Vandalism or Art? The Fine Line Between Art and Crime

Graffiti, from the Greek ‘Graphien’, meaning to ‘scratch, draw or write’. An art style with global significance that often comes with consequence.

It is partially accepted that graffiti has its roots in Philadelphia; with the first instance of tagging* being attributed to 12 year old Daryl ‘Cornbread’ McCray in 1965. McCray was serving time in Philadelphia’s Youth Development Centre (YDC); bored and pressed for ideas on how to pass the time, McCray harnessed his love for the baked good cornbread and made the decision to inscribe the word on the wall of his cell. From this moment onwards ‘Cornbread’ would go on to fill the walls of the YDC with his nickname, becoming somewhat of an icon amongst the guards and residents, asserting his existence through a simplistic yet original tag that was unequivocally attributed to him. However, after his release was when he really started to gain popularity. Teaming up with later graffiti legends like Cool Earl and Kool Kelpto Kid, Cornbread and co ventured around Philadelphia leaving their mark on the city. After falsely being reported as killed in a shooting, Cornbread pulled his most drastic stunt yet. Sneaking into the Philadelphia Zoo he tagged both sides of an elephant with ‘Cornbread lives’. McCray was jailed for this manoeuvre, but he successfully got the message across that Cornbread was well and truly still alive.[1]

Despite this being a definitive beginning for tagging, it is more favoured to ascribe the origins of graffiti to late 60’s early 70’s New York. Eric Felisbret, former graffiti artist and lecturer quotes ‘New York is where graffiti culture blossomed, matured and most clearly distinguished itself from all other forms of graffiti.’[2] The most popular targets for writers* were subway cars and trains, as this allowed their name to make its way all across New York City, achieving the ultimate goal of any writer, fame and recognition. As this new art style gained traction, graffiti crews started to emerge. Groups of passionate rebels banded together to bathe the city in writing, inscribing their monikers on the Big Apple. Of course, this didn’t sit well with the government, as graffiti thrived in the shadows, nourished with illegality. In the 1980’s graffiti gained the label of vandalism. A problem that had to be eradicated. It became synonymous with a lack of authority and current mayor of NYC Ed Koch sprung into action to save his city from disorder… Police were instructed to search suspects on their way out of school, they stalked out their houses, it became a game of cat and mouse, with art forever prevailing even in the face of the law. Koch’s master plan of course failed. When presented with an obstacle, writers rose to the challenge, becoming more creative and secretive than ever before. In 1984 the Metropolitan Transit Authority introduced the Clean Car Program, an initiative that aimed to clear all subway cars of graffiti in 5 years. If there was an ounce of graffiti on a car, it would not run. And run they did not. By 1986 many cars were spotless. But not for long! In response to the silencing of their art style, writers came back bigger and better than ever. In came the introduction of more stylised forms of graffiti such as the playful bubble style frequently referred to as ‘softie’ created by iconic artist Phase 2 (born Lonny Wood). Now subway cars were being enveloped with the more complex ‘wildstyle’ popularised by the Wild Style crew formed by Tracey 168 of the Bronx. In any case, it was going to take a lot more than a Clean Car initiative to stop the writers of New York City.

Graffiti has always been a point of contention in neighbourhoods. However, I believe that it is an incredibly accessible and effective way to foster involvement in art albeit illegally. But that’s where the thrill comes in. Graffiti isn’t meant to be this squeaky clean art form that sells for millions in galleries; what earns it its allure is the adrenaline rush that comes with the understood element of risk. I have a problem with people who are so quick to shun and label writers as hooligans and crooks. I have a problem with their ignorance and closed mindedness. From the beginning graffiti was born from boredom, due to limited things to do around the city. What was the alternative for a lot of these kids? I’ll leave that up for speculation. The government never seems to get it; still throwing money into schemes to destroy harmless artwork rather than addressing the root of the problem, a distinct lack of regard for the youth of society. ‘As sociologist Gregory Snyder quotes in his book Graffiti Lives: Beyond the Tag in New York’s Urban Underground, tagging allowed young men and women “to get fame and respect for their deed”’, rewards which, in any other part of their lives, were totally elusive’.[3]

In todays art climate there are definitely more attempts to broaden the spectrum of what ‘belongs’ in the commercial art world. But does graffiti have a place? And does it even want a place? Personally the world of commercial art and graffiti are very much juxtaposed to me. Art critic and curator Johannes Stahl writes:

