Graffiti: So Cool It’s A Pillar of Hip Hop
In this Stuff You Should Know episode, hosts Josh Clark and Chuck Bryant examine the evolution of graffiti art from its origins in 1930s Mexican public art through its development into a defining element of modern urban culture. The hosts trace how the emergence of new tools like spray paint and markers in the mid-20th century shaped the art form, and explore the progression from basic tags to complex artistic styles like Wildstyle.
The episode delves into graffiti's golden age in New York City during the 1970s and 80s, including the authorities' efforts to combat it through programs like the Clean Car Program. The hosts discuss how photographers Henry Chalfant and Martha Cooper documented this era, preserving both the artistic techniques and cultural context of this period through their work in "Style Wars" and "Subway Art."
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1-Page Summary
History and Origins of Graffiti Art
Graffiti art's roots can be traced back to the public art movement in Mexico during the 1930s and its subsequent influence on Chicano youth culture in Los Angeles. These early expressions would later evolve into what we now recognize as modern graffiti.
The Birth of Modern Graffiti
Modern graffiti emerged in 1960s New York, with pioneers like Cornbread, Taki 183, and Julio 204 leading the way. The invention of spray paint in 1949 by Ed Seymour and his wife Bonnie, followed by markers in the 1950s, revolutionized the art form. These new tools allowed artists to work quickly and develop unique styles, though some artists note that the eventual removal of lead from paint was considered a setback due to its superior qualities.
The Development of Graffiti Techniques and Styles
Josh Clark and Chuck Bryant explain how graffiti evolved from simple tags to more complex forms. Artists typically begin with tags (stylized signatures), progress to "throw-ups" (more elaborate, multi-colored designs), and eventually create "pieces" (intricate murals that might take weeks to complete). The hosts discuss "Wildstyle," considered the most advanced form of graffiti, which prioritizes visual impact over legibility through complex, overlapping letterforms and patterns.
Conflict Between Graffiti and Authorities
New York City's aggressive anti-graffiti measures in the 1970s and 80s, including the Clean Car Program, significantly impacted the prevalence of subway car graffiti. However, photographers Henry Chalfant and Martha Cooper preserved this era through their work, particularly in the documentary "Style Wars" and the photo book "Subway Art." These works continue to serve as essential resources for new generations of graffiti artists, documenting both the techniques and historical context of the art form.
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Clarifications
- "Chicano youth culture" refers to the cultural identity and social experiences of Mexican-American young people, especially in the southwestern United States. It emerged as a response to marginalization and a way to express pride in Mexican heritage. This culture often includes unique styles of art, music, and language that blend Mexican and American influences. Its significance lies in shaping early graffiti art as a form of cultural expression and resistance.
- Cornbread, Taki 183, and Julio 204 are early graffiti artists who popularized tagging in New York City. Cornbread is often credited as the first modern graffiti writer, starting in Philadelphia in the late 1960s. Taki 183 and Julio 204 gained fame by tagging their names across the city, inspiring others to do the same. Their widespread tagging helped establish graffiti as a recognizable urban art form.
- The invention of spray paint and markers gave graffiti artists new tools that were portable, fast-drying, and easy to use on various surfaces. These tools enabled artists to create larger, more vibrant, and more detailed works quickly, which was essential for working in public spaces. Spray paint allowed for smooth color gradients and bold lines, while markers offered precision for smaller details and tagging. Together, they expanded the creative possibilities and accessibility of graffiti art.
- Lead was removed from paint due to its toxicity and health risks. Lead-based paints had superior durability, opacity, and color vibrancy. Artists valued these qualities for lasting, vivid graffiti work. Removing lead reduced paint performance, making it harder to achieve the same effects.
- Tags are the simplest form of graffiti, usually a quick, stylized signature or nickname of the artist. Throw-ups are more complex than tags, often bubble letters or simple shapes filled with one or two colors, designed for speed and visibility. Pieces, short for masterpieces, are large, detailed, and colorful murals that require significant time and skill to complete. They often include complex designs, shading, and multiple colors to create a visually striking artwork.
