Graffiti in the United States, consisting of the defacement of public spaces and buildings, remains a nuisance issue for cities. It also has had an international influence especially from the examples in the New York City Subway and the Chicana/Chicano experience.
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In America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures—tags—of Philadelphia graffiti writers Cornbread, Cool Earl and Topcat 126 started to appear.[1][2] Cornbread is often cited as one of the earliest writer of modern graffiti.[3] Around 1970–71, the centre of graffiti innovation moved to New York City where writers following in the wake of TAKI 183 and Tracy 168 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Bubble lettering held sway initially among writers from the Bronx, though the elaborate writing Tracy 168 dubbed "wildstyle" would come to define the art.[1][4] The early trendsetters were joined in the 70s by artists like Dondi, Zephyr and Lady Pink.[1]
Graffiti is one of the four main elements of hip hop culture (along with rapping, DJing, and break dancing).[5] The relationship between graffiti and hip hop culture arises both from early graffiti artists practicing other aspects of hip hop, and its being practiced in areas where other elements of hip hop were evolving as art forms. By the mid-eighties, the form would move from the street to the art world. Jean-Michel Basquiat would abandon his SAMO tag for art galleries, and even street art's connections to hip hop would loosen. Occasional hip hop paeans to graffiti could still be heard throughout the nineties, however, in tracks like the Artifacts' "Wrong Side of Da Tracks", Qwel's Brick Walls and Aesop Rock's "No Jumper Cables".[1]
Early modernist graffiti can be dated back to box cars in the early 1920s yet the graffiti movement seen in today's contemporary world really originated through the minds of political activists and gang members of the 1960s.[6] The "pioneering era" of graffiti took place during the years 1969 through 1974. This time period was a time of change in popularity and style. New York City became the new hub (formerly Philadelphia, Pennsylvania) of graffiti tags and images. Graffiti artists during this time period sought to put as many markings up as possible around the city. This was the ultimate goal of exposure. Soon after the migration from Philadelphia to NYC, the city produced one of the first graffiti artists to gain media attention in New York, TAKI 183. TAKI 183 was a youth from Washington Heights, Manhattan who worked as a foot messenger. His tag is a mixture of his name Demetrius (Demetraki), TAKI, and his street number, 183rd. Being a foot messenger, he was constantly on the subway and began to put up his tags along his travels. This spawned a 1971 article in the New York Times titled "'Taki 183' Spawns Pen Pals".[2][7][8] Julio 204 is also credited as an early writer, though not recognized at the time outside of the graffiti subculture. Other notable names from that time are: Stay High 149, PHASE 2, Stitch 1, Joe 182, Junior 161 and Cay 161. Barbara 62 and Eva 62 were also important early graffiti artists in New York, and are the first women to become known for writing graffiti.
Also taking place during this era was the movement from outside on the city streets to the subways. Graffiti also saw its first seeds of competition around this time. The goal of most artists at this point was "getting up": having as many tags and bombs in as many places as possible. Artists began to break into subway yards in order to hit as many trains as they could with a lower risk, often creating larger elaborate pieces of art along the subway car sides. This is when the act of bombing was said to be officially established.
By 1971 tags began to take on their signature calligraphic appearance because, due to the huge number of artists, each graffiti artist needed a way to distinguish themselves. Aside from the growing complexity and creativity, tags also began to grow in size and scale – for example, many artists had begun to increase letter size and line thickness, as well as outlining their tags. This gave birth to the so-called 'masterpiece' or 'piece' in 1972. Super Kool 223 is credited as being the first to do these pieces.[9][10][11]
The use of designs such as polka dots, crosshatches, and checkers became increasingly popular. Spray paint use increased dramatically around this time as artists began to expand their work. "Top-to-bottoms", works which span the entire height of a subway car, made their first appearance around this time as well. The overall creativity and artistic maturation of this time period did not go unnoticed by the mainstream – Hugo Martinez founded the United Graffiti Artists (UGA) in 1972. UGA consisted of many top graffiti artists of the time, and aimed to present graffiti in an art gallery setting. By 1974, graffiti artists had begun to incorporate the use of scenery and cartoon characters into their work. TF5 (The Fabulous Five), was a crew which was known for their elaborately designed whole cars.[12]
By the mid 1970s time, most standards had been set in graffiti writing and culture. The heaviest "bombing" in U.S. history took place in this period, partially because of the economic restraints on New York City, which limited its ability to combat this art form with graffiti removal programs or transit maintenance. Also during this time, "top-to-bottoms" evolved to take up entire subway cars. Most note-worthy of this era proved to be the forming of the "throw-up", which are more complex than simple "tagging," but not as intricate as a "piece". Not long after their introduction, throw-ups led to races to see who could do the largest number of throw-ups in the least amount of time.
