Artist Secured Bronx Statue Grant and Opened Studio
The local artist, who teaches at Parsons, has balanced institutional faculty work with a private tattoo business.
Updated on Sept. 19, 2026 in People

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Shellyne Rodriguez has operated a private tattoo parlor, Comrade Comadre, while maintaining professional affiliations at the Parsons School of Design. This follows her departure from roles at Hunter College and Cooper Union.
Why it matters
The profile of artist income streams highlights the complex mix of institutional grant funding and independent commercial operations for NYC creative professionals. Businesses in the sector must navigate these varied revenue sources when managing professional engagements and independent ventures.
The NYC Department of Cultural Affairs awarded a $407,000 grant for a statue project, with $81,400 specifically paid to the artist for construction. This 23-foot-tall statue was unveiled in The Bronx in November 2025.
The players
Shellyne Rodriguez
An artist and educator who manages a private tattoo business alongside academic appointments and public art commissions.
Parsons School of Design
A prominent institution within The New School offering art and design education where Rodriguez serves as part-time faculty.
NYC Department of Cultural Affairs
The city agency responsible for overseeing and funding public art programs and cultural initiatives for New York City.
The details
Rodriguez balances her current faculty role at Parsons School of Design with the operation of Comrade Comadre, a parlor marketed via Instagram as a speakeasy tattoo shop and community library. Her artistic output includes designs ranging from Soviet-inspired imagery to Arabic calligraphy. These commercial activities run alongside her ongoing professional work in the NYC academic and public art landscape.
Timeline
Hunter College terminated Rodriguez in 2023.
Cooper Union terminated Rodriguez in 2024.
A 23-foot-tall statue by Rodriguez was unveiled in The Bronx in November 2025.
Market Landscape
This project aligns with the funding structures typical of the NYC Department of Cultural Affairs Percent for Art program. It highlights how city-funded public art commissions function alongside private artistic ventures in the local creative economy.
Operators in the creative sector should track how municipal grant requirements affect project timelines and construction budgets. Independent artists managing multiple professional income streams must remain diligent regarding contractual obligations with academic and city partners.
The takeaway
The career trajectory of Rodriguez underscores the importance of diversifying revenue between public sector contracts and private business ventures. Owners should monitor how grant-funded projects impact the broader operational capacity of the local creative workforce.
Further reading
For more on the changing dynamics of the local professional landscape, visit People.
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Should taxpayer-funded grants support public art projects led by individuals with radical political views?










