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Graffiti

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See also Graffiti (PalmOS) for the PalmOS handwriting system.
This wall, in Gainesville, Florida, has been set aside for use by graffiti artists and passersby.

The term graffiti, in its modern day use, refers to deliberate human markings on property. Graffiti can take the form of art, drawings, or words, and is often illegal, especially when done without the property owner's consent.

Origin of the word

Graffiti is the plural of graffito, although the singular form is less commonly used. Both words have been borrowed from the Italian language, and along with the English word "graphic", are in turn derived from the Greek γραφειν (graphein), meaning to write.

Historical forms

 
Pompeiian graffiti

Graffiti originally was the term used for inscriptions, figure drawings, etc., found on the walls of ancient sepulchers or ruins, as in the Catacombs, or at Pompeii. But it has evolved to include any decorations inscribed on any surface that are considered to be vandalism or pictures or writing placed on surfaces, usually outside walls and sidewalks, without the permission of the owner.


The Romans carved graffiti into both their own walls and monuments and there are also, for instance, Egyptian ones. The graffiti carved on the walls of Pompeii were preserved by the eruption of Vesuvius and offer us a direct insight into street life: everyday Latin, insults, magic, love declarations, political consigns. One example has even been found that stated "Cave Canem", which translates as "Beware of Dog".

On the other hand, Viking graffiti can be found in Rome, and Varangians carved their runes in Hagia Sophia. Many times in history graffiti were used as form of fight with opponents (see Orange Alternative, for example). The Irish had their own inscriptive language called Ogham.

Frescos and murals are art forms that involve leaving images and writing on wall surfaces. Like the ancient cave wall paintings in France, they are not graffiti, as they are created with the explicit permission (and usually support) of the owner of the walls.

20th century

 
A graffiti artist at work with spray paint.

Starting with the large-scale urbanization of many areas in the 20th century, urban gangs would mark walls and other pieces of public property with the name of their gang (a "tag") in order to mark the gang's territory.

Near the end of the twentieth century, the practice of tagging became increasingly non-gang related and began to be practiced for its own sake. Graffiti artists would sign their "tags" for the sake of doing so and sometimes to increase their reputation and prestige as a "writer" or a graffiti artist.

Tags, like screennames, are sometimes chosen to reflect some qualities of the writer. Some tags also contain subtle and often cryptic messages. The year in which the tag or graffito was created, and in some cases the writer's initials or other letters, are sometimes incorporated into the tag. In some cases, tags or graffiti are dedicated or created in memory of a deceased friend, and might read something to the effect of "DIVA Peekrevs R.I.P. JTL '99".

In some cases, graffiti (especially those done in memory of a deceased person) found on storefront gates have been so elaborate that shopkeepers have been hesitant to clean them off. Other highly elaborate works covering otherwise unadorned fences or walls may likewise be so elaborate that property owners or the government may choose to keep them rather than cleaning them off.

In the 20th century, 'Kilroy was Here' became a famous graffito, along with Mr. Chad, a face with only the eyes and a nose hanging over the wall, saying "What No...?" (thing that lacked at the time) during the time of rationing.

Some graffiti may be local or regional in nature, such as wall tagging in Southern California by gangs such as the Bloods and the Crips. The name Cool "Disco" Dan (including the quotation marks) tends to be commonly seen in the Washington, DC area.

 
This construction scaffolding has been "tagged".

A number of words and phrases have been coined to describe different styles and aspects of graffiti. A tag is a stylized signature, while a tagger or a writer is a person who "tags". A crew is a group of writers or graffiti artists.

Informal competition sometimes exists between taggers as to who can put up the most, or the most visible or artistic tags. Writers with the most tags up will gain respect among other graffiti artists, although they will also incur a greater risk that if caught by authorities, they will be held responsible for a greater number of tags.

To line somebody's tag is to put a line through it and is considered a deep insult.

The phrase back to back refers to a graffito that is done all the way across a wall from one end to the next. This could be seen in some parts of the West side of the Berlin Wall.

Theories and use of graffiti by avant-garde artists has a history dating at least to the Scandinavian Institute of Comparative Vandalism in 1961.

Some of those who practice graffiti art are keen to distance themselves from gang graffiti. There are differences in both form and intent. The purpose of graffiti art is self-expression and creativity, and may involve highly stylized letter forms drawn with markers, or cryptic and colorful spray paint murals on walls, buildings, and even freight trains. Graffiti artists strive to improve their art, which is constantly changing and progressing. The purpose of gang graffiti, on the other hand, is to mark territorial boundaries, and is therefore limited to a gang's neighborhood; it does not presuppose artistic intent.

