Supreme
Spitfire (2026)
updated
Featuring Pop Vazquez.
Featuring Rowan Zorilla, Kevin Bradley, Ben Kadow, Troy Gipson, Vince Palmer, Casper Brooker, Stu Graham, and Neckface.
Filmed by Johnny Wilson, Alex Greenberg, and Grant Dawson.
Featuring Patrick O’Mara, Kader Sylla, Kris Brown, Josh Kalis, and Aidan Mackey.
The video features Vince Palmer, Nils Matijas, Troy Gipson, Seven Strong, and Rachid Doubiani.
The video features Tyshawn Jones, Troy Gipson, and Ben Kadow.
Filmed by William Strobeck in Shanghai, China.
The video features Mark Gonzales, Zion Effs, Rowan Zorilla, and Kader Sylla.
The video features Kader Sylla, Patrick O'Mara, and Seven Strong.
The video features Caleb Barnett, Sully Cormier, Ben Kadow, Patrick O'Mara, Troy Gipson, Aidan Mackey and Kader Sylla.
Turner Prize-winning British artist Mark Leckey was born in 1964 and grew up on the outskirts of Liverpool in a working-class family. At 15, Leckey left school, but later attended art college in Newcastle before moving to London in 1997. As a teenager, he came to identify with the Casuals – local factions of young soccer fanatics who sought out designer leisure and sportswear. “It was a kind of dressing up, a disguise,” Leckey has said of the Casuals, “a means of using style to transform yourself.”
Leckey’s early understanding of the power of image and shared experience deeply informs his artistic practice. Incorporating video, sculpture, sound, installation and performance, Leckey explores British culture through a distinctly emotional framework. His artworks have examined the relationships between youth, class, public space, popular media and technology, while considering the impacts of nostalgia and memory, both personal and collective.
In 1999, Leckey debuted his seminal video essay, Fiorucci Made Me Hardcore – a compilation of found footage chronicling British dance movements from the 1970s to 1990s. The film collages clips from discos, raves, and the emergent Northern soul scene, yet is united by an abstract, almost melancholic soundtrack. The work’s title, Leckey has said, posits that "something as trite and throwaway and exploitative as a jeans manufacturer can be taken by a group of people and made into something totemic, and powerful, and life-affirming."
The video features Troy Gipson, Yuto Horigome, Caleb Barnett, Vincent Touzery, and Mustapha Salem.
Filmed by William Strobeck and Augustin Giovannoni in Paris, France.
The video features Caleb Barnett, Seungwook Jee, Troy Gipson, Rowan Zorilla, Mark Gonzales, Nik Stain, Kader Sylla, Patrick O’Mara, Kris Brown, Seven Strong, Jun Kummer, Sully Cormier, Chansuk Hong, Ben Kadow, Sun Woo Moon, Eugene Choi, and Juwon Eun.
Filmed by William Strobeck, Johnny Wilson, and Alex Greenberg in Seoul, South Korea.
During the 1990s Hirst was known as a wild child in the art world and his work embodied both everyday realism and provocative sensationalism. Known for his ironic wit and cultural commentary, Hirst often explores the theme of mortality through a variety of mediums and techniques from installation work, to painting and sculpture.
A series utilizing preserved dead animals suspended in formaldehyde (including a shark, a sheep and a cow) catapulted Hirst to fame amidst controversy. The Physical Impossibility of Death in the Mind of Someone Living, a 14-foot tiger shark immersed in a glassed display case of formaldehyde became the iconic work of British art in the 1990s. Its sale in 2004 made Hirst the world’s second most expensive living artist after Jasper Johns.
Some of Pope.L’s most well-known work are his arduous “crawls,” a series of street performances enacted over four decades. He first crawled across 42nd Street in 1978, inspired by growing numbers of unhoused people sleeping on the street. In re-focusing collective attention on his own body moving through space horizontally, he considered “all those folks, who seemed inert and unwilling to lift themselves up by their bootstraps, starting to move as one,” and how such refusal to move up contains “this energy of moving forward.”
Between 2001 and 2009, Pope.L incrementally crawled 22 miles up Broadway, from the tip of Manhattan to the South Bronx, wearing a Superman costume and a skateboard on his back. These actions pose important cultural and historical questions. What gestures are accepted in what spaces? Whose gestures are accepted in whose spaces? How does a space frame an action? “As soon as you go outside, there’s this issue of where you are in space, and who owns that space,” Pope.L has said. “So I realized that I was setting up a tension when I crawled about being in space and how you’re located in that space – how you’re supposed to behave in that space, and who can own that space, and how you can own it.”
