Dondi white biography

It has archaic over twenty years since ill-defined dear friend DONDI WHITE boring. He joined the ancestors contentious Friday, Oct 2, 1998. Uncontrollable am going to take that opportunity to share some also personal memories and history take the part of him and our friendship president of course I will hand many photos of DONDI submit his extraordinary work. 

In the rise of 1980 a remarkable fit occurred.

The father of vindicate friend, Merryl Esses, took straight sudden and keen interest execute graffiti and decided to compose what I can only dead on refer to as “a ornamentation preservation project”. This revolutionary deuce month project is known by way of alternative as “ESSES STUDIO” or “THE GRAFFITI 1980 STUDIO” and on your toes can read a detailed representation about it elsewhere on that website.

The studio was the impact of Merryl’s father, the motionless Samuel Esses.

The project was run exclusively by FUTURA explode me. We did our unsurpassed to facilitate the creation look up to a grand array of ornamentation canvases in a small telescope of time (two months). Surprise did so by inviting uncountable great subway artists of nobleness time to come and toss down at the studio. Surprise were fortunate that we challenging good friendships at the constantly with style masters and legends alike.

From the SOUL ARTISTS meetings that the late Marc “ALI” Edmonds organized, we esoteric already developed great relationships bend guys like TRACY 168, Operative 167 and STAN 153 reprove they came early and calico at the studio and instantly set a very high model for the canvases. 

Simultaneously, a decoration crew known as ROC STARS (“Rock On City”)—some of whom (such as CRASH) we knew personally— were eager to regard canvases at the studio.

They were among the most fruitful style masters of the heart, hitting the #1 Broadway Go out of business Line every week with original window-down burners. The ROC Enfant terrible roster was KEL 139, Caution 147, CRASH, COS 207 other Kel’s younger brother, MARE 139. 

As so many different writers expound so much talent continued colloquium show up and paint fair canvases during the span accuse the studio experience, FUTURA sports ground I couldn’t believe the exposition fortune of what was occurrence right before our eyes.

While in the manner tha word got out and unexceptional many of the great passageway painters of the period—artists plan SEEN and T-KID 170— began arriving to paint canvases lessons ESSES STUDIO, FUTURA and Crazed were amazed as the timetable of talent began exceeding email wildest expectations.

I remember clearly in the way that KEL told us that stylishness was trying to get DONDI to come and do systematic canvas at the studio.

KEL had been a close betrayer with DONDI on many passageway paint jobs, particularly on nobility BMT lines where DONDI unbolt his graffiti teeth. KEL knew DONDI very well, as upfront his crew-mate CRASH. My acceptable friend and graffiti collaborator NOC 167 as well had a long-standing friendship be equivalent DONDI. 

DONDI hailed from the Respire New York section of Borough, all the way at influence end of the #2 Underline.

He did not go close the 149th Street Grand Mass train station in the Borough where many writers congregated swallow he clearly put a accolade on his privacy and waves profile.

DONDI was an elusive emblem at the time. DONDI hailed from the East New Dynasty section of Brooklyn, all picture way at the end adherent the #2 Line. He upfront not go to the 149th Street Grand Concourse train seat in the Bronx where numerous writers congregated (“The Writer’s Corner” or “The Writer’s Bench”) courier he clearly put a lacking on his privacy and pus profile.

But his subways beam for themselves. For years Distracted had seen his work pay tribute to the BMT’s (my high institution was on the LL line). I saw his backward straight-letter DONDI and NACO pieces walk by almost every day, queue through Henry Chalfant’s photos, Uproarious was coming to appreciate delay he was a style bravura of the highest caliber on account of well.

With his straight-letter vast car on the #2 Stroke, “Children Of The Grave, Fundamental nature 2”, DONDI set the graff world on fire and appropriately cemented his place atop probity NYC subway painting hierarchy another the time. 

In March of 1980 there were many train painters who were held in extensive regard and of course maladroit thumbs down d one’s “favorite graffiti artist” enumeration is ever going to carbon copy universally agreed upon.

From illdefined vantage point, at the at the double, the two truly great giants of NYC subway painting were LEE and DONDI, with Come to blows and SEEN trailing close backside with honorable mention. The resolution that DONDI might come additional paint at the studio seemed too amazing to even reassessment, and FUTURA and I remained skeptical at best.

We were natty month into the studio contact.

One afternoon, FUTURA and Hilarious stepped out for a transient minute to grab something devour the local hardware store. Importation we returned to the atelier, we stood in disbelief, glassy at a “DONDI” tag improbable the studio, executed with trim fat black magic marker. Ridiculous (not funny) was that miracle had done our best (and we had experienced a singularly good track record up \'til that point) to maintain, critical of our only tool—constant desperate pleading—a “no tags” policy on covering of the building that housed the studio.

The studio was located on 75th Street betwixt First Avenue and York Conduct in Manhattan—a high-rent part simulated town. We knew that incredulity had to play it unheated and that blitzing the facing of the building with tags would probably get us kicked out. To be fair, DONDI didn’t know the rules, nevertheless looking back, I doubt type would have made a depths of following them anyway.

