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This is called the Graffiti Manifesto
The urban metropolis landscape is characterized by countless kilometers of blank concrete. Our
city’s vast amount of public walls are very attractive to businesses that are willing to shell out large sums of
money to advertise their products. In an effort to ingrain, through advertising, material commodities into
the mindset of the general public, monolithic bottles of liquor and beer, sports cars, fast food cosmetics and
other products are prominently displayed in areas where countless people will see them every day.
Saturated with eye-catching, brilliant colours and 15-foot high slogans, ads, and billboards have come to
characterize and dominate our visual and physical environment. While the profit that is made as a result of
allowing ads to proliferate in our city is very appealing, there are many negative social and cultural
problems that arise as a consequence of the over-pollution of our visual environment with signs and images
that do not relate to the identity and interests of the community.
Rather than reflecting and educating people about our local/national culture, historical heritage and
present day concerns, and instead of promoting the talents and expressions of people within local
communities, the most visually prominent areas are covered with signs and images that endorse the
agenda of mainly businesses attempting to influence consumer choices.
The remaining, bleak concrete spaces in our city are generally left blank, an open invitation to aspiring
urban artists.
Assuming that the human mind is a blank tablet upon which impressions are easily made, it is certainly
dangerous to allow our public environment to be filled with signs and images that are merely intended to
familiarize us with material. What would happen if merchandise became our national identity? A barrage
of advertisements combined with a lack of space for public cultural expression creates an atmosphere in
which people do not feel a sense of identification with their local community. This, in turn appears to
drastically impact behaviors and attitudes, producing feelings of isolation, alienation, anger, and finally
rebellion. Toronto will continue to lose its international appeal. Combined with high crime, increased high
density living, urban pollution, and traffic delays, our city will not make an attractive choice for travelers.
When the overwhelming presence of monolithic advertising conveys a message that businesses have
more ownership over our city than it’s not surprising that graffiti artists take great risks to put their
own signature on their surroundings. While this can be taken literally as a reference to vandalism,
(activities in which people write their name, alias or slogan on somebody else’s property), in this context
the term “put their signature on their surroundings” is intended to refer to people that put what they want to
see on the walls in their community, in attempt to create a sense of ownership and identification with their
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urban surroundings. While graffiti and vandalism are linked in many ways, vandalism is a form of willful
defacement and destruction of property. Conversely, graffiti art is a legitimate style and form of art that
has evolved on the walls of cities around the world, has made its way into art galleries and museums and
has even exerted considerable influence on the fashion and design industries. It‘s strong appeal for youth
as a medium of expression is in the techniques of using the spray can: Light, portable easy to use, a nearly
infinite array of ready to use, premixed color. While the style of graffiti art (at it’s best) has evolved across
borders and throughout generations to increasingly exaggerate and test the elements of form and design, it’s
dynamic public presence remains the defining quality of this public art form. It is in this sense that all
graffiti artists aim to put their own signature on their surroundings; while competing with corporate
advertising which dominates our visual space with large, colorful and obtrusively eye catching signs Local
urban artists attempt to reclaim and redecorate the often bare, concrete walls by displaying their own
images. Many of these walls are not in public view at all. Therefore, they do not effect the general public
as much. There are also many areas along highways and viaducts that are vast concrete spaces. Making
themselves attractive to aspiring spray can artists. The decoration of these with colorful murals is a
possible solution. It They can public art parks to keep drivers mentally alert . They would also create a
more human atmosphere. A prime example would be some parts of the Gardener Expressway, Sky Dome,
CN Tower
However, while commercial interests are permitted and encouraged to use their buying power to
establish themselves in our communities and to monopolize our visual environment, graffiti artists
are restricted and marginalized, left to risk creating their work in underpasses, under bridges, back
alleys and train yards.
Likewise, the presence of vandalism and tagging throughout our city (and throughout the western world)
clearly demonstrates that there are many people who want to express themselves artistically and will risk
fines or jail to use their city as a cultural forum. Vandalism and willful destruction of another persons
property is not justifiable in a democratic society but neither is a complete censorship and control of public
space. There is very little public space on walls on which artists are allowed to create their work legally
and in a safe atmosphere. The outlawing and imposition of stiff fines on mainly youth produces feelings of
alienation and isolation form the city in which they live. Not to mention a complete violation of the right to
express oneself. In this great “world class” city of Toronto why are there not free walls, similar to concept
of freedom for speech , like speakers corner, in Great Britain. Why are there not clearly designated areas
and a municipal policy and guidelines. These can be administered by local schools, communities and
businesses
In this article, graffiti art has been chosen as an example because it is a form of public art that has very
clearly and obviously been affected and influenced by the state of our city city’s visual space (characterized
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by the presence of blank walls or mainly commercial advertisement ). While the activities and expression
of graffiti artists are blatantly persecuted, outlawed by the law, the monopolization of our city’s walls by
the advertising industry has also limited public expression many ways that are less overt.
In fact, even the most conservative, traditional, and decorative forms of public art are limited and
affected by advertisers backed by huge sums of money and connections. Individual artists fact three
formidable obstacles when they propose to put up a mural anywhere in Toronto.
