Graffiti is, by definition, a form of writing, scribbling, scratching or distributing paint over a hard surface, on a public wall, illegally and anonymously. On the other hand, an entirely legal and considered a form of art is s graffito, architectural decoration of walls. The prototype here can be Paleolithic images, 40 to 10 thousand years B. Today, it is difficult to decide if those works of art were in any way legal or not. During the Hellenistic Period in Greece, inscriptions were carved in the stone of walls.
A relevant example is presented in Figure 1. It is an inscription indicating a person whose name signified somebody powerful and extraordinary. Figure 1 Nemea, Peloponnese: A stadium entry. B antique graffiti on a tunnel slab underlined by a white line. Not always writing on walls was a form of artistic expression. Quite often, it was a form of political fight. In Poland, this type of communication emerged in 19th c. On buildings, or rather their walls to be precise, satirical texts against the Tzar were put.
In was an illegal activity from the legal point of view, and the content of the texts vulgarised officials or institutions. Inscriptions on walls often conveyed important information which in such a manner reached the interested parties.
In Warsaw, there are inscriptions from the period after the city liberation in to be found informing that the area was clear of mines. These inscriptions are preserved and protected at present. Figure 2 shows such information located in Wawelska Street. A more civilised form of graffiti is urban murals, often adorning exposed top walls of terraced blocks of flats and tenement houses. Graffiti poses a challenge as almost nobody looks into the question of graffiti and people who choose this form of artistic expression.
Let us try and identify and define graffiti and graffiti artists on the basis of the Polish graffiti milieu in the context of bridge graffiti.
The proposed definition is relevant to the reflections in the article and as such may not be generally universal and subject to criticism. No doubt, graffiti is essentially an artistic activity inextricably linked to underground activities. Most often anonymous, illegal, persecuted and penalised Figure 3. Real graffiti is a form of protest of the young generation. They are commonly unaccepted, to say the least. They cannot and do not want to adjust to hierarchical cultural and social circumstances.
Nobody, or almost nobody outside of their circles, understands their art, their message, and, above all, their protest. It is the art of confused but defiant and energetic teenagers ready to fight their fight.
Figure 3 Police arresting a graffiti artist caught in the act on a bridge abutment wall. They use spray paints. In most cases they are uneducated in the area of fine art, com-position or painting techniques. They are amateurs. Very often, they have not received any form of education. The subject or issues addressed in their art are not defined.
Here, the act of creation is the most important and in this sense it is a painting technique. The action of creating is not synonymous to the act of creating. A graffiti artist works alone or, paradoxically, as a member of an action group, very well prepared logistically. Under-ground is understood as secrecy, the activity is hidden from parents, teachers, out-of-school environment or any other. Bridges are a perfect place for graffiti actions. Here, two options can be detected.
In the first variant, the subjects of the actions are old, existing bridges usually neglected and for that reason attractive. A graffiti artist creates images referring to the existing state of deterioration or beautifying it. In the second option, a new and clean bridge tempts with the easiness of protesting against civilization conformism. A new bridge is an emanation of social prosperity or even success, and that is why it is a perfect instrument of signalling contrast to withdrawn individuals, marginalized by their maladjustment.
The above description of the graffiti movement and artists is a conclusion of a several interviews conducted with graffiti artists from Lublin.
It is not a strict definition, but functions as a basis for identifying a graffiti artist sending their own individual message with a strong tint of elitism and narcissism. In the past certain parallels with graffiti as a phenomenon can be spotted, namely recurring protests against the forms of art officially regarded as correct and academically acceptable. They are commonly known as crises and turning points in the history of art, i.
Only works positively assessed by the Academy of Arts were accepted for the exhibition. Participating in the Salon was a gateway to a career in art. Nevertheless, the Salon became artistically ossified and did not keep up with new trends in art.
The monopoly of the Salon was broken and the rejected artists acquired a new path to the artistic establishment. The history of crisis in art, referred above in short, cannot apply to graffiti. Any form of academism, conformism or commercialization excludes graffiti artists. From this moment on, they can be established artists but not graffiti artists any more. Anybody of an adequate intellectual and technical potential can participate. For this reason, the contents of graffiti images vary to great extent.
It is generally assumed that a political statement on a wall is accept-able, while bad language or expressions of anti-Semitism and racism are reprehensible in the Polish and European cultures. Unfortunately, these happen quite often and the reaction of relevant authorities responsible for a given bridge or building is not always prompt enough. Automatically, this essentially marginal sub-group of images is noticed quickly and strongly influences how graffiti is perceived.
Considering graffiti and its artists, one should clearly distinguish between the art of graffiti 5 and the activities of random people around a bridge. Usually, such people are the authors of extremely vulgar inscriptions and drawings, directly corresponding to their intellectual capacity - more often than not. In terms of art, this is not graffiti. History Manga Artists Clamp.
Henry Coe Artist. Career Artist Management Maroon 5. Deana Duffek Artist. Sublime Artistry. Comic Artist Webrings. How do graffiti artists paint on bridges, overpasses and How do people get graffiti on the side of a bridge over a How do graffiti and tag artists get into those impossible Kind of a trust building exercise, I suppose. How do people put graffiti on highway signs that are high I forget why he said he took such risk, but part of it was to have the tag where it was not supposed to be but where many people would be forced to see it.
It makes a kind of challenge. I would have worried about the effect of bounciness on the finished product. There are lots of writers out there submitting for free every day just hoping to get exposure. Ameteur night at clubs improvs, etc. Such is the life of an artist. I offered to buy the supplies. I just figured people who have nowhere to paint except trains and business walls where they are uninvited might make use of an available space that would get seen and not get them into trouble.
I was offering an opportunity to unseen, unappreciated artists. Jonesn4burgers The professional writers and photographers who I know pretty much take this attitude on the matter of working for free. I feel like you are searching for some way to attack me here. I never spoke once of professionals, they are already known. If your work has price tags on it, then great, you have an audience that appreciates you. I was offering an opportunity, and I got a shit reaction for it. To join, you must be at least 13 years old and agree to the terms and conditions.
Social Question. How do people put graffiti on highway signs that are high above the road? Add Topic 6, questions people. Add Topic 3, questions people. Add Topic 62 questions 3 people. Observing members: 0 Composing members: 0. I think the vertical support poles for those signs have attached climbing rungs.
Response moderated Spam. I had no idea there was video documentation. The installation stood in place undetected for more than ten years. The best art. I have mixed feelings regarding graffiti. The result is carefully executed and impressive bodies of art. Graffiti is inherently subversive.
How can I not help but like it? Thank you! Bungee, really?
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