Graffiti in New York City has substantial local, national and international influences. Originating in New York City Subway and spreading beyond it, this is regarded by the city authorities as an act of vandalism, while some see it as an art form.
Video Graffiti in New York City
Pertumbuhan subkultur grafiti
Modern graffiti started in Philadelphia, in the 1960s. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird") in 1955, graffiti began to appear around New York with the words "Bird Lives" but it was not for about a decade and a half more graffiti began to become visible in NYC. Around 1970-1971 the center of graffiti culture shifted from Philadelphia to New York City, especially around Washington Heights, where writers such as TAKI 183 and Tracy 168 began to gain media attention. Using a naming convention where they would add their street number to their nickname, they "bomb" the train with their work, letting the subway take it all over the city. The bubble letters are popular among authors of the Bronx, but replaced with new "wildstyle", a term coined by Tracy 168 and the legendary original graffiti crew with more than 500 members including Blade, Cope 2, T Kid 170, Cap, Juice 177, and Dan Plasma. Graffiti tags start to grow in style and size. The famous names of the time include DONDI, Lady Pink, Zephyr, Julio 204, STAYING HIGH 149, STAGE 2.
Graffiti writing is growing competitive and artists want to see their names visible throughout the city. Around 1974 writers like Tracy 168, CLIFF 159, and BLADE ONE started to create works with more than their names: they added illustrations, full of sights and cartoon characters, to their labels, laying the groundwork for mural cars. Standards from the early 70s continued to grow, and the late 1970s and early 1980s saw new styles and ideas. When graffiti spreads outside Washington Heights and the Bronx, the movement of graffiti was born. Fab 5 Freddy (Friendly Freddie, Fred Brathwaite) was one of the most important graffiti figures of the era. He noted how different spraying techniques and letters between Upper Manhattan and Brooklyn began to join in the late 70s: "from that came the 'Wild Style'." Fab 5 Freddy is often credited with helping to spread the influence of graffiti and rap music beyond the initial foundation in the Bronx, and creating links in mostly white art and music centers. It was at this time that the established art world began to embrace the culture of graffiti for the first time since Hugo Martinez's Razor Gallery in the early 1970s.
The growth of graffiti in New York City is aided by its subway system, whose accessibility and interconnectivity facilitate the emergence of a community of subway and muralist graffiti writers. It is also aided by budgetary restrictions in New York City, which limit its ability to remove graffiti and perform transit maintenance. Mayor John Lindsay declared the first war on graffiti in 1972, but it would be temporary before the city was able and willing to dedicate sufficient resources to the problem to start impacting the burgeoning subculture.
Maps Graffiti in New York City
Decrease subculture
Because graffiti becomes associated with crime, many are demanding that the government take a more serious attitude toward it, especially after popularizing the Destructive Figma philosophy. In the 1980s, increased police surveillance and the implementation of increased security measures (razor wire, guard dog) combined with a continuous effort to clean it led to the weakening of New York's graffiti subculture. As a result of a subway that is harder to paint, more writers go to the street, which is now, along with commuter trains and toy cars, the most prevalent form of writing. But the streets are becoming more dangerous because of the growing crack epidemic, legislation is under way to make punishments for graffiti artists worse, and restrictions on sales and painting make materials difficult.
Many graffiti artists, however, choose to see new problems as a challenge rather than a reason to quit. The downside of this challenge is that artists become highly territorial from good writing places, and strength and unity in numbers (gangs) are becoming increasingly important. This is stated as the end for the casual graffiti subway artist.
In 1984, the New York City Transit Authority (NYCTA) began a five-year program to eradicate graffiti. The years between 1985 and 1989 are known as the "diehard" era. A final shot for the current graffiti artist is in the form of a subway destined for scrap yard. With increased security, the culture has taken a step back. The previously complex "burner" on the outside of the car is now tainted with simple marker markers that are often soaked in the paint.
In mid-1986, the Metropolitan Transportation Authority (MTA) and NYCTA won their "graffiti war", with the last doodled train removed from service in 1989. Because the artist population degraded as well as the violence associated with the graffiti crew and " bombing. "However, teenagers from inner London and other European cities with families and other relationships to New York City at the moment have taken some of the Graffiti subway traditions and exported them to the home, although New York City writers such as Brim , Bio, and Futura have themselves played an important role in building such relationships when they visited London in the early to mid 80s and 'put up pieces' at or near the western end of the Metropolitan line, outside London.