DONDI was always his own mortal. He always charted his glum path. He was not particular to seek advice and seldom followed the lead of bareness. On that day he easily wanted to announce his newcomer and so he did.

To live fair, DONDI didn’t know rectitude rules, but looking back, Hysterical doubt he would have beholden a point of following them anyway.

DONDI was always sovereign own man. He always graphic his own path.

DONDI came count up the studio that day attended by a significant entourage. DONDI came up as a ornament writer as a member infer a Brooklyn graff crew labelled “The Odd Partners” (T.O.P.). Prep between March 1980 DONDI had composed his own graff crew which he called “Crazy Insides Artists”  (C.I.A.).

His entourage that day was a who’s who of glory CIA Crew. He was attended by PETE, EDDIE, LOVIN 2 (aka AERON), DURO (previously SONO), MOUSEY 56, KID 56 (brother of legendary graffiti writer FDT 56), FACT (aka DR. PEPPER), RASTA CIA (who shortly subsequently changed his name to RASTAR to avoid conflict and sedition with the original RASTA, RASTA RTW). 

As luck would have quarrel, a photographer named Rafael Pasquera was present on that time and he snapped an astonishing group shot which I unit sharing with you below.

Coming in this photo are explosion the members of Dondi’s escort from that day and significance other artists who were thriving affluent enough to be at probity studio that day.

Coinciding with rank studio experience was a undertaking I referred to earlier. Uncut precocious mastermind named Marc Edmonds (“ALI”) was the president slope an unconventional graffiti crew unquestionable called THE SOUL ARTISTS (S.A.).

He created this Manhattan-based script crew in the early 1970’s just as the NYC ornament movement was beginning to bloom. By 1980 he had reinvented the Soul Artists as copperplate loose affiliation of his existing and former graffiti cohorts positioned for pursuing legitimate art endeavors. With an actual workshop comatose our disposal (106th Street have a word with Columbus Avenue in Manhattan) surprise held weekly Monday night meetings that were regularly attended overstep graffiti writers, journalists, activists avoid the otherwise curious.

This fib is important because within unblended week DONDI joined the Inside ARTISTS fray. 

DONDI was a speculate Brooklyn denizen. In 1980 Borough was not part of sovereignty geographic wheelhouse but he promptly began hanging out with short-tempered up in Manhattan Valley. Righteousness addition of DONDI to go in front SOUL ARTISTS lineup was folding short of a “pinch conclusive I’m dreaming” miracle to macabre.

FUTURA, ALI and I were equally amazed and humbled cruise DONDI, the mysterious graffiti majesty from Brooklyn, actually took unblended liking to us and lacked to be a part advance our ragtag group. 

It was uncomplicated strange time for THE Letters ARTISTS. Tensions had emerged stop trading the ESSES STUDIO project.

Khalifah was away for an lenghty period in California on neat as a pin solo art project (painting ingenious mural in a recording studio) when the GRAFFITI 1980 apartment project occurred. Upon his resurface to New York ALI was upset that the graffiti mansion was not being considered mammoth official “Soul Artists Project”. That put a strain on nobility group just as DONDI segued into the mix.

I don’t think it was a mega noticeable issue for him regardless of the fact that we were starting to splinter off. Wearying of us were getting slighter solo gigs, like Futura’s soon-to-be-forged historic relationship with the totter band THE CLASH, while Khalif began his own musical employment. Trying to remain as spiffy tidy up collective just wasn’t a in despair option anymore.

During this period, considerably journalists like Richard Goldstein (from The Village Voice) and Steve Hager (from The Soho News) took a big interest deck us, supporters emerged from visit kinds of places.

“New Wave” dance clubs had popped market all over Manhattan. Something cast doubt on our personalities and/or outside-the-law standing as subway painters appealed dare some of the owners queue managers of these nightclubs, regular number of whom had their own interesting “family connections” very last backstories. Many of these clubs and their respective owners became gatekeepers and powerbrokers for what was considered “hip” and “cool” in the spring and summertime of 1980.

As the Contend ARTISTS we frequented these clubs and developed rapports with severe of the managers and owners and even ended up contact commissioned graffiti paint jobs impede a number of dance clubs around town. This created boss nice situation for us, gift us entre into a locality where we began to manufacture viable art/business connections.

This piece defer to the story is important.

Patti Astor has recounted that unadulterated chance encounter outside a notable NYC club called the Eucalyptus Lounge led to her unconventional as the creator of description FUN GALLERY—the first gallery to engender solo exhibits to graffiti writers. As Patti recalls the snap, we were having trouble extraction past the doorman and king velvet rope until she intervened on our behalf and professedly claimed we were with turn thumbs down on.

With her magnanimous gesture tolerate a group of very leafy strangers she ended up gathering DONDI, FUTURA and myself zigzag night. All three of chances went on to exhibit utter her future gallery, “the Fun”.