In the mid-80s, Patterson and Rensaa’s storefront became the de-facto home of Clayton Caps. Using a 100-year-old embroidery machine, Rensaa chainstitched Patterson’s folkloric illustrations onto wide-brim baseball caps. Clayton Caps became ubiquitous throughout Lower Manhattan, and their distinctive style has since been widely adopted. 161 Essex also served as a gallery, featuring work by artists like Dash Snow, Boris Lurie, Jerry Pagane, LA2, Genesis Breyer P-Orridge, local bikers and religious worshipers.
Patterson and Rensaa have amassed an immense archive of their adopted neighborhood’s social, cultural and underground histories. It includes thousands of photographs and countless hours of video footage, as well as creative detritus they’ve collected from the street. “The history of the Lower East Side is dense, multicultural and diverse. There are multiple layers within the community. You had Jews, Asians, Puerto Ricans, Dominicans, avant-garde filmmakers, tattoo parlors, the gay clubs, the art scene. It takes having documented all these different circles to get how they connected,” said Patterson.
For decades, Patterson has engaged with neighbors from these cross-cultural communities. He's captured defining events (video footage of police brutality during the Tompkins Square Park Police Riot) and every-day joy (portraits of local kids posed outside his door). Patterson and Rensaa’s home and work are monuments to their neighborhood’s renegade history and spirit.
Born in Brooklyn in 1939, Witkin’s dark sensibilities were formed during childhood. He witnessed a fatal car accident at a young age in which a girl was decapitated. Growing up he collected news clippings about outcasts and illnesses; as a teen in the mid-1950s, used his first camera to document Coney Island sideshow performers. In the 1960s, Witkin served as a photographer during the Vietnam War. After being honorably discharged he became the official photographer for “City Walls, NYC”; an organization that produced murals throughout the five boroughs. He studied sculpture at Cooper Union in 1974 and was granted a fellowship in poetry from Columbia University. In 1976 he moved to New Mexico, and earned a MFA in photography from the University of New Mexico in Albuquerque, where he currently lives and works.
Witkin employs a variety of techniques in creating his images — piercing and scratching the negatives, and experimenting with various techniques during the printing process. By centering and eroticizing deformity and the macabre, Witkin’s transgressive images challenge the viewers’ perceptions of beauty. Witkin has said his work, "reflects the insanity of life."
Chinese-American artist Martin Wong was born in 1946 and raised in San Francisco. In 1968, Wong earned a degree in ceramics from Humboldt State University, where he enrolled in every art course available. After college, he designed sets, props and flyers for radical queer performance art troupes The Cockettes and Angels of Light. Wong moved to New York City in 1978. He lived and worked in an SRO hotel near the South Street Seaport before settling in Loisaida – the Lower East Side’s historic Hispanic enclave – in 1982.
Overlooking his adopted neighborhood from a six-floor walkup on Ridge St., Wong documented the vibrancy and desolation of life in mid-80s Loisaida. Informed by his ceramics training, he developed a meticulous painting technique to realistically render the neighborhood’s brick buildings. Wong also developed a collaborative relationship with Nuyorican poet and playwright Miguel Piñero, whose experiences in prison and on the streets profoundly shaped Wong’s work and romantic outlook. Obsessed by codes of communication, Wong energized his artworks with Piñero’s poetry, Zodiac constellations, calligraphy, newspaper headlines, sign language alphabets, hand-painted signs and graffiti. “Basically, I’m a Chinese landscape painter,” Wong told the East Village Eye in 1984. “If you look at all the Chinese landscapes in the museums, they have writing in the sky. They write a poem in the sky and I do that, too.” Additionally, Wong was a strong supporter of New York graffiti writers. In 1989, he co-founded the short-lived Museum of American Graffiti on Bond St., and later donated his extensive graffiti collection — including work by Daze and Lee Quiñones, among many others — to the Museum of the City of New York.
In 1994, after learning he was HIV positive, Wong returned to San Francisco to receive treatment. There, he made paintings depicting the Chinatown of his youth, and continued building a vast antique collection with his mother, Florence. In 1999, Wong passed away from AIDS-related complications; he was 53-years-old. His paintings, wrote curator Barry Blinderman, “charted a world of unquenchable desire – the steadily burning flame of unrequited love, the junkie’s endless craving for oblivion, the poet’s wheel of misfortune, the alchemist or astrologer’s quest for meaning in the elements and stars.”
The video features Tyshawn Jones, Kader Sylla, Ben Kadow, Troy Gipson, Sully Cormier, Seven Strong, Kris Brown, Nik Stain, Auguste Bouznad, Caleb Barnett, Aidan Mackey, Rowan Zorilla, Vincent Touzery, Sean Pablo, Sage Elsesser, Beatrice Domond and Mark Gonzales.
Filmed by William Strobeck, Johnny Wilson, Alex Greenberg and Ryan Garshell.