Safety issues

Spray paint usually contains volatile organic compounds that are often highly toxic. Some graffiti artists who regularly work with spray paint develop neurological problems due to overexposure to VOCs. Compounds designed to remove graffiti can also be highly toxic (although the maintenance workers who work with these substances are usually more highly trained to use them safely.) This article from graffiti.org contains more information on the subject and recommends that spray painters wear a mask when painting.

Some heavy duty permanent markers also contain harmful VOCs, although the quantity of VOC released will probably be less than with spray paint. Those who use permanent markers should check the label and follow the safety instructions.

The NYC Graffiti scene is well documented in the 1983 film Style Wars.

File:Graffitti-face.jpg
Illegal graffiti can be elaborate, but may be seen as a nuisance

Graffiti is subject to different societal pressures from popularly-recognized art forms, since graffiti appears on walls, freeways, buildings, trains or any accessible surfaces that are not owned by the person who applies the graffiti. This means that graffiti forms incorporate elements rarely seen elsewhere. Spray paint and broad permanent markers are commonly used, and the organizational structure of the art is sometimes influenced by the need to apply the art quickly before it is noticed by authorities.

In an effort to reduce vandalism, many cities have designated walls or areas exclusively for use by graffiti artists. It has been suggested that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing. Some disagree with this approach, arguing that the presence of legal graffiti walls has not been shown to reduce illegal graffiti elsewhere.

Many people regard graffiti as an unwanted nuisance, or as expensive vandalism that must be repaired. It may be seen as a quality of life issue, and it is often suggested that the presence of graffiti contributes to a general sense of squalor and a heightened fear of crime. Advocates of the broken window theory believe that this sense of decay encourages further vandalism and leads to more serious offences being committed.

To remove graffiti, high pressure cleaning can be used; it can also be painted over or, as a prevention, a specially formulated anti-graffiti coating can be applied to the surface of high-risk areas.

The Anti-Social Behaviour Act 2003 is the latest anti-graffiti legislation to be passed in Britain.

In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti, with support for proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to teenagers. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real world experience of graffiti was far from the 'cool' or 'edgy' image that was often portrayed. To back the campaign, 123 British MPs (including Prime Minister Tony Blair) signed a charter which stated: “Graffiti is not art, it’s crime. On behalf of my constituents, I will do all I can to rid our community of this problem.”

Aerosol or "spray can" art

The strand of graffiti art which is considered one of the four elements of hip hop is usually denoted urban 'Aerosol Art'. Sometimes synonymous with "hip-hop heads," so-called graffiti artists have gone beyond that stereotype and are abundant even among middle-class white children. There are different genres, from Philly's wicked style to California and New York's wild style graffiti. Graffiti artists are classified based on their style or even on what surface they use.

Graffiti tagging existed in Philadelphia during the 1960s, pioneered by Cornbread and Cool Earl. Another Philadelphia product, Top Cat, later exported the characteristic Philly style of script (tall, slender lettering with platforms at the bottom) to New York City where it gained popularity as "Broadway Elegant". It wasn't until it reached popularity in the New York City subway system that it took on an extravagant artistic role, expanding from tags to full-blown "pieces".

One of the originators of New York graffiti was TAKI 183 – a foot messenger who would tag his nickname around New York streets that he daily frequented en route. Taki was a Greek-American – his tag was diminutive for Demetrius, while 183 came from his address. After being showcased in the New York Times, his tag was being mimicked by hundreds of urban youth within months.

It should be noted that there were other writers active in NYC before Taki, such as JULIO 204, but he brought the most attention to the movement. With the innovation of art, and the craving to gain the widest audience, attempts by taggers were made. What developed was a strict adherence to spraypaint, sampling foreign calligraphy, and the much anticipated mural (that usually covered an entire subway car). The artist was called a "writer," and so were groups of associated artists, called "crews". The movement spread on the streets, returned to the railroads where tagging was popularized by Hobos, spread nationwide with the aid of media and rap music; thus, being yet mimicked again worldwide.

One of the earliest women to become active on the graffiti scene was New York City's "Lady Pink". Also known as Sandra Fabara, Lady Pink starred in the classic 1982 hip hop film "Wildstyle" when she was 18.

In the early 1980s, the combination of a booming art market and a renewed interest in painting resulted in the rise of a few graffiti artists to art-star status. Jean-Michel Basquiat, a former street-artist known by his "Samo" tag, and Keith Haring, a professionally-trained artist who adopted a graffiti style, were two of the most widely recognized graffiti artists. In some cases, the line between "simple" graffiti and unsanctioned works of public art can be difficult to draw.

