Prime
Prime viewing Autumn Soul, 2023, dedicated to the memory of his friend Cisco Pinedo. Collage using Japanese Washi Paper, 42 x 106 inches
Joan Agajanian Quinn speaks with leading West Coast Graffiti artist Jose “Prime” Reza.
As a founding member of K2S (Kill 2 Succeed), Mexican-American artist Jose “Prime” Reza is one of the most influential graffiti artists in Los Angeles, a founding father of LA-stylized graffiti lettering. Prime was raised in the Pico-Union district of downtown Los Angeles. His lettering hybridized angular “Cholo” writing with East Coast “Wild Style” into an aesthetic uniquely identified with L.A.
What is your given name?
Jose Ismail Reza.
How did you get the name “Prime?”
You must think about me being ten years old, picking up a spray can, and seeing the word “primer” on it. All I did was remove the “r.” That’s the truth. The other members of my crew have names like “Hash” (Hashizume), “Big Sleeps,” and “Defer.”
How did you start making art?
When I was little, I had asthma and couldn't play. And if I did play, at night I'd be wheezing—I wouldn't sleep. So I spent most of my time doodling.
Were your crew considered taggers?
We weren't—we were mainly painters and, yes, definitely some vandals.
Provisional S1 (detail), 2019, sumi E ink and acrylic on handmade paper, 30.5 x 23 inches, courtesy of Legacy West Fine Art
Do you have any formal art training?
No. I did go to [Los Angeles] High School for The Arts and Cal State for about six months. I had some classes with Kent Twitchell, Joe Gatto, and Larry Gipe—mostly life drawing, some three-dimensional courses, and jewelry design. But while I was at the High School for The Arts, I was exposed to different mediums, which was important, as I had only used spray paint until then.
Why did you take to the streets?
It was easy. There was nothing else. I viewed art at the time, and there were murals everywhere. At least, it seemed like that to me. Some of Kent Twitchell's paintings were on the freeway, but I mostly viewed art on the walls, so it seemed only fitting to take that route.
Is some of your art gang related?
It is an influence, but my work is not directly gang related—that's a whole different thing.
What inspires your work?
Many things. Music, memories, of course, and other art. But mainly, exposure to different mediums inspires me to create work. I like experimenting with all types of materials, crossing them over with those I already am involved with, and seeing what happens.
Autumn Soul, 2023, Collage using Japanese Washi Paper, 42 x 106 inches (dedicated to the memory of his friend, designer Cisco Pinedo), Video courtesy of the artist
Does working on the street present problems?
Honestly, I haven’t had any problems recently.
How do you find street canvases?
Mainly, they find me. People push me to paint on the roof. Years ago, it would be a matter of availability and being on the corner in an abandoned property. We took what we could—on rooftops and so on.
You have received recognition from The Getty. Tell me how they approached you about your work.
Ed Sweeney, a friend of ours, arranged a meeting with a head creator of the Getty Research Institute. There were several books in there, and one of them, produced between Big Sleeps, Kevin Hashizume, and myself, was Neighborhood Offerings. It was a black-and-white reference book we thought would be interesting for people to know about because we participated in the ‘80s with this type of street writing. We wanted people to get a proper introduction to this type of street writing because it used to be used as warning shots and roll calls to other young individuals involved in street gangs. Nowadays, we’ve used it to be our stepping-stone into the art world. Of course, much more has developed since then.
The Getty agreed that it was a history that should be documented. They decided to work on a project with us, resulting in The Getty’s L.A. Graffiti Black Book featuring 151 artists. I had the honor of working on the cover design and the logo for the book that we called [LA] Liber Amicorum.
The Container Yard AutoBike Show, Los Angeles, photograph by Jim McHugh
Eddie's French Laundry 213, a collaboration between Jose "Prime K2S" Reza, Jim McHugh, David Cavazos, and "Big Sleeps.” Chromogenic print from a polaroid collage, 20 x 24 inches, edition of 150, signed & numbered by the artists, courtesy of Legacy West Fine Art
Was framing your work ever on your mind?
I didn't think of that, to be honest. Given the surrounding surfaces, I couldn't see my work contained, to a smaller surface. The surroundings were essential to the art.
How did you and your colleagues make the transition to galleries?
That would have to be with Gajin Fujita being one of the first artists to be taken in by L.A. Louvre Gallery in Venice, California, under the direction of Peter Goulds.
Talk about your recent collaboration with the photographer Jim McHugh.
It's interesting how a fascination with architecture can unite people from different backgrounds. My collaboration with Jim McHugh arose from our shared interest in old buildings—I admire how he beautifully captures spaces and our city.
What is on your agenda for 2023?
My plans for 2023 are simple. I will settle into my new studio and focus on growing further with my work, traveling, and expanding my network. I want to take this time to thank everybody who made this interview possible. Thank you, everyone.
Joan Quinn: Studio Talk, Prime’s studio, Los Angeles, California, Video courtesy of Joan Quinn Archives
Prime
Prime gained international exposure when his work was featured in the seminal book Spraycan Art, one of the earliest documentations of graffiti culture, and inspired other movements worldwide. In 2013, Prime contributed the cover design for The Getty Research Institute's LA Liber Amicorum, a bound manuscript of original drawings by graffiti and tattoo artists from Los Angeles. Prime continues to develop and master writing styles, translating his texts into paintings and mixed media works.
Joan Agajanian Quinn
Born and raised in Los Angeles, Joan Agajanian Quinn is a journalist, producer, curator, collector, and arts advocate. She was appointed the West Coast Editor of Interview magazine by Andy Warhol, was Society Editor of Hearst’s Los Angeles Herald Examiner, Editor at Steve Samiof’s Stuff Magazine, founding West Coast Editor of Condé Nast Traveler and has written for several of their magazines. Joan recently produced the documentary Steven Arnold: Heavenly Bodies is the co-host of Beverly Hills View, and has been the producer and host of the Joan Quinn Profiles for over 35 years.
Photograph: Joan with Prime and his portrait of her, 2023