JAMES AND KARLA MURRAY PHOTOGRAPHY

Cover image STORE FRONT: The Disappearing Face Of New York
http://www.amazon.com/Store-Front-Disappearing-Face-York/dp/1584232277

http://www.amazon.com/Broken-Windows-Graffiti-James-Murray/dp/1584233761/ref=sr_1_4?ie=UTF8&s=books&qid=1258417292&sr=1-4

EZO, DOC TC5

CASE2, EASE

http://www.americanwaymag.com/angela-silva-new-york-city-mark-helder-local-art-director

BROKEN WINDOWS Revised Edition 2009 Pages 92-93 (Right) BIO,CEM2,COPE2,NICER,BG183,WEST ONE(FC)

“About the Godzilla wall, there are two crews FC and TAT on it.  For a long time, we (FC) were rocking the #1 trains and TAT were rocking the 2 and 5’s.  We didn’t have any beef, but we were like kind of adversaries on a certain level.  So me and BIO were talking for quite a while about putting something together.  So the wall was like a culmination of years of like, “Yo, we should do something, let’s do it.”  Because FC always paints as a unit, we don’t paint with people we don’t know, essentially.  So the Godzilla wall, was the first time we kind of broke out and I think the first time TAT kind of broke out and joined up together to paint a wall.  So that’s why we titled it like a movie poster, like FC meets TAT… kind of like a battle.  And that’s why we showed the Godzilla scenes.  And it was really revolutionary in that respect, that these two like monster kind of crews, both very powerful crews in NY, kind of came together and flipped it.  So we called it the GRAFFITI MONSTERS PART 1.  Now for other crews, it’s kind of commonplace to paint with other people.  But for us (FC) and TAT to go paint with another crew… it was a big step.  I mean, we were rivals in a certain way and we were also kind of contemporaries.  And in a way legends because both of our crews had strong reputations, of us on Broadway and them in the Bronx, holding down a train line in the 1980’s and both of us kind of rose and maintained our existence in the 1990’s.  So… we talked and planned and sketched for a long time.  And we were like, “What are we gonna do?  How are we gonna come out?”  And I had found this book of old Godzilla movies and NICER and BG, who kind of painted the majority of the background, were like, “Wouldn’t it be ill to just do it all black & white and just the pieces in color.”  And when people see the wall, they are like, “Oh shit.  Godzilla.  Channel 5 Saturday afternoon movies.”  It’s something they can identify with.  Even if they can’t read our names, they kind of identify with us on a different level.” WEST ONE (FC) interview in BROKEN WINDOWS Revised 2009 Edition.

BROKEN WINDOWS: Graffiti NYC Revised 2009 Edition Page 92 : DAZE,CRASH,ORGASM,SEN2,NOSM,BG183,BIO,CHAK,HOW,NICER

BROKEN WINDOWS 2009 Reprint Page 82 (top) : HOW,MED,SEEN,COPE2,NOSM,Characters by HOW & NOSM

BROKEN WINDOWS 2009 Reprint Page 87 (Bottom) : CHILD(R.I.P.), SHONE

BROKEN WINDOWS Revised Edition 2009 Page 86-87 (part) PER ONE,HESH,CES,DAIM,Liberty Character by CES (FX CREW)

CLIC GALLERY presents a group exhibition featuring Tony Caramanico, Vincent Fournier, Sue Kwon, Jody Morlock, James & Karla Murray, Lyle Owerko, Jean- Philippe Piter, Jeannie Weissglass and Antoine Verglas. February 3 - April 11, 2010

Clic Bookstore & Gallery 255 Centre Street, New York, NY 10013 Tue-Sun 12 pm - 7 pm

centre@clicgallery.com

212-966-2766

http://clicgallery.com/info/2010-02-groupshow/