Almost as importantly, just as subway graffiti is declining in New York City, some British teenagers who spend time with families in Queens and the Bronx return to London with a "mission" to give the Americanized London Underground Limited (LUL) through New Style Graffiti paintings York City on the train. These small groups of "railroad writers" (LUL writers) adopted many of the styles and lifestyles of their New York City ancestors, painted pieces of train graffiti and generally 'bombarded' the system, but supported only a few underground lines that selected that are seen as best suited to train graffiti. Although on a much smaller scale than what has been in New York City, graffiti on LUL rolling stock became quite a problem in the mid-1980s to provoke the British Transport Police to form its own directly modeled graffiti squad and in consultation. with it from MTA. At the same time, graffiti art on the LUL train aroused interest in media and art, leading to several art galleries wearing exhibitions of several works of art (on canvas) from several LUL authors as well as TV documentaries in hip-hop pop culture such as the BBC ' Bad Meaning Good ', which included a section featuring interviews with LUL authors and some examples of their work.
Clean Traffic Movement Era
The Clean Train Movement, where rolling stock is cleaned or replaced directly, began in 1985, with the last closed graffiti trains of service in 1989. With the subway becoming increasingly inaccessible, many graffiti artists had to resort to new ways to express themselves. Rooftop became a new billboard for some 80s era writers. Some of the leading graffiti artists of this era are Cope2, VEN, KET, COPE 2, POEM (Poem One, One Art Poetry, Flashback Magazine Publisher), SANE, SMITH, and others. The current era in graffiti is characterized by the majority of graffiti artists moving from subway or train cars to "street galleries." Before the Clean Train Movement, the streets were largely untouched not only in New York City, but also in other major American cities. After the transit companies began diligently cleaning their trains, graffiti broke into the American streets to a society that was never expected and disrespected.
City officials elsewhere in the country graciously assume that gang graffiti is a disease largely confined to the Big Apple [New York City]. The stylish smears born in the South Bronx have spread across the country, covering buildings, bridges and highways in every city center. From Philadelphia to Santa Barbara, California, the annual cost of cleaning after underground artists jumped to billions.
Graffiti also spread to trains on the Roma Metro Line B, which ordered a new train in the 1990s that was quickly marked by graffiti. Trains on Rome's metro are still heavily marked to this day, partly due to the fact that graffiti is still rampant on Metro trains despite attempts to clean it up. However, Metro Line Roma A does not have graffiti on the train because they have newer, more graffiti-resistant rolling stocks, which are also gradually in Line B.
Meanwhile, in New York in 1995, Mayor Rudolph Giuliani formed the Anti-Graffiti Task Force, a multi-agency initiative to combat the problem of graffiti vandals in New York City. It initiated a crackdown on "quality of life crimes" throughout the city, and one of the biggest anti-graffiti campaigns in US history. In the same year, Title 10-117 of the New York City Administrative Code prohibits the sale of aerosol spray paint cans for children under 18 years of age. The law also requires traders who sell spray paint to lock it in a case or display cans behind a counter, beyond the reach of potential shoplifters. Violations of city anti-graffiti laws carry a fine of US $ 350 per incident. Local graffiti artist Andrew Witten writes a point of view that defies this law.
On January 1, 2006, in New York City, a law made by Councilor Peter Vallone, Jr. attempted to raise the minimum age to have a spray paint or permanent marker from 18 to 21. The law encourages anger by fashion and the media mogul Marc Ecko who sued Mayor Michael Bloomberg and Board Member Vallone on behalf of art students and "official" graffiti artists. On May 1, 2006, Judge George B. Daniels granted the plaintiff's request for a preliminary injunction against a recent amendment to the anti-graffiti law, effectively banning the New York Police Department from imposing a higher minimum age. A similar measure was proposed in New Castle County, Delaware in April 2006 and passed into law as a regional regulation in May 2006.
At the same time, graffiti began to enter the mainstream. Much controversy arose in whether graffiti should be regarded as an actual art form. Since the 1980s, museums and art galleries have begun to treat graffiti seriously. Many graffiti artists take their work in the gallery and have their own studios. This practice began in the early 1980s with artists such as Jean-Michel Basquiat, who started the tagging site with his signature SAMO (Same Old S ***), and Keith Haring, who was also able to bring his artwork into the spaces studio. In some cases, graffiti artists have achieved intricate graffiti (especially those done to commemorate a deceased person) at the store gate where the shopkeeper hesitates to cover it up. In the Bronx after the death of rapper Big Pun, several murals dedicated to his life were performed by BG183, Bio, Nicer TATS CRU appeared overnight; a similar outpouring occurred after the death of The Notorious B.I.G., Tupac Shakur, Big L, and Jam Master Jay.
The Aftermath
The street artist/rapper Magneto Dayo performs a song with visuals dedicated to the graffiti culture entitled "Royalty Of The UnderWorld"
See also
- Revs (graffiti artist)
- SAMO
- Commercial graphics
- 5 Pointz
- Freedom Tunnel
- Underground
References
Note
Further reading
External links
- Media related to Graffiti in New York City on Wikimedia Commons
Source of the article : Wikipedia
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