‘We have long since got accustomed to understanding art history as a succession of epochs… But at the same time there has always existed something outside of official art history, an unruly and recalcitrant art, which takes place not in the sheltered environs of churches, collections or galleries, but out on the street.’[4]

I think this is why I have such a hard time accepting the integration of graffiti in the mainstream art world, because it began as a rebellion against those institutions. Many writers believe if you gain commercial success you have sold out. Having the street as your canvas leaves endless possibilities, none of which are governed by gallery restrictions, in a strange sense, graffiti is freedom, despite its illegal nature. So, from street to gallery. Is this evidence of growing acceptance for the art style, or general commercialisation? Some people have taken to the phrase post-graffiti, referring to the work of street artists who also take part in the mainstream art world. This makes me wince slightly as it really tries to establish graffiti in the art historical canon, a canon laced with pretentiousness and questionable intentions; whereas graffiti grew independently, separate from any specific art movements, making it even harder to solidify its place in said canon.

Here lies my biggest issue with street artists who also dabble in the mainstream. It is the major disparity in the consequences for the creation of their artwork. A street artist with commercial links in the art world appears to have a sort of buffer against the repercussions of their illegal work. Let’s take Banksy for example. His recent piece on the side of the Reading Gaol stirred up obvious discourse, earning itself the addition of tags from other writers in the area. Eventually, to protect it from further embellishments, it was covered by a plastic screen. On the contrary, as I sat researching for this piece, across from me, out the window I could see a faint piece by Nathan Bowen neatly painted over in the centre of Reading. I began to question what advantages Banksy has that Bowen and other writers don’t. This is my problem. The picking and choosing nature of what gets to stay and what absolutely must go! Of who gets national recognition and praise, and who ends up in prison.

I understand the problem with vandalism of peoples property. But true artists and savvy writers recognise that grief, and respect peoples personal and professional boundaries. It’s truly a case of a few people tarnishing the name of graffiti for everyone else. What I think captivates me about graffiti is the accessibility of it. You don’t have to have these fancy spray paints or branded markers; anything that’ll leave a trace of you behind will do. You can avoid the ego that comes with galleries and the feeling of inferiority that permeates the air of commercial spaces, with the added bonus that it looks incredibly cool! Walking under bridges adorned with hundreds of tags, colours, phrases, poems and symbols feels like taking a trip through time. My eyes dart about the place desperately trying to absorb each detail, scrambling to decipher wild style fonts while enamoured by the sheer talent of these writers. I feel an overwhelming sense of community wash over me when I spot crew names scrawled next to an elaborate piece; despite taking no part in it. Recognising repeated tags while out and about takes me on a ghost walk of the writer who left their legacy behind, I smirk each time I see a new surface ornamented with their name. That’s what I think people forget to consider, the premise behind the piece. It’s not all criminal intention and anarchy, it’s amusement, togetherness, it is in whatever manner appropriate, art. Slovenian feminist author Tea Hvala quotes ‘graffiti is the most accessible medium of resistance.’[5] This proves my point exactly; and I pose the question to the ether, are we really going to spend so much effort worrying about someone writing their name on an electrical box, or are we going to solve the bigger issues in society and leave harmless creatives to their shenanigans soaked in darkness? It’s a complicated subject when in conflict with the government. But to me that’s what makes it so admirable; even in the face of adversity, writers continue to write, because they love it, and our cities need it.

[1]Spray Planet, ‘A History of Graffiti – The 60’s and 70’s’, https://www.sprayplanet.com/blogs/news/a-history-of-graffiti-the-60s-and-70s, Accessed September 2021.

*the writing of a nickname or mark on a surface by a graffiti artist.

[2]The Art Story, ‘Graffiti and Street Art’, https://www.theartstory.org/movement/street-art/history-and-concepts/, Accessed September 2021.

*a person who writes graffiti

[3] Spray Planet, ‘A History of Graffiti – The 60’s and 70’s’, https://www.sprayplanet.com/blogs/news/a-history-of-graffiti-the-60s-and-70s, Accessed September 2021.

[4] The Art Story, ‘Graffiti and Street Art’, https://www.theartstory.org/movement/street-art/history-and-concepts/, Accessed September 2021.

[5] The Art Story, ‘Graffiti and Street Art’, https://www.theartstory.org/movement/street-art/history-and-concepts/, Accessed September 2021.