These are all variations of the name and, at a basic level, involve one of two activities — a stylistic or a prolific inscription of this word. Writers can adopt these different graffiti forms, and with this, different paths to prominence, but their careers tend to follow a fairly standard pattern: Usually every graffiti writer starts off on paper, works their way to paint and bombing and then works their way to doing pieces and they get better as they go on.
Tagging is the easiest place to start. Piecers are dealing with more complex and time-consuming designs, so their work is assessed for its quality rather than quantity. As writers move on and search for new ways to push and extend themselves, tagging fades into the background a little. To earn fame graffiti writers need an audience. Accordingly, the places where they paint are usually highly visible.
However, the best canvas for their work is one that moves, extending their audience and the reach of their name. Buses and trucks are a popular target for graffiti.
This flexibility allows them to negotiate the difficulties of their illegal position and, indeed, avoid them when they become too much. At a certain age or life stage, graffiti writers may find themselves at a crossroads. On the other, they have an illegal pursuit which they cherish, but cannot harmonize with their present lifestyle.
Commercial legal work moves writers out of the boundaries of the subculture. They no longer paint for their peers or themselves, they have a new audience now; the person or business buying their work. An English graffiti artist.
She focuses on portraying current events and public figures such as Amy Winehouse and Daniel Craig. A New York Graffiti writer who began in the late s. She was featured in Infamy: the Movie and graffiti writes both individually and with the PMS Crew, a female based graffiti group. A pair of twin graffiti artists active in Brazil. Most consider the brothers as formative in Brazilian graffiti style and are respected artists in their own right.
A New York train writer of the s and 80s. A Parisian graffiti artist. He used graffiti to fight anonymity and established the use of large-scale stencils in graffiti. Shamsia Hassani. An Afghanistan graffiti artist. She focuses on portraying positive representation of women in Burqas. A graffiti artist in Senegal. She uses graffiti as a means of advocating for women, particularly in the areas of equal education and equal pay.
Ferrell, Jeff. A book based on field research of graffiti writers and campaigns against the in Denver, Colorado. Keegan, Peter. Graffiti in Antiquity. London: Routledge. A book examining ancient forms of graffiti, particularly in Greece, Rome, and Egypt. Macdonald, Nancy. New York: Palgrave. An ethnographic study of male graffiti writers in London and New York. Rahn, Janice. This essay explains the journey from the evolution and widespread of the punk subculture in the UK in s.
As the title suggests, punk. Like Banksy, the Situationists believed in superseding art, which abolishes the notion of art as a separate, specialized activity and transforms it into the cultural fabric of everyday life. Street art accompanies an element of surprise and culture shock because it can appear anywhere. People do not have to visit a museum or gallery to see art.
Being in a gallery has a different kind of tone than crafting work outside, because of the constraints that galleries put on the artist. When creating the work on the streets, the constraints are lifted which allow the artist to do what they want.
The artist has the ability to do anything from political satire to creating. Thierry shows the different artist and ways he explains how the subculture of street art is taking over and how the art is being looked at in the wrong way. Some of the most popular graffiti yards in Los Angeles are abandoned spaces in communities of color that neither the economy nor the city has been willing to invest in, he says.
But graffiti allows Black and Latino young men to transform these areas into spaces of congregation and empowerment. Graffiti styles in East Los Angeles, for example, reflect Mexican-American artistic influence that began with Pachuco counterculture in the s. In the s, those traditions then incorporated colorful, whimsical East Coast influences.
Graffiti is a multiracial and multi-ethnic subculture, and Illescas says his research aims to recognize the specific contributions of Black and Latinx communities. In Los Angeles, a city which many researchers consider to be highly racially segregated, Black and Latinx communities, like South Central Los Angeles and East Los Angeles, are the places where graffiti is most likely to be severely criminalized and lumped together with gang activity, Illescas says.
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