By Margo Thompson
Because the early Seventies graffiti writers have lined subway vehicles with giant and complex tags. This resolutely rebellious kind of expression is the following analysed by means of Margo Thompson, who locations graffiti artists in relation with modern gallery artwork. simply as graffiti writers lent a voice to an ethnic minority, the writer, due to her unique process, serves as ambassador for this frequently misunderstood artwork shape.
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Extra info for American Graffiti (Temporis Collection)
The trains were the gallery thinking, “Well, this is, this is okay, it’s good, but…” and the writers were their own critics. Their culture in many [ZEPHYR] But when you saw them up close they weren’t as ways mimicked the art world, but they had their own art impressive as when you saw them… world. The kids were their own harshest critics. They could [DONDI] Right, right. go on and on about why a piece didn’t work aesthetically [ZEPHYR] Which is the way he paints. 44 and which colors were in the piece...
On the writing process. Some mocked the Transit Authority police for their inability to prevent graffiti: they teased the ‘boys in blue’ When writers became graffiti artists, turning their aerosol cans to ‘catch me if you can’. Others echoed the boasts of dance- on canvases, their tags often dominated their compositions. LEE party MCs who proclaimed mastery of the beats, the rhymes, the and FAB FIVE FREDDY’s first exhibition in Milan in 1979 ladies: ‘Me and my boys turn on the toys when we seek the trains consisted entirely of tags on canvas.
In another mural, Howard the 1976 ‘Doomsday’ train. Jack Stewart described the two-car the Duck, a figure borrowed from Marvel comics, cowered design as ‘a rambling pictorial composition of tilting tenements, behind a trash-can lid warding off LEE’s tag. The letters were subway riders on the platform. 95 Subway shaped like thunderbolts, green against an orange-red riders themselves were LEE’s subject in the 1977 train ‘The splash, and Howard’s reaction, like the lion’s roar, registered Straphangers’, where the exterior of the car has dissolved to the writer’s power.
American Graffiti (Temporis Collection) by Margo Thompson