Graffiti writing was becoming very competitive and artists strove to go "all-city," or to have their names seen in all five boroughs of NYC. Eventually, the standards which had been set in the early 70s began to become stagnant. These changes in attitude led many artists into the 1980s with a desire to expand and change.
The late 1970s and early 1980s brought a new wave of creativity to the scene. As the influence of graffiti grew beyond the Bronx, a graffiti movement began with the encouragement of Friendly Freddie. Fab 5 Freddy (Fred Brathwaite) is another popular graffiti figure of this time, who started in a Brooklyn "wall-writing group." He notes how differences in spray technique and letters between Upper Manhattan and Brooklyn began to merge in the late 70s: "out of that came 'Wild Style'."[13] Fab 5 Freddy is often credited with helping to spread the influence of graffiti and rap music beyond its early foundations in the Bronx, and making links the mostly white downtown art and music scenes. It was around this time that the established art world started becoming receptive to the graffiti culture for the first time since Hugo Martinez's Razor Gallery in the early 1970s.
It was also, however, the last wave of true bombing before the Transit Authority made graffiti eradication a priority. The MTA (Metro Transit Authority) began to repair yard fences, and remove graffiti consistently, battling the surge of graffiti artists. With the MTA combating the artists by removing their work it often led many artists to quit in frustration, as their work was constantly being removed.
Just as the culture was spreading outside New York and overseas, the cultural aspect of graffiti in New York was said to be deteriorating almost to the point of extinction. The rapid decline in writing was due to several factors. The streets became more dangerous due to the burgeoning crack epidemic, legislation was underway to make penalties for graffiti artists more severe, and restrictions on paint sale and display made racking (stealing) materials difficult. Above all, the MTA greatly increased their anti-graffiti budget. Many favoured painting sites became heavily guarded, yards were patrolled, newer and better fences were erected, and buffing of pieces was strong, heavy, and consistent. As a result of subways being harder to paint, more writers went into the streets, which is now, along with commuter trains and box cars, the most prevalent form of writing.
Many graffiti artists, however, chose to see the new problems as a challenge rather than a reason to quit. A downside to these challenges was that the artists became very territorial of good writing spots, and strength and unity in numbers became increasingly important. Some of the mentionable graffiti artists from this era were Blade, Dondi, Min 1, Quik, Seen and Skeme. This was stated to be the end for the casual NYC subway graffiti artists, and the years to follow would be populated by only what some consider the most "die hard" artists. People often found that making graffiti around their local areas was an easy way to get caught so they traveled to different areas.
The years between 1985 and 1989 became known as the "die hard" era. A last shot for the graffiti artists of this time was in the form of subway cars destined for the scrap yard. With the increased security, the culture had taken a step back. The previous elaborate "burners" on the outside of cars were now marred with simplistic marker tags which often soaked through the paint.
By mid-1986 the MTA and the CTA were winning their "war on graffiti," and the population of active graffiti artists diminished. As the population of artists lowered so did the violence associated with graffiti crews and "bombing." Roof tops also were being the new billboards for some '80s writers. Some notable graffiti artists of this era were Cope2, Claw Money, Sane Smith,[14] Zephyr and T Kid.[15]
The current era in graffiti is characterized by a majority of graffiti artists moving from subway or train cars to "street galleries." The Clean Train Movement started in May, 1989, when New York attempted to remove all of the subway cars found with graffiti on them out of the transit system. Because of this, many graffiti artists were unable to continue vandalizing them. Much controversy arose among the streets debating whether graffiti should be considered an actual form of art.[16]
Prior to the Clean Train Movement, the streets were largely left untouched not only in New York, but in other major American cities as well. After the transit company began diligently cleaning their trains, graffiti burst onto the streets of America to an un-expecting un-appreciative public.
City officials elsewhere in the country smugly assumed that gang graffiti were a blight limited largely to the Big Apple No more. The stylised smears born in the South Bronx have spread across the country, covering buildings, bridges and highways in every urban center. From Philadelphia to Santa Barbara, Calif., the annual costs of cleaning up after the underground artists are soaring into the billions.[17]
During this period many graffiti artists had taken to displaying their works in galleries and owning their own studios. This practice started in the early 1980s with artists such as Jean-Michel Basquiat, who started out tagging locations with his signature SAMO (Same Old Shit), and Keith Haring, who was also able to take his art into studio spaces.
