From “THE ART SCENE, Far Out’s In,” LIFE Magazine, May 1985, double-page spread 48-49
Painter Richard Hambleton creates sea waves in seconds by tossing paint straight from can to canvas.
“Hambleton can paint,” wrote New York Times art critic Michael Brenson. “When he throws white or black on the canvas, his waves break, his rodeo rider bucks, a man shot seems blown apart.” let i t,’ wrote Ne York i cri c ‘ t r i i , ’ ‘
Graffiti grows up and moves downtown.
New York is not a picturesque city in any traditional sense. It is hectic and fast-paced. That compression extends into homes as well. Since most dwellings are small, life spills out into the streets; public areas become extensions of the home New York street life of the truly homeless, as well as those who choose to “hang out,” imposes itself on the door stoops and sidewalks. Streets are like hallways connecting different interiors. In ghettos, especially (where young artists tend to live,) street equals turf. New York is not a picturesque city in any traditional sense. It is hectic and fast-paced. That compression extends into homes as well. Since most llings are small, life spills out into the streets; public areas become t , New York str et life of the truly hom less, as well t c se to “hang out,” imposes itself on the do r stoops and sidewalks. Streets are like hallways connecting different interiors.
New York is a city of extreme luxury and abject poverty, often separated only by the distance of a block. In 1982, Hambleton painted more than 400 black silhouettes to lurk through the shadows of parking lots, gas stations, and vacant lots. In ghettos, especially (where young artists tend to live), street equals turf. New York is a city of extreme luxury and abject poverty, often separated ly y t ist c f a block. In 1982, Hambleton painted more than 400 black silhouettes to lurk through the shadows of parking lots, gas stations, a d vacant lots.
- People Magazine
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