Graffiti Art Battle

In the early 1980s one of the largest community "Graffiti Art Battles" took place next to the Bull Ring shopping centre in Birmingham, England. The city invited a selection of the UK's most renowned graffiti artists, including local artist Goldie, Bristol's 3D (who went on to form Massive Attack), London's Mode from the Chrome Angelz, with Bronx Man Brim and his New York alter ego Bio attending for good measure.

Massive boards were erected with scaffolding in place to enable free movement of the artists. It was a rare occasion of the age for so many prestigious artists to come together on one wall - many battles would lead to gang rivalry especially if one artist would "bite", or copy, another's style. Clips from the Battle can be seen in a Channel 4 documentary titled Bombing.

 
Stencil art by Banksy. Brick Lane, London

Street art

In the '80s and early '90s the writers Cost and Revs were the first to get up with their name with the new techniques that would be a new form of graffiti, i.e. Post-Graffiti, or also known as Street Art. The participants use stencils, posters, stickers and installations to spread their art illegally in the streets. Since the '90s Shepard Fairey influenced many of today's street artists with his 'Obey Giant' campaign.

Other important Street Artists include C6.org, who incorporate new technologies into street graffiti art, Banksy, probably the most famous of the stencil artists, D*Face (UK), Stak, HNT, Alexone, André (France), Swoon, famous for the Cut-out Poster technique, Faile, (USA), Os Gemeos, Herbert (Brazil), 6-_-©IIIII>@rtist.info, Flying Fortress, Gomes, Graffitilovesyou, (Germany), Influenza, Erosie (Holland) and others.

A new form of tagging was created 1995 in Berlin by 6-_-©|||||>@rtist.info. He painted his 500 000 "6" tags with lime on wildly pasted posters, garbage and on the street . 30 % of his tags he painted while cycling.

Radical and Political Graffiti

Graffiti is sometimes seen as part of a subculture that rebels against extant societal authorities, or against authority as such. However these considerations are often divergent and relating to a wide range of practices. For some, graffiti is not only an art but also a lifestyle. For others it is a matter of political practice and forms just one tool in an array of methodologies and technologies or so-called anti-technologies of resistance.

The developments of graffiti art which took place in art galleries, colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990's of a far more overtly politicized form in the subvertising, culture jamming or 'tactical media' movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since graffiti art is still illegal in many forms, in most countries.

Contemporary practitioners are therefore varied and often conflicting in their practices. There are those individuals such as Alexander Brener who have used the medium to politicise other art forms, and have taken the prison sentences forced onto them, as a means of further protest. Anonymous groups and individuals, however, are very varied also, with anonymous anti-capitalist art groups like the Space Hijackers who, in 2004, did an action about the capitalistic elments of Banksy and his use of political imagery. There are also those artists who are funded by a combination of government funding as well as commercial or private means, like irational.org who recently coined the term Advert Expressionism, replacing the word Abstract for Advert, in Clement Greenberg's essay on Abstract Expressionism.

See also: Writing, visual art, protest

Famous graffiti artists

Hip-hop

Street Art/Post Graffiti

File:Wiki-graffiti2.png
Computer-generated graffiti reading "Wikipedia"

Avant-Garde

Political

Misc

[someone knowledgable should categorize these]

File:Graffitiforvandalismarticle.jpg
Graffiti in Melbourne, Australia

Street Art/ Post-Graffiti

In film

  • Style Wars: Directed by Tony Silver, Produced by Henry Chalfant.
  • Turk 182 (1985) is a fictional account of graffiti used for political purposes in New York City. The name might be a reference to TAKI 183. Turk 182 at imdb

