Demetrius Lee
Jacqueline Fetzer
English 802
29 November 2015
The Misunderstood Art Form of Graffiti Graffiti is a monumental part of any urban environment. Many view the action of graffiti to be the work of a criminal while others view it as the work of an artist. Vandalism, the destruction of property, is the category that graffiti falls under in many countries. It is understandable that posting graffiti on a private small business is a criminal act. However, graffiti can and should be viewed as a form of art no matter the location. Many art museums have graffiti style pieces, which further reinforces the argument for graffiti being viewed as a work of an artists rather than a vandal. At the end of the day, graffiti is an antisocial (not accepted as a valid form of social expression) form of art. Modern graffiti originated in the 1960s and was used by teenagers as a form of expression; it eventually metastasized into a majority of urban environments and eventually found its way into art museums internationally (Whitehead, 26). However, as the popularity of graffiti grew, law enforcement began to view it as the work of criminal vandals and legislation was passed in an attempt to halt it. As time progressed graffiti’s social point of view has improved as its presence has decreased (Dennant 1997). Modern graffiti first appeared in the 1960s in Philadelphia (CIA). It was mostly about “tagging” or putting your name on a piece of public property. However, as graffiti began to spread to places like New York, where it covered the subway system, it began to develop from “tagging” to full blown mural paintings (Whitehead, 27). From the 1970s to 1990s, graffiti more commercialized as an art form and artists like Jean-Michel Basquiat adopted a more graffiti style form of art to convey their messages (Whitehead, 27). An underground form of expression that was frowned upon transformed into a fully commercialized form of art (Whitehead, 26). Although this transformation was good for successful artists who painted graffiti style paintings, the outlook on graffiti in the streets of urban areas has not changed. Many citizens and a lot of members of law enforcement view graffiti as a form of vandalism and refuse to accept it as a form of art, but it usually depends on the location (McAuliffe and Iveson 131). Common sense usually dictates where graffiti looks “correct” and where it looks “incorrect” as was shown in the documentary “Getting Up.” All in all, graffiti’s history allows for the advanced of the “graffiti is art” narrative to expand become more logical. The fact that graffiti style paintings are in art museums and are viewed as respected pieces of the world’s art scene, speaks to the true artistic components of graffiti. Unfortunately, for normal a graffiti artist, whose artwork is not subject to end up in any museum are still frowned upon by many members of society, and it is still an illegal practice. Nevertheless, there have been a few artists who were able to able to take their graffiti art from the streets to the galleries (Jean-Michel Basquat). Jean-Michel Basquiat was among the first and most well-known graffiti artist to jump from the streets to the galleries. His work was very influential and he later become one of the most influential artists of his time (“Graffiti Art: From the Streets to High-End Galleries”). In the Museum of Contemporary art there is an entire exhibit dedicated to street art; it is called the “Art in the Streets” exhibit and is one of the first exhibits of its kind (“Graffiti Art: From the Streets to High-End Galleries”). Another example of graffiti infiltrating the art gallery and museum scene is in the “Born in the Streets” exhibit at the Foundation Center in Paris, France (“Graffiti Art: From the Streets to High-End Galleries). The fact that graffiti is now in art museums speaks to society’s new perspective on graffiti. When something is put into a museum or gallery it is done so because its artistic aesthetics and message are well respected by laypersons. Yet, the practice of graffiti is still illegal. Members of society are beginning to give many acclamations to graffiti while law enforcement sees it as a pestering problem that needs to be dealt with (“Graffiti Art: From the Streets to High-End Galleries”). This transformation of society’s point of view on graffiti could see a transformation of many anti-graffiti laws that have been enacted, but no one can tell the future. Unfortunately, law enforcement does not seem to support the growth of graffiti with some guidebooks on policing relating graffiti to increased public disorder (Weisel, 3). From a legal point of view, graffiti is illegal. However, the “judicial system traditionally has characterized graffiti-related offenses as minor and low priority” (Gomez, 659). Although graffiti offenses are not very serious offenses, to be a graffiti artist is still to be a criminal. Since graffiti’s popularity in urban areas exploded, there have been movements against its growth. One of the most prominent examples of this is the Philadelphia Anti-Graffiti Network (PAGN). The PAGN was founded in 1984 by Mayor Jason Goode in an attempt to combat the spread of graffiti. With stricter laws and funding of programs like the Mural Arts Program, the PAGN had a full artillery of graffiti prevention mechanisms (“Philadelphia Anti-Graffiti Network”). This is an example of a movement taken by city legislation in an effort to combat the spread of graffiti into different urban landscapes. Many other smaller anti-graffiti laws were passed as time progressed. Also the adoption of the broken windows theory, which states that the prevention of small crimes like vandalism will lower the occurrences of serious crimes, helped influence the decline of the graffiti in places like New York (Keling). New York began to take special care of its urban areas, which allowed for more urban monitoring leading to more enforcement of the anti-graffiti laws in the state. There were many other efforts