If the proposed mural project is on a wall of the retail space along an retail area (e.g. Bloor St.), many of
the property owners are numbered companies, or absentee landlords. These proposed patrons are difficult
to contact and even more difficult to persuade for the following two reasons. The sign by-law which
imposed criterion, only applicable to mainly advertising and commercial advertisers. Also consider these
scenarios:
A small business operator has a store with a large wall this is in a historically and ethnically significant
area of the city. It faces busy intersection, visited by several thousand people every day.
A youth artist or
a team of ‘writers’ spray artists create a design for the space with the intention of promoting awareness of
the city’s heritage, or may simply want to brighten up an otherwise decaying wall. This is a grass roots
attempt at beautification in order for to help people identify with and be proud of their community. The
proposed cost of the mural will be covered by donations, (perhaps the city’s Historical Society and Arts
Council). The proposal is submitted and accepted. However weeks go by and there is no favorable
response. Finally the owner says no to the mural project but actually offers the artists $1000.00 to prime
the walls. Why would the owner offer to pay for the wall to be painted white? Most likely, a large
advertising company has offered to pay the owner rental fee to place advertisements there instead.
The operator of a fast food outlet is approached by a group of young artists who request permission to paint
on the back wall. The artists state that they will cover the entire cost, they are merely requesting
permission. The operator, in most cases is not the property owner and therefore cannot give written
permission, gives verbal permission. Soon the work begins. Perhaps when they are nearing completion the
local police contact the owner or operator as a matter of procedure and explain that there is illegal graffiti
on the wall. The occupant is informed that they must clean it up, the police offer to bring in the provincial
prisoner release program and clean up the wall. The occupant is intimidated by the policing of what they
consider private space and personal artistic taste, and agrees to have the mural whitewashed.
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What makes the artwork illegal graffiti? The fact that written permission from the owner was not obtained.
The youths in question may now face a possible fines up to $5000.00, charges and a possible criminal
record.
These examples should help to make it clear that graffiti artists are not the only creative people whose
ability and freedom for public expression has been restricted and affected by the monopolization of your
visual space. Even traditional muralists who hope to beautify our city while promoting our cultural and
historical heritage are affected, regardless of whether or not they intend to profit from the creation of their
mural.
There are no official guidelines or policies governing the use of public visual space or enforcement of those
guidelines other than policing. Do we want or need policing of public visual space? Probably not!
While this problem exists in our city, many other communities have posed and implemented effective
solutions that have helped balance the proportion of advertisements, blank concrete and public art displays.
Notably, Philadelphia has created a training program hat involves an art and mural training program that
involves young artists (including graffiti artists) working with mentors to create beautiful murals around the
city. These murals are extremely varied in style and content, reflecting both traditional and contemporary
art trends. While some of the murals serve to educate about the historical heritage of the city, others
celebrate local heroes such as basketball player “Dr. J”. Through the past few years, over 250 murals have
been painted in Philadelphia, funded by a wide range of sponsors including large and small businesses,
government sectors, and private citizens. In addition, a large public event called “The Big Picture” is held
annually, during which people can interact with the artists and can get involved in what is happening in
their local neighborhood. While the city of Philadelphia created the program as a solution to the
deteriorating state of the walls, vandalism, urban rot, high crime, other cities and townships have
implemented public mural programs for different reasons. Examples in Ontario include Penatanguishine
and Midland, Pembroke, Ottawa, Windsor, Dundas, Kitchener-Waterloo. These towns have used murals as
means of drawing tourism and beautifying their local environment.
Toronto has had a Graffiti Transformation Project which has been growing steadily for eight years. This
program has had a positive view on representation of a diverse range of traditional and contemporary styles
including aboriginal, graffiti, landscape and other forms. The program has created employment for local
artists and students who work with mentors in producing murals that are intended to beautify the city and
reflect the heritage and culture of Toronto and Canada. The Graffiti Transformation Program goals are to
use youth artists to help transform heavily vandalized walls with large, colorful murals. These murals are
rarely targeted again. Over time the murals will eventually get “tagged”. Many of the murals have a
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protective coating so that most tagging can be removed. The average life span of an outdoor is about four
years before deterioration is apparent.
However, walls that are whitewashed are frequently targeted repeatedly by vandals and “taggers. Over
time the murals will eventually get “tagged”. Therefore over time most murals will have to be replaced or
repainted. This can be as simple as re-priming the wall. There are also individual circumstances that
require special treatment. ”
While “tagging” on wall and surfaces is practiced by most graffiti (read youth) as means of communication,
the consequences of getting caught are crippling for young creative minds. The reverse side of the
argument is that these artists are still damaging property if the mural is painted without written permission.
By rights this deserves serious consequences. Public opinion is unanimous on this issue. There remains
the thorny issue there not being enough public spaces for youth “graffiti” artists to showcase their work. So
therefore the argument goes , part of the reason why “graffiti” is proliferating is because there is not
enough visual space for a growing body of young artists. The fact that it is so illegal, involving pursuit by
police makes it all the more attractive to young instincts and appealing to many who see it as a form of
rebellion. Perhaps this is why “graffiti art” is proliferating so rapidly.