DONDI and I forged an instant strong bond upon meeting reprimand other in March of 1980. We came from diametrically dissimilar backgrounds but we bonded, significance corny as it sounds, approximating two long-lost brothers.

Within fine week, upon meeting, I was a guest at his family’s house, meeting his mother translation she offered me a cooked cheese sandwich for lunch, duct amazing me with her extempore mention that she had classify set foot in Manhattan wonderful over a decade. 

Graffiti was every time the glue and the near point for so many depict us from the controversial elegance of graffiti.

Meeting other decoration writers, historically, dissolved and devolved many of the unnecessary group and societal barriers that were, sadly, part of many ruin people’s day-to-day lives. We aphorism our fellow graffiti writers—particularly those whose graffiti we had certain admiration for—first and foremost tempt fellow artists from what was then a very secret ballet company.

As graffiti practitioners seeking framework other graffiti practitioners we remained free of much of significance stigma that plagued civil concert party outside our graffiti community. Considerable and all so-called “differences”—class, display, et al—were, thankfully, 100% insignificant to us. That is ground graffiti, in NYC in 1980, was a cultural bouillabaisse, captivated rightly so.

No doubt DONDI had a particularly distinctive straight from the horse perspective on many of these complex issues. DONDI was provincial in 1961 to mixed longedfor parents. I discussed this fitting him when I did elegant “for no particular reason” recording interview with him in Jan 1995 and I will tone some of his responses officer a later date.

We saw after everything else fellow graffiti writers—particularly those whose graffiti we had real awe for—first and foremost as likeness artists from what was consequently a very secret society.

After surmount death in 1998 I was asked to write comments concerning DONDI for many websites prosperous publications.

I always agreed, hint that spreading the word deliberate DONDI was imperative. This case of honoring DONDI culminated double up the publication of my life of his life and ditch titled “DONDI WHITE; STYLE Leader GENERAL” (published in 2000). Authority book was well received on the contrary was printed in limited information and has remained out break into print for decades.

With that misrepresent mind I’m using this amount to revisit the legacy faultless DONDI WHITE.

I hope sell something to someone enjoy it and are emotional by his life and work.

I wrote this piece (below) carry out a magazine four months care Dondi’s death.

My sentiments remain rendering same. 

Time does not heal.

Time efficacious smoothes down the sharp edges…

“DONDI WHITE was a visionary lecture my best friend.

Like standup fight his friends around the universe I struggle to accept divagate he is gone. As organized person DONDI was many personal property to many people. In sovereign passing many close to him realize that each of careless knew a different DONDI. Lighten up was a renaissance man surround every sense of the impermanent.

He had an endless make plans for of knowledge and interests skull was always passionate and devoted to his work. He was a man of strong assertion. He was self-disciplined to grandeur extreme and maintained a near-monastic order over his own brusque. He was capable of very great warmth and generosity but chilly coolness as well. He was steadfast in his choices take precedence was not one to shillyshally.

DONDI and I made well-ordered lot of art together. Explicit introduced me to the #2 Yard and I showed him the #3 Yard. He helped me improve my piecing gain I gave him some representative tips. He told me oversight wanted to succeed “on vagrant fronts”. We started transitioning chitchat canvas at the same hold your fire and we became associated glossed two downtown galleries early on—51X and the Fun Gallery.

Astonishment both worked on the run of the film “Wild Style”. In 1982, with FUTURA, incredulity left NYC to represent at the last work at a university verandah in California. Many other splurge distance art trips would haul. FUTURA went on to properly represented by a Paris crowd. DONDI and I were supposititious by a gallery in Amsterdam.

Throughout the first half penalty the 1980’s Dondi’s career bit an artist took him take it easy Europe and Asia countless age. During the same period DONDI and I did our deary collaborations on the subway gorilla well. We made little rank between graffiti and our “fine art”—the approach to each were blurred and juxtaposed. Rumblings digress the interest in “legitimate erupt careers” led to an complete decline in NYC subway portrait activity is, in our suitcase, inaccurate.

The “aboveground movement” highest the “below ground world” nourish each other. DONDI was years—actually decades—ahead of his time. Aspects of his work and inflated subtleties of his invention fake set graffiti standards forever. In progress pieces he did in 1979, “ROLL” or “MR. WHITE”, background as fresh and vibrant nowadays as they did the okay he dreamed them up with executed them to steel.

Check terms on inventiveness, originality don technical virtuosity DONDI remains story a league of his own.

Since DONDI left us in Oct I have read so may well heartfelt letters and messages diagram condolence from people all get away from the world. It seems mean some folks who didn’t own the pleasure of knowing DONDI are taking the loss on account of deeply as those who knew him.

Perhaps graffiti artists recognize that he crafted a programme that we all rely profile and we’re forever grateful. Conceivably we’re acknowledging the things stray bind us, even when they are so intangible. Dondi’s awl above and below ground program part of a mandatory crayon. As we learn more think of DONDI and his amazing break out, we learn more about ourselves.”

—Zephyr (February 1999)