Graffiti
Introduction
Whether
you love or hate graffiti, they appear in our cities, you can't fail to
recognise the talent behind this controversial art form. Find out more about
the history of graffiti and their using today on this site.
History
Ground Work 1966-71
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In
the beginning Graffiti was used primarily by political activists to make
statements and street gangs to mark territory. The
history of the underground art movement known by many names, most commonly
termed graffiti begins in Philadelphia, Pennsylvania during the mid to late
'60s and is rooted in bombing. The writers who are credited with the first
conscious bombing effort are CORNBREAD and COOL EARL. They wrote their names
all over the city gaining attention from the community and local press. |
Pioneering 1971-74
In
1971 The New York Times published an article on TAKI 183 which was the alias of a kid from Washington Heights.
TAKI was the nick name for his given name Demetrius and 183 was the number of the
street where he lived. He was employed 
as a foot messenger, so he was on the subway frequently and took
advantage of it, doing motion tags. The appearance of this unusual name and
numeral sparked public curiosity prompting the Times article. He was by no
means the first writer or even the first king. He was however the first to be
recognized outside the newly formed 
subculture. Most widely credited as being one of the first writers of
significance is JULIO 204. FRANK 207 and JOE 136 were also early writers.
FRIENDLY
FREDDIE was an early Brooklyn writer to gain fame. The subway system proved to
be a line of communication and a unifying element for all these separate
movements. People in all the five broughs became aware of each others efforts.
This established the foundation of interbrough competition.
Writing
started moving from the streets to the subways and quickly became competitive.
At this point writing consisted of mostly tags and the goal was to have as many
as possible. Writers would ride the trains hitting as many subway cars as
possible. It wasn't long before writers discovered that in a train yard or lay
up they could hit many more subway cars in much less time and with less chance
of getting caught. The concept and method of bombing had been established. In
that aspect, graffiti can yet be seen as a tool of non-violent gang wars, just
like Rap.
Tag Style
After
a while there were so many people writing so much that writers needed a new way
to gain fame. The first way was to make your tag unique. Many script and
calligraphic styles were developed. Writers enhanced their tags with
flourishes, stars and other designs. Some designs were strictly for visual
appeal while others had meaning. For instance, crowns were used by writers who
proclaimed themselves king.
Tag Scale
The
next development was scale. Writers started to render their tags in larger
scale. The standard nozzle width of a spray paint can is narrow so these larger
tags while drawing more attention than a standard tag, did not have much visual
weight. Writers began to increase the thickness of the letters and would also
outline them with an additional color. Writers discovered that caps from other
aerosol products could provide a larger width of spray. This led to the
development of the masterpiece. It is difficult to say who did the first
masterpiece, but it is commonly credited to SUPER KOOL 223 of the Bronx and WAP
of Brooklyn. The thicker letters provided the opportunity to further enhance
the name. Writers decorated the interior of the letters with what are termed
"designs." First with simple polka dots, later with crosshatches,
stars, checkerboards. Designs were limited only by an artist's imagination.
Writers eventually started to render these masterpieces the entire height of
the subway car. These masterpieces were termed top-to bottoms. The additions of
color design and scale were dramatic advancements, but these works still
strongly resembled the tags on which they were based.
The
competitive atmosphere led to the development of actual styles which would
depart from the tag styled pieces. Broadway style was introduced by
Philadelphia's TOPCAT 126. These letters would evolve in to block letters,
leaning letters, and block busters. PHASE 2 later developed Softie letters ,
more commonly refered to as Bubble letters. Bubble letters and Broadway style
were the earliest forms of actual pieces and therefore the foundation of many
styles. Soon arrows, curls, connections and twists adorned letters. These
additions became increasing complex and would become the basis for Mechanical
or Wild style lettering.
Writers
like FLINT 707 and PISTOL made major contributions in development of three
dimensional lettering adding depths to the masterpiece, which became standards
for generations to come.
The Peak 75-77
For
the most part innovation in writing hit a plateau after 1974. All the standards
had been set and a new school was about to reap the benefits of artistic
foundations established by prior generations and a city in the midst of a
fiscal crisis. New York City was broke and therefore the transit system was
poorly maintained. This led to the heaviest bombing in history.
Style Revival
1978-1981
A
new wave of creativity bloomed in late 1977. Style wars were once again
peaking. It was also the last wave of bombing before the Transit Authority made
the elimination of writing a priority.
In 1980 The real buff started up again pieces ran for shorter periods.
Train yard fence repair was becoming more consistent. Writers slowly started to
quit and consider other creative options. Many writers became distracted with
thoughts about careers beyond painting subway cars. The established art world
was once again becoming receptive to writing. European art dealers became aware
of the movement and were very receptive to the new art form. Shows featuring
paintings by DONDI, ZEPHYR, LADY PINK, FUTURA 2000 and others exposed the world
to the once secret world of New York's youth.