in other urban areas to stop the spread of graffiti which led to its decline (Keling). However, out of the shadows of the decline came the hidden artists in the graffiti world, who seemed to have become the new leaders in the graffiti scene. The new style of graffiti is more concerned with the artistic form of the style. After its decline due to all of the anti-graffiti movements the development of “post-graffiti”, also known as street art, dominated the graffiti scene. This form of graffiti is time-sensitive and requires the tedious use of stencils, and this type of art is displayed in many museums across the world. However, it is still seen as graffiti at the end of the day and according to modern laws a criminal offense. Artist Banksy is a leading figure in the street art movement, and his work is being sold for high prices around the world. However, he has stated that he must remain hidden to protect himself from the legal consequences his art will have afforded him by now (Ellsworth-Jones, 1). Even though he is considered a great artist by many in the art community, and his work is critically acclaimed he is still a criminal due to graffiti being a form of vandalism, a criminal offense. A majority of today’s graffiti is similar to Banksy’s in terms of its aesthetically pleasing intent, but it is stilled illegal. Usually in something viewed as antisocial, the opposite of what society had deemed morally correct, is illegal therefore graffiti is an antisocial practice. But, in today’s graffiti a majority of it is in the style of what is regarded as fine artwork in museums so it still posseses the title of art. Therefore, graffiti is nothing more than antisocial art. However, if graffiti is now considered popular art, why is it that the possible legal consequences of the artist practicing their craft causing them to have to hide their identity just to protect their freedom and personal autonomy. This is where the discourse between whether graffiti artists are artists or vandals. If one’s work is influenced by another artist in the field the way street art (today’s dominant graffiti style) influences other street art, it is what one would call art? But, what street artist do is illegal, so they are criminals, not artists. That is where more discourse pops up in whether graffiti is the work of an artist or the work of vandals. Banksy is a world renowned graffiti artist, whose work goes for large sums of money internationally (Ellsworth-Jones, 2). Banksy first arose on the graffiti scene in the 1990s, when he began to spray paint the walls of Bristol (Ellsworth-Jones, 2). Banksy went from using freehand spray painting to employing stencils in his graffiti and that is when he became well known for his political messages, wit, and most of all his artistic ability (Lilley). Banksy soon began receiving critical acclaim from many in the general public. This acclaim came from a large sum of individuals in the general community (Lilley). He soon gained significance influence in the art field and general society. He soon made the list of Time magazine’s most influential people, and no one even knows what his face looks like (Ellsworth-Jones). Banksy received all of his recognition through his artistic abilities and the messages he was able to convey through the illegal action of graffiti. Nevertheless, he is still an outlaw from the law, who the police are still searching for; however, Banksy himself has said that he is now an expert at evading law enforcement (Joseph). Despite this, he is considered an artist. Banksy is not the only other street artists, who have achieved recognition and fame from his work in the street. There are may other smaller respected street artist who are lauded on the same way Banksy is (the quantity of these acclimations are on a much lower level). These artists include King Robbo, Miss Van, Invader, and many more others. Many graffiti inspired art and graffiti art itself has ended up in galleries and museums across the world. Despite this law enforcement still view graffiti as a significant problem in urban areas. According to the Problem Oriented Police series released by the United States Department of Justice, graffiti is a “major concern” (Weisel, 1). This has been the viewpoint of law enforcement since the anti-graffiti movement exploded in urban areas. Law enforcement views graffiti in a very negative light, saying that graffiti makes an area look as if the police in that area are performing their job inadequately (Weisel, 2). Law enforcement disagrees with the notion that graffiti is art and reprimands the mass media for trying to make the practice of graffiti a more tolerated action (Weisel, 1).
Although the police disagree with the new acclimations graffiti has received in the past couple of decades, graffiti is still receiving more and more acclimations and being put into more and more museums and galleries. Due to this, graffiti is still antisocial even though it is in galleries all over the world. According to criminologist Jonathan Jackson in his paper Crime, Policing, and Social Order: On the Expressive Nature of Public Confidence in Policing, the police are the “symbolic guardians” of all things involving social order, and due to this, graffiti is still an antisocial action that is considered art. In the past 50 years, graffiti transformed from tagging one’s name on a public wall to full murals that are sold for incredible amounts of money. Also, society’s point of view on graffiti has gone from negative to positive, in the past 50 years. This development has allowed graffiti artist go from vandals to artists in the eyes of many members of general society. However, there are always disagree with this statement, but that happens with every societal issue not just graffiti. With this new point of view on graffiti, will law enforcement soon see it the same way? Artists will have to let the progression of time reveal that to them.

Works Cited

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