The Emergence…or Divergence?…of the Futures of Graffiti and Street Art
Our lives define this form of art
What is art? Where does it exist? Is it only produced using canvas or clay and pottery? Is it delegated to the hands of the formally trained? Destined to be confined to white wall galleries where the viewers hob-snob over cocktails and speak on the latest auction at Christies? Is it just Basel in Miami or Art Fair in NYC? See this discussion speaks of ownership. It speaks of how and who gets to define things. The broad expanse of what can be called “art” allows for many tastes, viewpoints and compositions. It’s all fair game. But when you speak on topics like commercial success, global reach & engagement or market / career stability you’d be remiss to think that everyone is getting a fair shot. This is especially pronounced in the visual arts field.
But there is a new entrant to the conversation. This group may just now be getting an invitation to the lunch table but the entire culture has been cooking up for a while. We’re talking about a WHOLE different scene. Not the galleries, white walls and fancy cocktail dinners. We’re talking about the pavement. An artform whose genesis was in subway cars, bus routes, random blocks. Pieces on the side of buildings that reach into the heavens. The culture and art of the street. Graffiti writers and the street art community has entered a new space within the larger conversation of “art”. If one pays attention, it seems as if the foundation and hard work of countless individuals, both named and unnamed, is starting to bear fruit.
Dont toy with it, nor yourself
Okay lets run a quick lesson for the uneducated. Graffiti in its essence is the artistic styling of letterform. This divulges into conversations on where this art can be found (from blackbooks to walls, the streets….literally anywhere), to sub-styles and methods such as a tag versus a throw up or a burner versus a full-on piece. Chances are if you’ve seen some form of graffiti wherever you are. You might not be viewing a MSK or YKK piece (both very respected graff crews), but someone around you is DEFINTELY “getting up” (actively going out and writing graffiti). Street Art is a different story. This form is very diverse and has many entry points. But to summarize lets say street art is the composition of an artistic work that is displayed or erected within a public space. It is meant to be viewed by the common passerby, the walker on the street. The majority of what we reference in this street art discussion and others are wall-based murals. But know that street art comes in many forms from posters to installations and more. So while there are many similarities between graffiti and street art, there are important distinctions to understand. And in this world, if you dont know whats what, or come across as completely green…..you are going to be ostracized. If you’re going to be around it….you’re fully in it. All the good, bad and the ugly. If not you’re just a “toy”…another graff term meaning your playing with the game, you’re early-on….still wet behind the ears; not to be taken serious.
Past the hooplah and cultural anecdotes that make this form of expression what they are, there is something to be noted about the lifecycle of graffiti and street artists careers. Being an artist who focuses their effort on graffiti is a lifestyle in and of itself; nights on the streets, the mental commitment, the very physical risk of freedom and criminal record . Unless composed on a sponsored wall or done with permission in many cases by textbook definition its vandalism. So its no surprise that covert, discrete and clandestine would be appropriate descriptors. When speaking of street art muralists, the form is practiced more in the open, with a fair amount of it practiced under the pretense of permission. So consider the two mindsets at play here: a graffiti writer who spends their time at night on the street, practicing their skillful craft in the subversive manner required of the form that is deemed a “crime”, versus your street art muralist who crafts beautiful works in more of a relaxed, open setting.
Don’t take all of this to heart. There’s plenty of exceptions, variations and middle-ground to this debate. But we are offering a point of view that has become more pronounced in recent years. The pathways for both graffiti and street artists to establish well-paid careers have become more common and open. The combination of social media, technological developments in video / photo and renewed public interest in street art / graff by both consumers and corporations has fed this emergence. We are at a point in time where events like @TheBushwickCollectives Annual Block Party is being praised as a staple of community revitalization and neighborhood diversity. This is a great thing to see, as opportunities to live and thrive solely off of are art being realized by graffiti writers and street artists alike. Nowadays its possible for the writer who was catching felonies for vandalism to make salary money off of commissioned works, events and product / merch. The muralists who saturate the street art community may have a position that has long been more keen towards making the commercial transition, but the attention of the global public and engagement with large corporations is something that has expanded in recent years.
New Found Appreciation
So yeah this isn’t the regular travel guide article or discussion about who’s who and where you need to be. But this is what’s really happening. These are the discussions and debates that are happening on the streets of art capitals like New York City. This is coming from the mouth of artists and writers we hang out with. You can really find GoodSociety in those unnamed spots in places like Bushwick, figuring out what is really going on. This isn’t some schoolyard debate of who is better than who and so on, but really a question revolving around integrity of the culture. Its like there is this invisible line that exists…one where some artists believe it all should be kept in the “street”; devoid of contracts, commissions and sponsorships. On the other end, you have artists who fully believe in chasing all entrepreneurial opportunities and growth in their professional careers.
So……what do you think? In the end, lets appreciate the fact that there is space for both to decide. Individuals like Joe Ficalora and the BushwickCollective are great examples of the newfound platforms, opportunities and spaces available for artists who were once marginalized in the global art conversation. Truly inspiring to see renowned artists like Jayson Naylor, Huetek, or Robert Vargas all in one space. (Doesen’t hurt to find out one of your compadres from wayyy back has been writing for over 20 years and personally introduces the Klub to everyone…no really shouts to D.Intro). Seeing thousands of community-goers open their hearts and wallets to support the graffiti and street art community was amazing. There were brands like Ray-ban who commissioned a building-face hand-painted mural on-sight. Jack Daniels had a sponsorship tent in addition to Modelo’s beer garden. If brands like The Bushwick Collective are able to merge the street and commercial, and provide opportunities to artists who largely have been ignored and pushed aside….then we’re here for it. Some may choose to contain their delegation to the streets, while others aspire to other destinations. In the end, lets hope that more opportunities to advance the culture are made present for all. Because graffiti and street art are both beautiful forms of self-expression that have and will continue to earn their place in the story of human existence.
