hill Road to refuel. There I saw COOP exit my Nissan Juke with a can of spray paint and walk up Beechwood Boulevard's incline. I could not go after him because the gas pump remained in my car. I hoped whatever he was doing he would be discrete, work quickly, and return. I finished at the gas pump and waited for COOP. Not long thereafter he came sprinting to my parked car. "We gotta whip out, we gotta whip out," he said. "Why, why," I asked. "Because some old man saw me and asked me what I was doing, so I told him to fuck off," he said.

I pulled out of the parking lot and headed across the High Level Bridge towards the Waterfront. "Are you kidding me," COOP said as he looked into the rearview mirror. The old man he told to fuck off was now following my Juke in a gold Honda Pilot. I was shocked the man tracked COOP into my car and was swift enough to trail my vehicle. I understood, however, why his anger motivated him to chase us through the Waterfront and record the low-speed chase with his iPhone.

The man acted like a vigilante and hunted COOP for his disruptive, criminal, and damaging behavior that displayed a lack of respect. For some people, when they notice graffiti markings on the street they see negatives, and not the creativity, pride, and artist that drives the craft.

Recently, on Jan. 23, COOP, myself, and Wreckaz Gang duo Kyle and Kyle had a run in with police due to our suspicious activity near a train of railcars stopped on the tracks in Swissvale. The situation was pretty uneventful, and nothing happened other then two of us discovering a police cruiser posted next to my car in a park's snowy parking lot. COOP ditched his paint before the copper saw anything and at the sight of my camera, he drove off with a nod and smirk.

Nevertheless, COOP continues to spray graffiti across Pittsburgh. With people watching he will need to be more careful because his second arrest with higher fines, more community service hours, and possibly jail time is looming.

Visuals of COOP and Wreckaz Gang members playing in the snow on railcars are sprinkled throughout the article.



Throw Up by COOP by Alex Young

Urban environments, with their numerous wall spaces, mass transit vehicles, bridge and roadway stanchions, abandoned structures, street signs, trash can covers, and traffic boxes provide graffiti artists the essential and visible platforms needed to showcase their art.

Even after getting busted by law enforcement and serving community service hours for a crime under a previous tag name, Pittsburgh, Pa. graffiti artist COOP has no problem using the city's public and private property as the canvases for his pieces.

"When we go on TV we see advertisements. These big corporations are paying for billboards and what not. I'm advertising for free," said COOP.

From time spent with the artist, it can be observed that graffiti is stimulated by self-promotion, creativity, respect, and secrecy.

 "I have a secret identity. I'm like Bruce Wayne and Batman," said COOP.

Artists' personas are reflected in their "throw-ups," jargon for graffiti signatures boastfully painted to city surfaces and complex masterpieces that mark territorial ownership, ultimate exposure, and beauty.

Popularization in the graffiti underground is granted by the widely viewed nature and unique location of artists' work, amongst style, technique, and daring exploration. Pittsburgh native Mook, aka Michael Monack, is notorious for having his tag name painted atop Pittsburgh's 10th St. Bridge.

As COOP enters into an abandoned girls dormitory tucked away in Swissvale, a borough east of downtown Pittsburgh, he mentions to me how he wants his pieces to be seen on a larger scale. Amongst the artist's goals is expansion; COOP desires to spray his nom de plume all over the Steel City, in areas such as East Liberty, Squirrel Hill, Homewood, the Waterfront, downtown, and the North Side.

Most commonly, COOP tags around Pittsburgh outlined ghosts, different versions of the "COOP" throw-up, S.K.S. (Stay Killen Sh*t) and "Wreckaz Gang," a promotion of his Swissvale friends. When COOP begins to tour me and two of his companions around the dormitory, his graffiti is visibly tagged to walls, doors, windows, and rooftops throughout the rundown, dilapidated building.

While standing in a room adorned with a mural by lauded Pittsburgh graffiti artist Kavis, COOP speaks about familiar artists in the Burgh's graffiti culture. He likes THOR, GEMS and internationally known British artist Banksy.