- Wildstyle graffiti features intricate, interlocking letters with arrows, spikes, and curves that create a complex, abstract appearance. It often uses bright colors and 3D effects to enhance visual impact. The style prioritizes artistic expression and creativity over readability, making it challenging for outsiders to decipher. This complexity serves as a signature of skill and identity within graffiti culture.
- The Clean Car Program was launched by the New York City Transit Authority in the late 1970s to combat graffiti on subway trains. It involved rapid removal of graffiti from subway cars, making it less rewarding for artists to tag trains. This program also included increased security and surveillance to deter graffiti writers. As a result, graffiti on subway cars sharply declined by the early 1980s.
- Henry Chalfant and Martha Cooper were photographers who captured the early graffiti scene in New York City. Their work provided visual evidence of graffiti as a legitimate art form during a time it was widely criminalized. They helped preserve the culture and styles that might have otherwise been lost due to anti-graffiti campaigns. Their photos inspired future artists and helped graffiti gain recognition in the art world.
- "Style Wars" is a groundbreaking 1983 documentary that captures the early hip-hop and graffiti culture in New York City, highlighting artists' perspectives and the social issues they faced. "Subway Art," published in 1984, is a seminal photo book by Martha Cooper and Henry Chalfant that visually documents the vibrant graffiti on subway trains, preserving the art form's history. Both works helped legitimize graffiti as an important cultural and artistic movement worldwide. They continue to inspire and educate new generations about graffiti's roots and evolution.
Counterarguments
- The assertion that graffiti art originated from the public art movement in Mexico during the 1930s might be too narrow, as graffiti-like practices have been identified in ancient civilizations, such as in Egypt, Greece, and Rome.
- While modern graffiti is often associated with New York in the 1960s, it's important to acknowledge that similar practices may have been occurring independently in other parts of the world.
- The impact of the invention of spray paint and markers on graffiti could be seen as a double-edged sword; while it allowed for new styles and quicker application, it also made graffiti more accessible for acts of vandalism.
- The removal of lead from paint, while seen as a setback by some for its quality, was a necessary public health measure, and the benefits of removing a toxic substance from the environment outweigh the needs for artistic materials.
- The evolution of graffiti techniques is not linear or universal; different artists may adopt different styles out of order or create entirely new forms that don't fit within the described progression.
- While Wildstyle is celebrated for its complexity, other forms of graffiti that prioritize legibility and message over intricate design could also be considered advanced in their own right, depending on the criteria used.
- The anti-graffiti measures in New York City, although reducing the visibility of graffiti in certain public spaces, may have inadvertently contributed to the spread of graffiti culture as artists moved to new locations and mediums.
- The documentation by photographers like Henry Chalfant and Martha Cooper, while invaluable, represents a specific perspective on the graffiti movement, and there may be other undocumented or underrepresented perspectives and contributions to the art form.
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History and Origins of Graffiti Art
Graffiti art has rich and varied roots that trace back to public art forms in Mexico and the early expressions of Chicano youth in Los Angeles. Over time, the development of new tagging methods and the invention of materials like spray paint and markers have revolutionized this vibrant art form.
Graffiti's Precursors in Mexico and the Us, 1930s-1940s
During the 1930s, Mexico experienced a surge of mural and public art, especially during the Mexican Revolution. These forms of artistic expression played an influential role in the community and social commentary of the time. This style was brought into cities like Los Angeles by Chicano youth in the 1930s and 40s, laying the groundwork for what would become modern graffiti.
Chicano Youth in L.A. Used Paint and Brushes to Foreshadow Graffiti Styles
Chicano kids during the 1930s through the 1960s in Los Angeles started using paint and brushes in ways that presaged the graffiti styles that would emerge later. They laid a cultural and stylistic foundation for the later forms of graffiti art.
Birth of Modern Graffiti in 1960s New York
The birth of contemporary graffiti is most associated with 1960s New York, where pioneers like Cornbread, Taki 183, and Julio 204 began leaving their marks on the city landscape.
