sabato 8 maggio 2010
venerdì 7 maggio 2010
Methods and production
The modern day graffiti artist can be found with an arsenal of various materials that allow for a successful production of a piece[48]. Spray paint in aerosol cans is the number one necessity for graffiti. From this commodity come different styles, technique, and abilities to form master works of visual graffiti. Spray paint can be found at hardware and art stores and come in virtually every color.
Stencil graffiti, originating in the early 1980s, is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) in order to form an overall design or image[49]. The stencil is then placed on the canvas gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface. This method of graffiti is popular amongst artists because of its swift technique that requires very little time. Time is always a factor with graffiti due to the constant threat of getting caught by law enforcement.
Stencil graffiti, originating in the early 1980s, is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) in order to form an overall design or image[49]. The stencil is then placed on the canvas gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface. This method of graffiti is popular amongst artists because of its swift technique that requires very little time. Time is always a factor with graffiti due to the constant threat of getting caught by law enforcement.
Graffiti as an element of hip hop
An aerosol paint can, common tool for modern graffiti
In America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures—tags—of Philadelphia graffiti writers Cornbread, Cool Earl and Topcat 126 started to appear.[15][16] Cornbread is often cited as one of the earliest writer of modern graffiti[17]. Around 1970-71, the centre of graffiti innovation moved to New York City where writers following in the wake of TAKI 183 and Tracy 168 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Bubble lettering held sway initially among writers from the Bronx, though the elaborate writing Tracy 168 dubbed "wildstyle" would come to define the art.[15][18] The early trendsetters were joined in the 70s by artists like Dondi, Zephyr and Lady Pink.[15]
Graffiti is one of the four main elements of hip hop culture (along with rapping, DJing, and break dancing).[19] The relationship between graffiti and hip hop culture arises both from early graffiti artists practicing other aspects of hip hop, and its being practiced in areas where other elements of hip hop were evolving as art forms. By the mid-eighties, the form would move from the street to the art world. Jean-Michel Basquiat would abandon his SAMO tag for art galleries, and even street art's connections to hip hop would loosen. Occasional hip hop paeans to graffiti could still be heard throughout the nineties, however, in tracks like the Artifacts' "Wrong Side of Da Tracks", Qwel's Brick Walls and Aesop Rock's "No Jumper Cables".
In America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures—tags—of Philadelphia graffiti writers Cornbread, Cool Earl and Topcat 126 started to appear.[15][16] Cornbread is often cited as one of the earliest writer of modern graffiti[17]. Around 1970-71, the centre of graffiti innovation moved to New York City where writers following in the wake of TAKI 183 and Tracy 168 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Bubble lettering held sway initially among writers from the Bronx, though the elaborate writing Tracy 168 dubbed "wildstyle" would come to define the art.[15][18] The early trendsetters were joined in the 70s by artists like Dondi, Zephyr and Lady Pink.[15]
Graffiti is one of the four main elements of hip hop culture (along with rapping, DJing, and break dancing).[19] The relationship between graffiti and hip hop culture arises both from early graffiti artists practicing other aspects of hip hop, and its being practiced in areas where other elements of hip hop were evolving as art forms. By the mid-eighties, the form would move from the street to the art world. Jean-Michel Basquiat would abandon his SAMO tag for art galleries, and even street art's connections to hip hop would loosen. Occasional hip hop paeans to graffiti could still be heard throughout the nineties, however, in tracks like the Artifacts' "Wrong Side of Da Tracks", Qwel's Brick Walls and Aesop Rock's "No Jumper Cables".
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