If COOP is able to popularize his own work, I am curious as to what comes with graffiti fame. He says, "Probably nothing for real. Respect for the most part," and describes an instance when he had beef because somebody crossed out his work in the girls dormitory:

I noticed somebody painted over my piece. I wrote above the x-out, ‘It’s on sight, p*ssy.’ The next time I went in the dorm I came across the perpetrator who disrespected my art. I pulled out a knife from my pocket and told the person to leave their paint behind and scram. The person didn’t move so I stepped forward. He ran away and I yelled to him, ‘Thanks for the paint!’

Each time COOP uncaps his cans of Rustoleum spray paint and writes across Pittsburgh's cityscapes he is communicating and protecting his self-pride, neighborhood, and artistic ability.

In order to turn COOP into an icon, however, he must find valuable and viewable locations to promote his image, and acquire a savvy that does not get him caught in his endeavours. After, respect may follow.


In an effort to track COOP's growth and offer a unique perspective on the over-looked, criminal, and appreciated graffiti culture in Pittsburgh, InTheRough Style staff will photographically and video-graphically document COOP's processes around the city.

Next, ITR travels with COOP to Squirrel Hill where the artist tags a staircase wall. If you are curious, you can see it most commonly at your right, if you are in Pittsburgh, driving on Interstate 376 Parkway East, and using the Homestead Exit headed to the Waterfront.

Visit @intheroughstyle on Instagram to preview the motion picture.  

 

 

 

"Christmas In America: Happy Birthday, Jesus" by Jesse Rieser by Alex Young

Missouri native Jesse Rieser captures the most wonderful time of year, Christmas in America.

The photographer, Rieser, frequented suburban neighborhoods in the west coast for a time period that spanned 2011 to 2013, so says his Instagram, to portray people's festive spirit. His pictures depict an overload of Christmas cheer manifested in Santa Claus costumes, tacky household decorations and dubious moments where merrymaking does not seem to mix.

Rieser says "Christmas In America" was inspired "by the absurdity of a five-story inflatable Santa who appeared to be guarding a tree lot." While the images depict Christmas tradition, they also speak to the superfluity of the holiday unconcerned with pizzazz.

Browse through Rieser's "Christmas In America" above and explore more of the photographer's work here.

Source: It's Nice That

Poison by Sean Beauford (Opening Reception Recap) by Alex Young

Sean Beauford captured by Keep Pittsburgh Dope

Sean Beauford captured by Keep Pittsburgh Dope

Inside The Pittsburgh Cultural Trust's 707 Gallery on Friday, Dec. 11, I halted my note taking, sparked by the installed TIME Magazine covers titled "Are We Giving Kids Too Many Drugs?" and "Kids Who Sell Crack," to say to Makayla Wray, after previously meeting her at the corner of Penn Ave and 7th St walking to the show, "I know you're a fashion designer." She smiled and replied emphatically, "That's what I like to be known for! You should write that down. I'm quick with it," finishing her statement with a "dab."

Wray's use of the hit dance craze alerted me to the national and local contemporary flavors on display at the exhibit curated by Sean Beauford.

While I gazed at a lucid black, purple and white painting called "Codeine Crazy" by Amani Davis, Travis Scott's platinum record "Antidote" played. Around me, Chancelor Humphrey of Keep Pittsburgh Dope was dancing and taking pictures of people, like rapper Mars Jackson. A friend of KPD, visual artist, and food photographer Cody Baker heard the tune from outside and instinctively joined the party.

Space began to crowd and I looked down, as to not step on any feet and to find room to walk. I saw multiple pairs of Vans, an olive green pair of Eras, Sk8-His in blacked out and classic black-white colorways, and Old Skools. Along with Timberland 6" Boots, colorfully painted Timberland 6" Boots and "Wheat" Air Force 1 High, Yeezy Boost 350 "Moonrock," two pairs of Chelsea boots tan and black respectively, green Dr. Martens and Jordan silhouettes filling the room.

I stood next to a podium that read, "The Kids Aren't Alright," and observed owner of JENESIS Magazine and co-founder of Pittsburgh event space Boom Concepts Thomas Agnew, along with cultural practitioner D.S. Kinsel, artist Baron Batch with an eye painted on his red sweatpants and many more among the active, youthful, creative and intuitive attendees who celebrated Beauford's Poison art show.

Photo by LinShuttr

Photo by LinShuttr

Photo by LinShuttr

Photo by LinShuttr

Via Poison

Via Poison

Beauford, a young man from Mansfield, Ohio, works in Pittsburgh to deliver atmospheres attractive to popular culture. His latest project taps artists for an introspective exhibition that comments on America's drug use.