While it is understandable that there will always be forms of vandalism, we do not want to confuse this
with the art of decorating walls. There need to be enough wall spaces in the city of Toronto, much of it in
the public eye, dedicated to artistry as opposed to advertising. This would help justify having criminal
consequences for painting on walls without permission. Otherwise we are engaged in a form of censorship
which is repressive and undemocratic. Undemocratic because it prevents some members of society a
channel for their self expression.
There are also many other creative groups in and around Toronto who have created initiatives in an effort
to promote creative visual expression through the painting of large scale murals. There is the annual public
graffiti art event 416, during which the public and artists can interact. Some of the results from the
previous 416 events can be seen in the alleyways south of Queen St. West., between Spadina and Bathurst
St. In the surrounding areas many cafes, clubs and stores have allowed or commissioned graffiti artists to
decorate their buildings or to create signs for their businesses, hinting at the effectiveness of promoting the
talents of local artists. While Queen St. West and the fashion district is particularly liberal and progressive
area, what has worked for graffiti artist in this area could work for muralists in other communities.
Mural Routes developed in partnership with the Scarborough Arts Council and the former city of Vanier, is
an attempt to initiate and unify mural artists across Canada. Yearly mural Symposia are held in various
locations across Canada. This event creates a forum for those parties interested in promoting public art
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while attempting to deal with the problems of outdoor mural painting in the Canadian context. See
(www.muralroutes.com) As well there is a collective of talented young artists who have unique campaign
to balance the proportion of billboards/advertising to public art/murals. THEM art is foundation for the
Advancement of young urban artists (www them-art.com). They have proposed legislation that would
implement a user fee for businesses that advertise in our visual space. Proceeds of the user fee would fund
public art and green space projects (including landscaping, environmentally based projects, etc.)
One can see that their are a far-reaching and diverse array of community groups, partners and individuals
that are making efforts to promote public cultural expression and reclaim a balance to our visual
environment. Many artists are trying to “put what to see” in our city’s public space, either through illegal
vandalism or by obtaining permits to paint legally. It seems likely that graffiti artists will continue to paint
what they want to see as long as they feel outlawed, alienated and isolated. Only once they feel accepted,
permitted and encouraged by the community will there be any interest in portraying what the wider
community wants to see.
Walls or areas in our community have to be identified and designated for mural art, spray art. These walls
will presumably have a turnover rate. Scheduled for repainting will vary depending on wall conditions, in
some areas with high exposure, the turnover may be as little as one month. In other areas walls may be left
for up to ten years, given the outdoor weather and pollution in Toronto.
Without fear of prosecution, a wide range of artistic styles and interest will be represented in our public
environment. Perhaps it will help to create a sense of uniqueness. Visitors to Toronto will find this aspect
attractive.
If Toronto aims to be a to be thriving cultural center, we should invest in developing and promoting its
local visual talent (AKA “Marketable Resources). By taking inspiration from initiatives from other
communities such as Philadelphia, Dundas, Windsor and even right across North America.
The solutions to the problems are only limited by our imagination and a will to work in partnerships.
Some suggestions
Develop an organized training program in which young artists can work with experienced mentors to
conceptualize, design and produce public artworks.
Identify and designate walls and areas throughout the city (Toronto) as mural spaces, these areas will be
scheduled for repainting. These will have to be heavily tagged surfaces.
Create an annual public art competition for selected mural spaces throughout the city.
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Designate a graffiti writers billboard, preferably along the Gardiner Expressway. The image on the
billboard can be replaced at regular intervals.
Develop a program in which artist mentors work with secondary schools, in collaboration with the art
department, to instruct students to paint murals in schools where vandalism and tagging are prevalent.
Walls that form part of buildings left derelict and scheduled for demolition could be temporarily designated
walls which aspiring spray artists can hone their skills.
Decorate the remaining concrete supports of the former Gardiner Extension, the expressway has been
removed but the supports remain. There could be annual competitions to repaint these. It could become a
designated graffiti park.
In other areas graffiti will simply have to be tolerated, if it isn’t too offensive. Many of these areas are not
easily accessible to public view.
The presence of spray vandalism will presumably always be apparent in our urban environment. Do we
want it to proliferate to uncontrollable amounts or, can by making adequate and reasonable plans for the
future lessen it. How much of it can the public tolerate? How will this effect the impressions the city
makes on visitors.
There are many groups and communities partners who are working to beautify our public space, and many
urban renewal solutions that are yet to come…or haven’t been perused. Our environment greatly affects us
in ways that we may not even be aware of and, sadly, at times Toronto is regarded as cold and soulless.
Surprising, but true. Consider that we are surrounded by gray concrete and overwhelming advertisements
that fill a cultural void with slogans, logos and advertising.
There needs to be a balance. Is it possible to balance monolithic advertising with monolithic art? Can we
control vandalism by providing public venues for legitimate artists?
The positive answer will depend on two factors; human and economic resources. There is untapped
potential to be a cultural landmark, if we as a community encourage the development exposure and
promotion of local talent.
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