I.
II.
III.
IV.
V.
Introduction
I.
Origins of Graffiti
i. Cave Art
ii. Ancient Egypt
1. Pyramid workmen would write on the walls of
pyramids (“Graffiti”)
Graffiti Movement of the 1960s
I.
Philadelphia and NYC
i. Philadelphia – Cornbread and Cool Earl
1. Covered the city in “tags” (their names)
ii. NYC
1. Conscious act of rebellion
2. “Racking” (stealing) paint
Hip Hop Culture of the 1970s
I.
Elements of Hip-Hop
i. Graffiti
ii. DJ-ing
iii. MC-ing
iv. Breakdancing
II.
Eliminating graffiti’s presence
i. NY trains were chemically washed (“buffed”)
III.
Writing on “Fr8s” (Freights)
i. Spread popularity
ii. High quality with high visibility
IV.
Writers vs. Taggers
i. “Writers like to distinguish themselves from taggers. One
becomes a writer when he or she has developed an individual
style within the tradition of hip-hop.”
V.
“The goal is to be famous within the hip-hop culture and not
necessarily outside it.”
Graffiti’s Presence in Other Countries
I.
Graffiti Transformation Plan – Toronto, CA
i. http://www.toronto.ca/graffiti/
II.
Murals
i. Popular in many other cultures
1. Spanish
ii. Hispanic influence on America may play a part in the increase
of murals in areas with a high Spanish population
1. Diaspora of people = diaspora of culture
III.
The Berlin Wall
i. 1961 – the Berlin Wall was constructed
ii. West Berlin side covered in graffiti
iii. Make the wall more beautiful
iv. Graffiti = Beautiful?
Evolution of Art
I.
Pop Art of the 1960s
VI.
VII.
i. Andy Warhol
II.
Blurred lines in what is classified as art
Evolution of Consumers of Art
I.
People who didn’t fit into the 1950s cookie cutter American perfection
II.
In the 1960s, the role of women was rapidly changing
i. http://www.usnews.com/news/articles/2010/03/12/the1960s-a-decade-of-change-for-women
III.
Individual expression for lower class people transformed into works
of art (which anyone can make – low or upper class) that are sold to a
large buying market
i. Fineartamerica.com, Etsy, urban art galleries
Conclusion
I.
Graffiti used to be a form of rebellious expression that was considered
vandalism. Graffiti covering the cities was not considered beautiful.
With the pop art and hip hop revolution, graffiti artists divided into
two distinct groups: taggers and writers. During the 1960s, a
transformative time in many regards, graffiti became more pleasing to
the eye. It gave a voice to individuals that might not otherwise be
heard. In modern America, the value system has shifted. The value
placed on individualistic independence and freedom results in graffiti
appealing to a wide range of individuals. It is no longer only for the
lower classes.
i. "Graffiti." Encyclopedia of African American Society.
Ed. Gerald D. Jaynes. Vol. 1. Thousand Oaks, CA: SAGE
Reference, 2005. 375-376. Gale Virtual Reference
Library. Web. 18 Oct. 2013.
Rahn, Janice. "Hip-Hop Graffiti Is a Significant American Art Form."
Rap Music and Culture. Ed. Kate Burns. Detroit: Greenhaven Press,
2008. Current Controversies. Rpt. from "The Structure of Hip-Hop
Grafitti Culture." Painting Without Permission: Hip-Hop Graffiti
Subculture. Westport, CT: Bergin & Garvey, 2002. 1-24. Opposing
Viewpoints In Context. Web. 18 Oct. 2013.