The show alludes to the amplified life experience drug users become addicted to. Drugs heighten reality, take away pain and stimulate euphoria; they make people feel alive all the while destroying their lives in the process.

Outside 707 Gallery, where Poison is located, plastered on its front window in bright pink is the phrase, "WHAT A TIME TO BE ALIVE."

Artist and Poison contributor Hannibal Hopson said, "You have life and you have death. There is a time to be alive and people choose to cut that short in a number of ways, like drinking 40 oz."

Positive and negative values fill every piece featured in Poison. Hopson's "Teuton Fury |40 oz|" is cement casts of Steel Reserve and Colt 45 with sunflowers pushing out of the top. Another contributor, LinShuttr, has canvas covered in crayon drawn clouds, sun rays, trucks, and fish accented with attached crack vials and boxes of Arm & Hammer baking soda.

"Teuton Fury |40 oz|" by Hannibal Hopson

"Teuton Fury |40 oz|" by Hannibal Hopson

Along a wall, I viewed photographs by Good Mike. The images chronicled heroin and cocaine users cooking on a white stove top and shooting up while sitting in a bathtub. Once viewers reach the end of the consecutive images they are greeted by a hooded figure passed out face-down on top of a mattress on the floor, a scary symbol that death's reality is lurking.

Performer Grits Capone, standing on an orange milk crate, said in his spoken word piece exclusive to the opening reception, "Death is inevitable, but baby patience is a virtue."

"What A Time To Be Alive" emerges as a theme and underlining message to Beauford's Poison because the exhibit reflects upon the parallels and choice of evocative experimentation and destruction resulting from drug use.

Subjects like hip-hop and streetwear intersect with drug culture because artists glorify the lean sipping, pill popping and blunt passing used in their creative processes. The excitement lies in the masterpieces being created; drugs are used as a celebratory aid. Hopson and Davis spoke to gallery patrons with Olde English 40 oz stuck to their hands.

Beyond the relevance of "What A Time To Be Alive" as Drake and Future's mixtape title, the phrase and the opening reception for Beauford's Poison actively describes a progressive environment.

A group of guests congregated outside the show. A girl named Morgan said, "It's nice to see them [referring to Poison artists] doing something. Growing up here, I did not see this progression in Pittsburgh."

By utilizing fashion and lifestyle outlet Keep Pittsburgh Dope to promote the show on Instagram to other actors in Pittsburgh popular culture, combined with the art itself showcased in Poison, Beauford illustrates there is no better time than now for people to create and offer positive output to their environment.

See artists Amani Davis, LinShuttr, Mathias Heavy, Good Mike and Hannibal Hopson's work at Sean Beauford's curated Poison at 707 Gallery on Wednesday and Thursday from 11 a.m. - 6 p.m., Friday and Saturday from 11 a.m. - 8 p.m., and Sunday 11 a.m. - 5 p.m. through January 10.

707 Penn AVE

Pittsburgh, PA 15222

Ian Kenneth Bird Photographs Iconic T-shirt Designs from Mid-1980s to Now by Alex Young

T-shirts are at the core of every streetwear label, they execute the ethos of the brand and a reflection of society with subtleties and bold graphics all the while remaining understated thanks to the garment's casual style.

Ian Kenneth Bird, a skateboarder and photographer from London, along with British lifestyle shop The Goodhood Store are engrossed with influential T-shirt designs from the era before the internet: mid-1980s to 1999. They presented an in-store exhibition, now complete, called, "TSHIRTTHEN," which illustrated how graphic tees captured different trends and cultures. A book also chronicled the development of graphic tees then and now. Co-founder of GoodHood, Kyle Stewart says, "The T-shirt's ease of production has made it a vehicle for many different subcultural movements and I became fascinated with the period just before the internet-- it's like a forgotten land where art, bands and fashion don't exist unless they've been transferred to the digital age."

Bird photographed original T-shirts from labels like FUCT and Supreme for their ability to grasp icons of the era and mold them into unique messages representative of each brand. Shirts older than the models wearing them prove how timeless elements of streetwear are. Enjoy the visuals by Ian Kenneth Bird for "TSHIRTTHEN".

Source: It's Nice That