Stevenson Dunn and Erwin John create cultural balance within the art world. Despite having minimal industry experience, the two co-founded Brooklyn’s Bishop Gallery, driven by the desire to be the change they wanted to see in the City's arts community. The Bedford-Stuyvesant natives leaned into their community and great taste to build a brand and follow a new purpose. “At first it was simple,” says Dunn. “We knew all these dope artists that didn’t have a place to show their work because of all the politics in the [art] industry.”
Creating a space for unknown visionaries led to gallery accumulating its enormous collection of art inspired by the Notorious B.I.G. Not only were Dunn and John huge fans of the late rapper, but they were also cognizant that his legacy wasn’t far from danger. “It would be heartbreaking to see Biggie turn into Basquiat,” says Dunn, referencing the sense that art-world elites claimed and tokenized Basquiat, largely divorcing him from his Brooklyn roots as the son of Caribbean immigrants. “We love Basquiat at the Bishop, but his work is not accessible here.”
Bishop Gallery. Photo: Lanna Apisukh
Bishop’s dedication to protecting the legacy of Bad Boy Records’ franchise player goes back to 2010, when it produced an exhibition of Biggie- and Tupac-inspired expressions in Washington, DC. Fast-forward to the 20th anniversary of Biggie’s debut album, Ready To Die, in 2014, when Bishop organized the show The Only Christopher We Acknowledge Is Wallace. “Not many galleries have a Biggie collection. So by default we probably have the best,” says John, laughing. To the curators go the spoils. Although for Bishop, it’s bigger than rap. Dunn shares, “Not many galleries were doing full scale hip-hop-themed art shows, but from the onset we couldn’t think of a better way to preserve our culture than through fine art.”
As subsequent hip-hop exhibits by institutions like the Baltimore Museum of Art and Kennedy Center have shown, Bishop had the right idea. John and Dunn feel that their shop has a responsibility to approach artists and showcase consideration with equal amounts of scholarship and nuance in order to keep “culture-vultures” at bay.
To better understand what’s behind the collection, we talked to a few artists responsible for some of the gallery’s top works.
"Notorious" by Christopher Frank
Christopher Frank, Notorious (2021)
What inspired you to create Notorious?
Christopher Frank: Aside from Biggie being my favorite MC, I’ve always wanted to paint or draw him, but couldn’t really paint a perfect portrait of him. So I tried to paint his energy. I wanted to keep it subliminal, so it resonated only with those who love and understand his music.
How does having two names that relate to Biggie [Christopher Wallace is Biggie’s given name, and Frank White one of his pseudonyms] fit into the story of Notorious?
CF: There was a domino effect that took place after the Notorious piece was created. I was born Christian Mendez. My grandma used to call me Christopher, and then one of the homies started calling me Frank after seeing Notorious for the first time. It just took off from there.
What were the materials used to create it?
CF: Acrylic, spray paint, fabric paint, oil––a little bit of everything. Also, any paint or materials that I could get a hold of.
What is your personal connection to Notorious B.I.G.’s music?
CF: Growing up in Panama, I had a walkman with a cassette tape of the Biggie single “Juicy.” I also had a single cassette of “Hypnotize” with a bonus track of “I Got a Story to Tell.” I played these tapes so much that they popped. I actually learned how to speak English through his music. [Biggie’s] music made me curious about Brooklyn. His lyrics painted pictures in my head as a kid that later on I was able to develop into the art I am creating now.
That’s beautiful. OK, so now for the money question: favorite Biggie song?
CF: Oh, I can’t just name one record. I’ve got three! “Gimme the Loot,” “I Got a Story to Tell” and “Sky’s the Limit.”
"The Only Christopher We Acknowledge Is Wallace" by Jules Arthur
Jules Arthur, The Only Christopher We Acknowledge Is Wallace (2014)
What’s the meaning of the title?