Literature

  • Reisser, Mwinkand, Behrend: DAIM - daring to push the boundaries getting-up/reisser (Germany) 2004 ISBN 3-00-014155-3
  • van Treeck, Bernhard: Das große Graffiti-Lexikon, Lexikon-Imprint-Verlag, Berlin, 2001, ISBN 3-89601-292-X
  • van Treeck, Bernhard and Metze-Prou, Sibylle: Pochoir - die Kunst des Schablonengraffiti, Schwarzkopf & Schwarzkopf, Berlin, 2000, ISBN 3-89602-327-6
  • van Treeck, Bernhard: Street Art Berlin, Schwarzkopf und Schwarzkopf, Berlin, 1999 ISBN 3-89602-191-5
  • van Treeck, Bernhard: Wandzeichnungen, Edition aragon, Moers, 1995 ISBN 3-89535-424-4
  • Urban Discipline 2000 - Graffiti-Art Peters/Reisser/Zahlmann. 2000 Ausstellungskatalog getting-up (Germany) ISBN 3-00-006154-1
  • Urban Discipline 2001 - Graffiti-Art Peters/Reisser/Zahlmann. 2001 Ausstellungskatalog getting-up (Germany) ISBN 3-00-007960-2
  • Urban Discipline 2002 - Graffiti-Art Peters/Reisser/Zahlmann. 2002 Ausstellungskatalog getting-up (Germany) ISBN 3-00-009421-0
  • Exhibizion, Z 2000 Ute Baumgärtel. 2000 Ausstellungskatalog/Exhibition catalogue Akademie der Künste Berlin Die Gestalten Verlag (Deutschland) ISBN 3-931126-34-x
  • Graffiti Art #1 Deutschland - Germany Schwarzkopf & Schwarzkopf (Germany), ISBN 3-89602-028-5
  • Graffiti Art #3 Writing in München, 1995, Schwarzkopf & Schwarzkopf (Germany) ISBN 3-89602-045-5
  • Graffiti Art #4 Ruhrgebiet-Rheinland Hrsg: O. Schwarzkopf. 1995 Schwarzkopf & Schwarzkopf (Germany) ISBN 3-89602-051-x
  • Graffiti Art #7 Norddeutschland 1997 Schwarzkopf & Schwarzkopf (Germany), ISBN 3-89602-136-2
  • Graffiti Art #9 Wände Hrsg: B. van Treeck. 1998 Schwarzkopf & Schwarzkopf (Germany) ISBN 3-89602-161-3
  • Graffiti Art #8 Charakters B. van Treeck. 1998 Schwarzkopf & Schwarzkopf (Germany) ISBN 3-89602-144-3
  • Broken Windows Graffiti NYC James Murray, Karla Murray. 2002 Ginko Press (USA), ISBN 1-58423-078-9
  • NYC Graffiti, Michiko Rico Nosé. 2000 Graphic-Sha Publishing (Japan) ISBN 4-7661-1177-x
  • Graffiti Oggi Karin Dietz. 2001 Ausstellungskatalog/Exhibition catalogue, Arte Contemporanea Hirmer/M. Wiedemann (Italy)
  • Aspects of Graffiti, Wortbüro Stefan Michel/Zürich. 2001 Ausstellungskatalog, Rote Fabrik (Switzerland)
  • Backjumps Sketch Book, Adrian Nabi. 1996, Backjumps (Deutschland), ISBN 3-9806846-0-1
  • HamburgCity Graffiti, 2003, Publikat Verlag (Deutschland), ISBN 3-980-74786-7
  • Cope 2, True Legend, Donatien B. Orns. 2003, Righters.com (France), ISBN 2-9520-0608-6
  • Le graffiti dans tous ses états, 2002, Ausstellungskatalog, Taxie Gallery (France)
  • AT Down, 2000, Octopus (Frankreich), ISBN 2-9516384-0-x
  • Stylefile, Blackbook Sessions.01, Markus Christl. 2002, Publikat Verlag (Germany), ISBN 3-9807478-2-4
  • Hip-Hop Lexikon, S. Krekow, J. Steiner, M. Taupitz. 1999, Lexikon Imprint Verlag (Germany), ISBN 3-89602-205-9
  • Swiss Graffiti, S. von Koeding, B. Suter. 1998, Edition Aragon (Germany), ISBN 3-89535-461-9
  • Graffiti Lexikon, B. van Treeck. 1998, Schwarzkopf & Schwarzkopf (Germany), ISBN 3-89602-160-5
  • Writer Lexikon, Bernhard van Treeck, 1995, Edition Aragon (Germany), ISBN 3-89535-428-7
  • Street Art Köln, B. van Treeck. 1996, Edition Aragon (Germany), ISBN 3-89535-434-1
  • Hall of Fame, M. Todt, B. van Treeck . 1995, Edition Aragon (Germany), ISBN 3-89535-430-9
  • Best of German graffiti. Band 1, Timeless-X. 2001, Verlag H. M. Hauschild (Germany), ISBN 3-89757-121-8
  • Langages de Rue #2, Graff-It!. 2004, Verlag Graf-It! (France), ISBN 2-914714-02-5
  • Street Art, Tristan Manco. Thames & Hudson. 2004 (UK), ISBN 0-500-28469-5
  • Grafftit World, Nicholas Ganz. Thames & Hudson. 2004 (UK) ISBN 0-500-51170-5
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