Barry McGee

Barry McGee’s most recent catalog of work features photographs by Craig Costello from San Francisco in the ’90s. 448 pages. 7″ x 9.5″. Published by D.A.P., Berkeley Art Museum, and Pacific Film Archive.



Graffiti 365

Craig Costello was featured in Graffiti 365 by Jay “J.SON” Edlin, a wide-ranging survey of the international graffiti movement with hundreds of rare and previously unpublished images introducing important artists and covering different eras, cities, legendary walls and crews, and police and public responses to graffiti.


Beyond The Streets

Check out the Beyond the Streets catalog, featuring an interview with Craig Costello in which he discusses his art and installations. The catalog and Beyond the Streets x Krink limited edition K-71 Permanent Ink Marker are available exclusively at the exhibition gift shop and web shop. For more information, visit

Colette K-42 Paint Marker in NY Mag’s The Strategist

Sant Ambroeus Creative Director Alireza Niroomand (@alirezanyc) was featured on the What’s On My Desk series on New York Magazine’s The Strategist. Below he talks about the custom K-42 Paint Marker we made for Colette:

“Krink is another one that’s special to me. When I want to scribble, I have it on me. I grew up in Paris, and I was exposed a lot to graffiti. I wasn’t a bad boy, so I was doing it in notebooks, rather than on walls because I didn’t want to get in trouble. But I grew up with that culture … That Krink that you see, it’s a custom one we made. We did a residency in Paris, back in September, at Colette, and Craig [Costello, the founder of Krink], and I made this custom Krink, which matched the blue of Colette. When we did our residency in Paris, I re-created the wall of plates from Sant Ambroeus Soho, but it was a surprise for Sarah [Andelman, co-founder and creative director of Colette], and I asked 24 artists to make a custom plate for her using the same blue. I’m jealous of that collection, actually. KAWS, Tom Sachs, even Pharrell did one.” Read more on

Krink K-42 Paint Marker on Sant Ambroeus' Alireza Niroomand's deskProduct featured: K-42 Paint Marker

Henry Leutwyler Document

New York-based Photographer Henry Leutwyler’s new book Document is a 10-year collection of portraits of things, including an original bottle of Krink next to Massimo Vignelli’s pen. Available online at Steidl Books.

Krink in new photography book Document by Henry LeutwylerKrink in new photography book Document by Henry Leutwyler

Kennedy Magazine Interview

Craig Costello in Kennedy Magazine coverCraig Costello in Kennedy Magazine spread 1Craig Costello in Kennedy Magazine spread 2

“The joke is, the graffiti lifetime achievement award is like a garbage can and a broom when you’re doing community service. Unless if you’re fortunate enough to parlay that into something else, it’s really just for the moment,” explains Craig (KR) Costello, founder of the internationally renowned Krink graffiti markers. Growing up in Queens skating and writing graffiti, KR would steal the majority of his supplies and experiment with different ink mixtures. After a six-year stint in San Francisco — where he painted with friends like Barry McGee — he returned to New York with a whole new viewpoint and set of skills. Through Stephen (ESPO) Powers, KR was introduced to the newly opened Alife shop next to his Lower East Side apartment, and with their help the Krink brand was finally launched. I met the street artist one afternoon at his Sunset Park studio and the following three-hour conversation ensued.

Paige Silveria: Let’s start from the beginning. Where in New York did you grow up?
Craig KR Costello: Forest Hills in Queens. I grew up in a neighborhood with houses and families and a lot of the people that grew up there, stayed there. You knew your neighbors. A lot of times in New York City you step out your door and it’s a lot of strangers. But I’ve always had a community. When I was a teenager we started going to the city. Back in the day, W4th was where you’d take the train to. As a kid we didn’t really have any money so it was skating around, drinking, doing some graffiti. We just hung out in the street. Today you’d be arrested or given tickets. It was a very different city back then.

What were your cultural influences as a kid?
There was hip-hop that was really still new. We’re talking like ’86. I was into punk and new wave and coming out of a base of like classical rock. I was into skating back then but it was mostly based in California. I’d look at Thrasher mag and see these drainage ditches and I didn’t even know what I was looking at — it was just in the desert somewhere. Versus street skating, which is what we had here. We used to go to JFK and skate. That was our spot all of the time.