Survival Of The
Fittest 1982-1985
During the early to mid 1980s the writing culture deteriorated
dramatically due to several factors. Some related directly to the graffiti
culture itself and others to the greater society in general. The crack cocaine
epidemic was taking its toll on the inner city. Due to the drug trade powerful
firearms were readily available. The climate on the street became increasingly
tense. Laws restricting the sale of paint to minors and requiring merchants to
place spray paint in locked cages made shoplifting more difficult. Legislation
was in the works to make penalties for graffiti more severe.
The
major change was the increase in the Metropolitan Transit Authority's
anti-graffiti budget. Yards and layups were more closely guarded. Many favored
painting areas became almost inaccessible. New more sophisticated fences were
erected and were quickly repaired when damaged. Graffiti removal was stronger
and more consistent than ever, making the life span of many paintings months if
not days. This frustrated many writers causing them to quit.
Many others were not so easily discouraged, yet they were still
affected. They perceived the new circumstances as a challenge, determined not
to be defeated by the MTA. Due to the lack or resources they became extremely
territorial and aggressive, claiming ownership to yards and layups. Claiming
territory was nothing new in writing, but the difference at this time was that
threats were enforced. If a writer went to layup unarmed he could almost be
guaranteed to be beaten and robbed of his painting supplies.
At this point physical strength and unity as in street gangs became a
major part of the writing experience. The One Tunnel and the Ghost yard were
the back drops many for legendary conflicts. In addition to the pressure from
the MTA, cross out wars among writers broke out. The most famous war being CAP
MPC vs the world. High profile writers during these years were: SKEME, DEZ,
TRAP, DELTA, SHARP, SEEN TC5, SHY 147, BOE, WEST, KAZE, SPADE 127, SAK, VULCAN,
SHAME, BIO, MIN, DURO, KEL, T KID, MACK, NICER, BRIM, BG 183, KENN, CEM,
FLIGHT, AIRBORN, RIZE, JON 156, KYLE 156.
The Die Hards
1985-1989
On certain subway lines graffiti removal significantly decreased because
the cars servicing those lines were headed for the scrap yards. This provided a
last shot for writers.
The last big surge on the 2 and 5 lines came from writers like WANE, WEN, DERO,
WIPS, TKID, SENTO, CAVS, CLARK and M KAY who hit the white 5s with burners.
These burners many times were blemished by marker tags that soaked through the
paint. A trend had developed that was a definite step back for writing. Due to
a lack of paint and courage to stay in a lay up for prolonged periods of time,
many writers were tagging with markers on the outside of subway cars. These
tags were generally poor artistic efforts. The days when writers took pride in
their hand style (signature) were long gone. If it wasn't for the afore
mentioned writers and a few others, the artform in New York City could have
officially been deemed dead.
By
mid '86 the MTA was gaining the upper hand. Many writers quit and the violence
subsided. Most lines were completely free of writing. The Ds, Bs, LLs, Js, Ms
were among the last of the lines with running pieces. MAGOO, DOC TC5, DONDI,
TRAK, DOME and DC were all highly visible writers.
Security
was high and the Transit Police's new vandal squad was in full force. What was
left was a handful of diehards. GHOST, SENTO, CAVS, KET, JA, VEN, REAS, SANE,
SMITH were prominent figures and would keep transit writing alive.
Today
Graffiti
had contributed the further development of art and try to appeal to the whole
society today.
In the main they are used to exchange information, love messages, news
about music and films or give the sprayer the possibility to create something.
Many people often account Graffiti as an special kind of art. But Graffiti also
have the purpose to communicate (for example messages of customers for
prostitutes for a meeting place) because you can express your wish quickly and
directly.
Furthermore
Graffiti follow the political aims of the sprayers, often racial attitudes.
Moreover assimilation and simulation don’t play any role in the design of
Graffiti. They’re frequently drawn handwritings and significations (named
tags), which were used to spread out the name of the sprayer.
In
big cities you can find some Graffiti on surfaces, e.g. in undergrounds, in the
road network and parks, where everyone can see them.
In
the meantime there exists a extensive Graffiti-Research, e.g. in Vienna,
because the society is afraid of terror activities or living conditions as they
are in American slums.
Since
the 1990s a Graffiti Association is in business, which tries to legalize the
spraying by setting up checked walls, surfaces or studios.
But
that’s very difficult, because there are many sprayers thus the police have to
insert “SOKOs”, cleaning troops and special companies to control the sprayers.
Some sprayers, however, don’t get the possibility to spray because
materials are too expensive. Often they were caught, yet, when they try to
steal some materials. After all the scene will exist any longer and will
develop in the future.