In some cases, graffiti artists had achieved such elaborate graffiti (especially those done in memory of a deceased person) on storefront gates that shopkeepers have hesitated to cover them up. In the Bronx after the death of rapper Big Pun, several murals dedicated to his life done by BG183, Bio, Nicer TATS CRU appeared virtually overnight;[18] similar outpourings occurred after the deaths of The Notorious B.I.G., Tupac Shakur, Big L, and Jam Master Jay.[19][20]
Graffiti advocates perceive graffiti as a method of reclaiming public space or displaying an art form; their opponents regard it as an unwanted nuisance, or as expensive vandalism requiring repair of the vandalized property. Graffiti can be viewed as a "quality of life" issue, and its detractors suggest that the presence of graffiti contributes to a general sense of squalor and a heightened fear of crime. Graffiti has a strong negative influence on property values and lowers the tax base, reducing the available funding for municipal services, such as schools, fire protection, and sanitation. This feedback loop can trigger urban decay.
In 1984, the Philadelphia Anti-Graffiti Network (PAGN) was created to combat the city's growing concerns about gang-related graffiti. PAGN led to the creation of the Mural Arts Program, which replaced often-hit spots with elaborate, commissioned murals that were protected by a city ordinance, with fines and penalties for anyone caught defacing them.
The Philadelphia subway line also features a long-standing example of the art form at the Broad and Spring Garden stop, along the Broad & Ridge (to 8th and Market) line. While still existing, it has long been quarantined and features tags and murals that have existed for upwards of 15 years.
Advocates of the "broken window theory" believe that this sense of decay encourages further vandalism and promotes an environment leading to offenses that are more serious. Former New York City mayor Ed Koch's vigorous subscription to the broken window theory promoted an aggressive anti-graffiti campaign in New York in the early 1980s, resulting in "the buff "; a chemical wash for trains that dissolved the paint. New York City has adopted a strenuous zero tolerance policy ever since. However, throughout the world, authorities often treat graffiti as a minor-nuisance crime, though with widely varying penalties. In New York City rooftops became the mainstream graffiti location after trains died out.
In 1995 Mayor Rudolph Giuliani of New York set up the Anti-Graffiti Task Force, a multi-agency initiative to combat the perceived problem of graffiti vandals in New York City. This began a crackdown on "quality of life crimes" throughout the city, and one of the largest anti-graffiti campaigns in U.S. history. That same year Title 10–117 of the New York Administrative Code banned the sale of aerosol spray-paint cans to children under 18. The law also requires that merchants who sell spray paint must either lock it in a case or display the cans behind a counter, out of reach of potential shoplifters. Violations of the city's anti-graffiti law carry fines of US$350 per incident.[21] Famous NYC graffiti artist Zephyr wrote a viewpoint opposing this law.[22]
On January 1, 2006, in New York City, legislation created by Councilmember Peter Vallone, Jr. attempted to make it illegal for a person under the age of 21 to possess spray paint or permanent markers. The law prompted outrage by fashion and media mogul Marc Ecko who sued Mayor Michael Bloomberg and Councilmember Vallone on behalf of art students and "legitimate" graffiti artists. On May 1, 2006, Judge George B. Daniels granted the plaintiffs' request for a preliminary injunction against the recent amendments to the anti-graffiti legislation, effectively prohibiting (on May 4) the New York City Police Department from enforcing the restrictions.[23] A similar measure was proposed in New Castle County, Delaware in April 2006[24] and passed into law as a county ordinance in May 2006.[25]
Chicago's mayor, Richard M. Daley created the "Graffiti Blasters" to eliminate graffiti and gang-related vandalism. The bureau advertises free cleanup within 24 hours of a phone call. The bureau uses paints (compatible with the city's 'color scheme') and baking-soda-based solvents to remove some varieties of graffiti.[26]
In 1992, an ordinance was passed in Chicago that bans the sale and possession of spray paint and certain types of etching equipment and markers.[26] The law falls under Chapter 8-4: Public Peace & Welfare, Section 100: Vagrancy. The specific law (8-4-130) makes graffiti an offense with a fine of no less than US$500 per incident, surpassing the penalty for public drunkenness, peddling, or disrupting a religious service.
In 2005, the city of Pittsburgh implemented a customized database-driven graffiti tracking system to build and enhance evidence for prosecution of graffiti artist suspects by linking tags to instances of graffiti.[27] One of the first suspects to be identified by the system as being responsible for significant graffiti vandalism was Daniel Joseph Montano.[28] He was dubbed "The King of Graffiti"[29] for having tagged close to 200 buildings in the city, and was later sentenced to 2.5 to 5 years in prison.[30]
Rapid City, South Dakota contains a section of the city known as Art Alley, a back alley in the downtown district between Main Street and Saint Joseph Street and stretching from 6th to 7th Street. It first began to form proper around 2005, and has expanded since. While graffiti is largely illegal in Rapid City and there are no ordinances condoning it, Art Alley his purposefully overlooked by law enforcement and clean up crews and relies on the community of artists and landowners to add and maintain the space. The alley become quite popular for tourists and has become a cultural center for the city.[31][32][33]
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