Jules Arthur: With this painting, we bypass the European slant that was taught to us throughout our formal education. It is a rebuke of the perceived contributions of the historical figure and so-called discoverer of America, Christopher Columbus [as referenced in the Jay-Z lyric that the title of the piece is from]. By removing a European blind lens, we are fully aware that rich cultures of indigenous societies lived throughout what would become the Americas prior to Columbus’ arrival. In only acknowledging one of the Christophers (Wallace, aka Biggie), we reclaim our own story.
How long did it take to create?
JA: I created this painting in 2013. I believe the painting took about three months to complete. It is oil on canvas.
What inspired you?
JA: I was inspired by [producer] Swizz Beatz posting an image of Biggie in his white Godfather hat on his IG page. The image struck me as it encapsulated Biggie’s swag, bravado, prominence and kingship. Biggie is one of hip-hop’s true kings. The painting is a celebration of what he achieved in elevating the art form.
What is your personal connection to Notorious B.I.G.’s music?
JA: The summer of 1995, I was transferring from Atlanta College of Art and Design to The School of Visual Arts. The album Ready to Die was released in the fall of ’94 and became the soundtrack for the summer of ’95. “Get Money” and “One More Chance (Remix)” dropped that same summer. We were all under Biggie’s spell.
Favorite Biggie song?
JA: “Who Shot Ya?” I hate that the song is in some ways tied to another great, Tupac.
"Been Smooth" by Ronald Draper
Ronald Draper, Been Smooth (2015)
What inspired you to create Been Smooth?
Ronald Draper: That piece was part of a larger body of work themed after the 1990s Bad Boy era. I grew up on Bad Boy Records and wanted to create artwork that spoke to how that label informed my sense of identity, style and entrepreneurship as a Black man. Bad Boy made it OK for me to unapologetically go big, go bold and take up space in ways that felt authentic.
What materials did you use?
RD: The body of the artwork—the head and crown—are hand-cut from wood. The head is coated in acrylic paint and covered with image collage work. The necklace are metal chains to give a goldlike finish. The crown is silk; it took me about a week to find the fabric that aligned with the Versace look (shout-out to Fabric House NYC). The Versace logo on the crown was a custom embroidery job, and the bottom part of the crown is lined with an elastic band.
You mentioned being inspired by Bad Boy, but what is your personal connection to Notorious B.I.G.’s music?
RD: He was a storyteller. You need talent to create good music, but it takes even greater talent to be able to tell a vivid story. As a 7-year-old I was able to imagine an entire song as a movie in my head; I’ve always known that I was a storyteller. So seeing someone do it in such a way that it reflected both the fun and the reality of the Black experience was liberating.
Favorite Biggie song?
RD: “Mo Money Mo Problems.” How many rappers can give you street lines that make you want to dance?!
"Last Defender of the East" by Charlie Doves. Courtesy, The Bishop Gallery
Charlie Doves, Last Defender of the East (2016)
Why did you choose the title Last Defender of the East for your piece?
Charlie Doves: Because I truly believe he was the last true king of New York. But most importantly he was a defender of his family and music and what he stood for. After he passed, in my eyes no one could match that energy. No one has even come close.
How long did it take for you to create this piece?
CD: It took me about a year to complete. It was a lot of fun, but some very long nights.
What was the inspiration behind Last Defender of the East?
CD: Well, B.I.G. has been my biggest inspiration since I was a kid. I was a chubby kid growing up in NYC. Everything he stood for gave me all the confidence to be who I am today. Despite his looks he stayed Coogi down to the socks!
What were the materials used to create this piece?
CD: I used almost everything for this one. Acrylics, spray paint brush, airbrush, you name it.
Favorite Biggie song?
CD: “Long Kiss Goodnight,” because he finally addressed everything that was going on with Pac, but with such ease and brutal bars to boot. The snare, the deep bass; it’s the perfect B.I.G. song. It was also the last freestyle he spit on the radio [a few nights] before he died.
The Bishop Gallery is located at 630 Flushing Avenue in Bed-Stuy, Brooklyn. For more information about the gallery and its exhibitions, visit thebishopgallery.com.