Pioneers of "Tagging": Cornbread, Taki 183, Julio 204
Darryl McCray, known as Cornbread, began tagging his name around Philadelphia in 1965, particularly along bus routes. Some of the earliest tags in New York came from Spanish Harlem youth, who would tag their nicknames alongside the number representing their street. Pioneers such as Julio 204 and Taki 183 gained notoriety, with Taki 183’s widespread tagging leading to a feature in a New York Times article in 1971.
Spray Paint (1949) & Markers (195 ...
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History and Origins of Graffiti Art
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Actionables
- Explore your local city's street art to gain a deeper appreciation for graffiti's cultural roots. Take a walking tour of neighborhoods known for their murals and street art, paying attention to the styles and themes that may echo the historical influences of Mexican muralism and Chicano expressions. This can be a self-guided activity using a map of notable art locations or joining a community group focused on urban art appreciation.
- Create a personal art project using safe, non-toxic spray paints to understand the medium's evolution. Purchase a variety of modern spray paints that are lead-free and environmentally friendly, and experiment with different nozzles on a canvas or a piece of reclaimed wood. This hands-on experience will give you a feel for the artistic possibilities that spray paint offers while being mindful of health and environmental concerns.
- Document the evolution of graffiti in your area by photographing lo ...
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The Development of Graffiti Techniques and Styles
Josh Clark and Chuck Bryant explore the evolution of graffiti from its early "primitive work" to complex styles like "Wildstyle," discussing different techniques and the cultural impact of these expressions of urban artistry.
Progression From Tagging to "Throw-Ups" and "Pieces"
Initially, graffiti artists practice doing tags, which are essentially quick, personalized signatures developed with unique "hand styles." These tags, the artist's signature or nickname, spelled out in a stylized way, were aimed to be seen in as many places as possible. Taggers saw it as cool, especially if their tags were in risky or hard-to-reach places. As taggers gained skill, they aimed to create their own alphabets and designs, effectively developing a personal font used in graffiti. Beginners often started practicing with pens and markers before they brought their work to public spaces or used paint. Markers remained crucial for graffiti, particularly useful for hand style.
Clark and Bryant discuss the natural progression of graffiti artists from practicing tags to moving on to throw-ups and eventually intricate murals called "pieces." Throw-ups, despite their name, are an evolution of tags that include the artist's signature but are usually more elaborate, incorporating multiple colors, and more stylized letters, and can be quite artistic. After mastering tags, graffiti artists moved on to creating throw-ups.
Pieces refer to intricate murals that might cover an entire subway car or large wall, which require many hours, days, or even weeks to complete. These are considered art pieces and require a significant investment in terms of time and risk, as the artwork could be removed before completion. Clark mentions how detailed pieces utilize various colors and effects, often worked on by multiple crews.
Unique "Hand Styles" for Personalized Signatures
Josh Clark tells Chuck Bryant to work on his "hand style," reiterating the importance of this unique feature in the world of graffiti. This personalized signature is vital for a tagger's identity and is the foundation of a graffiti artist's practice.
More Stylized Letters and Colors in "Throw-Ups"
Throw-ups are seen as the next stage after tagging, linking personal identity and a flair of artistry with the use of colors and stylized letters that became synonymous with the graffiti artist.
Intricate Murals Could Take Days or Weeks to Complete
Moving beyond throw-ups, the creation of pieces – intricate and large-scale murals – is a testam ...
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The Development of Graffiti Techniques and Styles
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Counterarguments
- While the text suggests a natural progression from tags to throw-ups to pieces, not all graffiti artists follow this linear path; some may specialize or prefer one form over the others.
- The assertion that wildstyle is the most advanced form of graffiti could be subjective, as "advanced" can be interpreted in various ways, and some may argue that other styles require equal or greater skill.
- The idea that wildstyle prioritizes visual impact over legibility might not acknowledge the full intent behind the style, as some artists may aim for a balance of both or may encode messages meant to be deciphered only by certain viewers.
- The text implies that markers are crucial for developing hand styles, but some artists may use other tools or mediums to develop their signature styles.
- The notion that "anti-style" or "ignorant style" graffiti intentionally returns to primitive forms could be seen as a simplification, as these styles can also represent a sophisticated commentary on the art form or a complex aesthetic choice.