Whoa, inside the terminal?
Yeah it was crazy. Today they wouldn’t let you do anything the way we used to do it. We used to skate at night — we’d bring beer and weed — we’d skate the international halls. They were smooth and you could do these slides. We’d go to TWA, which is now JetBlue, but they destroyed most of it. It used to have banks that we’d skate. No one ever messed with us. There was a lot of free-for-all. They’d tell us, “Hey kid, get out of here.” But there weren’t any arrests and nothing was locked down. Everything was really open. We also went to The Met as kids and hung out on the steps. You could go inside for a nickel. It was just there for you. MoMA had a great bookstore back then. Amazon just decimated all the bookstores. I grew up when there were a lot of small businesses. The cheese spot, meat spot, Italian deli and the bookstore.Craig Costello in Kennedy Magazine spread 3

What kind of student were you?
I was kind of a bad student. But I read on my own. Everything from Kurt Vonnegut, Woody Allen, Steve Martin, Camus, Kafka — those were weird books that I was into. I think they influenced me later.

How’d they influence you?
Hard to say exactly.

Where did you buy your skateboards back then?
Soho Skates was really the only place … there was another shop uptown maybe in the low 80s or high 70s. I bought all my boards at Soho Skates though. My first board had all the plastic shit on it. It was so funny. I had a Vision Street Ghost board. And when I started skating more and breaking shit, I got all hand-me-downs. There was only the occasional new deck. And you’d put it together yourself. Whereas your first deck came fully assembled. You got parts from your friends and tried new wheels. I grew up in this culture of DIY, taking things apart. You make your own ramps and look at your environment for places to go do what it is that you want to do.

What was the graffiti scene like?
I grew up riding bombed trains when New York City was the epicenter of graffiti. Not that I knew that at the time, but it was everywhere.

Did you have any friends who were tagging?
Everybody had a name, whether they took it seriously or not. And a lot of people wrote.

Where did you go to college?
At The Museum School of Fine Arts in Boston. I think Nan Goldin went there and that was cool. But I really didn’t like Boston. I grew up where you could go to the store and buy beer and hang with your friends. It was freer. When I was 17 I was into the hardcore scene. We’d go to shows and things. But Boston was so locked down. You couldn’t buy beer. If you asked someone to go and buy you beer, they’d go into the store and tell the clerk on you. That blew our minds. We were denied things that we took for granted. I was also an alternative kid. And Boston was douchey. I didn’t grow up with the football team and what you see in the movies. And there there would be like these big jock dudes trying to pick fights with me. It was just a weird scene and I wasn’t into it. It wasn’t very diverse. So I dropped out of school and left.

Where’d you go?
I moved back to New York but I’d had this taste of freedom so it was hard to be back home. I had this opportunity to go to SF so I did. I worked at a one-hour photo store. You see a lot of things working at those spots. A lot of the photos were cyclical. You see that people take the same high school and birthday photos. And everyone is a bad photographer. It was just a bullshit job. After that I knew I didn’t want to deal in retail. That’s why we only sell our Krink products wholesale.

Where in San Francisco did you live?
In the Sunset. It was really close to the beach. We redid the whole house. It was crazy. We had Chinese landlords. The place was just poorly painted and they had linoleum tile on the walls. Being from here, moving out there was a really great experience. I had a garden. I watched broccoli grow.Craig Costello in Kennedy Magazine spread 4

What was the graffiti scene like there at the time?
It was all pre-Internet, so ideas didn’t travel as fast. The world’s gotten a lot smaller. Like now you can go to Berlin and the kids will be dressed exactly like kids in Bushwick. But back then it wasn’t like that yet. People didn’t travel as much. So I was coming from New York, a completely different gene pool and arriving with different ideas about how and where you did things. My writing methods and things were different. The term racking means stealing your supplies, and they were all way more accessible in Cali. In New York, it was more locked down. SF was really small so the scene was really small. There were really only pockets of graffiti, like in parking lots. They didn’t have as much as we did in New York. Of the graffiti writers there were only a few that stood out. Barry McGee was one of them. He seemed down to do shit. We met through a mutual friend. (For me, graffiti is partner driven; a two-man team is the best because you have an extra set of eyes. Three people can be too much and four is way too much.) And then I met other people and I got more involved in graffiti out there. And I stood out. What I was doing was completely different than anyone else.


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