Length8h 27m
About this audiobook
The first appearances of graffiti "tags" (signatures) on New York City subway trains in the early 1970s were discarded as incidents of vandalism or the rough, violent cries of the ignorant and impoverished. However, as the graffiti movement progressed and tags became more elaborate and ubiquitous, genuine artists emerged whose unique creativity and unconventional media captured the attention of the world. Featuring gallery and street works by several contributors to the graffiti scene, this book offers insight into the lives of urban artists, describes their relationship with the bourgeois art world, and discusses their artistic motivation with unprecedented sensitivity.
Audiobook details
GenreOther
Length8 hrs 27 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateMay 8, 2012
LanguageEnglish
Table of contents
1american Graffiti
2© Andrew “Zephyr” Witten
3Index
4J ean-Michel Basquiat, Keith Haring, and Kenny Scharf are
5the Fun Gallery, the Mudd Club, and other exhibition spaces
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6Pennsylvania, and Scharf came from Los Angeles. They were
7Introduction
8American Graffiti
9African, Oceanic, Native American, or Caribbean cultures, but
10Oldenburg’s and Mailer’s choice of words in the quotations above
11American, or of mixed racial and ethnic heritage. Their cultural
12Introduction
13American Graffiti
14like Collaborative Projects (Colab) and ABC No Rio that were
15Village habitués like John Sex and Ann Magnuson, who
16Jews’, ‘Endangered Species’, and the ‘Oxidation Paintings’ were
17The twin strategies of Warhol-style self-promotion and market
18American Graffiti
19Subway Writers
20George Quinones from the Smith housing projects in lower
21comprehensive cleaning campaign in 1973, the fresh surfaces
22Grand Concourse station in the Bronx, where several of the
23Fabulous Five, a Brooklyn crew famous for multi-car designs:
24entire car or pair of cars, and the individual contributions
25Panzerism’, with its reference to German tanks (Panzer) and
26refinement, but nevertheless advances by way of a critical
27simple tags, to big, colourful bubble and block letters, to the
28the whole evolution of wild-style in the mid-70s. Because it
29[DONDI] When I first saw LEE whole-cars I thought they
30[DONDI] Right, right.
31peer of ‘Old School’ writers like PHASE 2 whose tagging
32prolific
33Michel Basquiat.
34Richard Goldstein to credit the Russian expressionist painter
35American Graffiti
36ZEPHYR ZEPHYR, from Manhattan’s Upper West Side, began writing
37Subway Writers
38spring of 1980 by businessman and art collector Sam Esses. It
39audience, such as those by Vaughn Bodé or R. Crumb.
40American Graffiti
41market value at the time, and Esses’s status as a prosperous
42the writer’s power.
43Art in his use of commercial imagery and objects in his
44He told New York Times reporter Grace Glueck, ‘I said, why not
45CRASH, lower-case for DAZE.
46push-pull effect, with the cooler-toned outlining in front of the
47yards all over the city–from Far Rockaway to the Bronx’.
48American Graffiti
49PINK and IZ.
50Subway Writers
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