- The text does not address the broader societal views on graffiti, where some may not see it as a legitimate art ...
Actionables
- You can start a personal graffiti-style journal to develop your unique hand style using pens and markers. Begin by creating an alphabet that reflects your personality, experimenting with different letter shapes and connections. As you get comfortable, challenge yourself to stylize your letters further, adding flourishes and varying line weights. This journal will serve as a safe space to practice and refine your style without the pressure of public display.
- Transform your living space with DIY graffiti-inspired art using removable vinyl or large paper sheets. Choose a wall or a section of your room and create a large-scale piece or wildstyle design. Use this as an opportunity to practice layering, color combinations, and intricate patterns. The temporary nature of the materials means you can iterate on your designs without committing to permanent changes.
- Organize a virtual ...
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Conflict Between Graffiti and Authorities
The history of graffiti in New York City is marked by a contentious relationship between street artists and authorities, with aggressive measures in the 1970s and 80s aimed at eradicating the burgeoning art form only stoking the defiance of graffiti creators.
NYC's 1970s-80s Graffiti Crackdown
The crackdown on graffiti in New York City during the late 20th century marked a significant epoch in the conflict between street artists and authorities.
Clean Car Program Stopped Graffiti-Covered Trains, Had Measurable Impact
The Clean Car Program was a pivotal part of NYC’s graffiti suppression efforts. Established by the Metro Transit Authority, this policy dictated that any subway car tagged with graffiti was to be taken out of service until it was cleaned. The implementation of this program was hugely impactful, leading to a significant decrease in the prevalence of full-subway-car graffiti by 1989.
Suppression Efforts Fueled Graffiti Artists' "Game on" Mentality and Riskier Stunts
However, efforts by NYC officials such as Mayor Ed Koch to suppress graffiti—using methods like razor-wiring subway yards, employing guard dogs, and surveilling young people—did not deter artists; in fact, it invigorated their resolve. They adopted a "game on" mentality in response to the heightened challenge, resulting in riskier graffiti endeavors. Even laws against carrying aerosol cans and the Transit Police Graffiti Squad's formation further embedded the act of stealing spray paint into the culture of '70s and '80s graffiti, reinforcing the artists' rebellious spirit.
Impact of Photographers Chalfant and Cooper on Graffiti Scene
The work of photographers Henry Chalfant and Martha Cooper has been crucial in preserving the legacy of graffiti from its nascent period.
Films and Photo Books Like Style Wars and Subway Art Preserved Graffiti's Golden Age
Chalfant’s documentary "Style Wars," released in 1983, captured the dawn of graffiti and breakdancing, becoming a time capsule of these cul ...
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Conflict Between Graffiti and Authorities
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Counterarguments
- The effectiveness of the Clean Car Program could be debated; while it reduced the visibility of graffiti on subway cars, it may have pushed the problem into other areas of the city or underground, where it was less visible to authorities but still prevalent.
- The notion that suppression efforts failed to deter graffiti artists might be oversimplified; some individuals may have been deterred by the increased risks and penalties, even if a core group of artists became more defiant.
- The "game on" mentality attributed to graffiti artists in response to suppression efforts might not fully represent the diversity of motivations and reactions among individuals involved in the graffiti scene.
- The impact of Chalfant and Cooper's work, while significant, might overshadow contributions from other photographers and documentarians who also played important roles in preserving the history of graffiti.
- The idea that laws against carrying aerosol cans and the Transit Police Graffiti Squad reinforced the culture of paint theft could be seen as a partial view, not accounting for those who may have been dissuaded from graffiti due to these laws.
- The assertion that ...
Actionables
- Explore the impact of art in public spaces by photographing local street art and sharing it on a dedicated social media page. This can create awareness and appreciation for the art form, similar to how photographers documented New York City's graffiti. By curating a visual archive, you contribute to the preservation and understanding of street art in your community.
- Engage with the history of street art by creating a digital scrapbook or blog that combines historical graffiti images with modern-day street art. This project can highlight the evolution of styles and techniques, drawing parallels between past and present, and offering insights into the cultural significance of this art form.
- Foster a dialogue about the role of street art in society by hosting a virtual book club f ...
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