COLEGIUL NAIONAL AVRAM IANCU

LUCRARE DE ATESTARE A COMPETENELOR

LINGVISTICE

GRAFFITI
BETWEEN ART AND VANDALISM

PROF.COORDONATOR
SLGEAN MIHEIU ALINA

PROPUNATOR
MERA RUXANDRA

CMPENI
2015

FOREWORD

Nowadays, all the people have problems at work, in the business they run or problems in their
personal life. These people want to get rid of those problems somehow, those thoughts that, at certain
moments, transform into stress and it is well known that stress in not good at all in our lives.
I have chosen this theme for my English Certificate because I think that graffiti really is a great
way of relaxing, of clearing your mind. Graffiti, along with painting, sculpture, music, architecture and
many others, is the perfect way of expressing your thoughts, your feelings, your inner emotions. This
form of art helps people to pass over difficult moments, problems through the simple fact that, once you
start doing something you love, you enjoy, in any domain of activity, you focus on that thing and you do
your best in order for that thing to look awesome, to look great and, last but not least, to be original, to be
made by yourself.
Furthermore, graffiti seems to be a different way to show how people can bring into their lives the
colour they need. Through these creations, we can learn that people cant be judged because of their talent
or their creation. I mean, not everyone has the talent to create something similar to graffiti art, so lets
stop judging others and simply admire their work.
In my paper I will try to explain what the term of graffiti means. I will also present this form of
arts first appearance and how this culture has amazingly spread. In the pages that follow, I will present
you graffiti both as an art form and as vandalism, and then I will draw a comparison between these two
ways of seeing graffiti.
In conclusion, a nice, easy way of getting rid of stress is to do something we like, something easy
to do, but something that needs a little bit of imagination. Among the things we can do to relax we might
consider painting, drawing, sculpture or graffiti all the more as it is like painting, drawing, architecture
and geometry put together.

CHAPTER 1
INTRODUCTION
1. HOW IT APPEARED
The first known example of graffiti survived in the ancient Greek city of Ephesus (today Turkey).
Located near a mosaic and stone walkway, the graffiti shows a handprint that vaguely resembles a heart
along with a footprint and a number. So we can say that this type of art seems to have legendary origins,
also this is believed to indicate that a brothel was nearby, with the handprint symbolizing payment.

(Graffiti in Ancient Greece)

(Graffiti in Egypt)

This example of graffiti appeared also in ancient Egypt but no vulgarity connotation. It was just a
way to maintain their culture and history alive for the future generations. Ancient graffiti displayed
phrases of love declarations, political rhetoric and simple words or thoughts compared to todays popular
messages.
2. WHAT IT REPRESENTS
For many of us, this kind of art might represents a way of vandalism but on the other hand, a way
of true talent and art. Generally, graffiti represent thoughts of artists, important events on their lives or
messages for the new generations. Furthermore, graffiti ranges from simple written words to elaborate
wall paintings such as landscapes enhancement but also a problem with communities fight. Graffiti is
often a signal that a new gang is in possession on a territory, and to clean this way of vandalism
communities spent in each year millions of dollars to clean the walls or their own houses walls by
negative paintings.
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3. SPREAD OF GRAFFITI CULTURE

In 1979, graffiti artist Lee Quinones and Feb. 5 Freddy were given a gallery opening in Rome by
art dealer Claudio Bruni. For many outside of New York, it was their first encounter with the art form.
Feb. 5 Freddy's friendship with Debbie Harry influenced Blondie's single "Rapture" (Chrysalis, 1981), the
video of which featured Jean-Michel Basquiat of the SAMO Graffiti, and offered many their first
glimpse of a depiction of elements of graffiti in hip hop culture. More important here was Charlie
Ahearn's independently released fiction film Wild Style (Wild Style, 1982), and the early PBS
documentary Style Wars (1983). Hit songs such as "The Message" and "Planet Rock" and their
accompanying music videos (both 1982) contributed to a growing interest outside New York in all aspects
of hip hop. Style Wars depicted not only famous graffiti artists such as Skeme, Dondi, MinOne and
Zephyr, but also reinforced graffiti's role within New York's emerging hip hop culture by incorporating
famous early break dancing groups such as Rock Steady Crew into the film which also features a solely
rap soundtrack. Style Wars is still recognized as the most prolific film representation of what was going
on within the young hip hop culture of the early 1980s. Feb. 5 Freddy and Futura 2000 took hip hop
graffiti to Paris and London as part of the New York City Rap Tour in 1983. Hollywood also paid
attention, consulting writers like PHASE 2 as it depicted the culture and gave it international exposure in
movies like Beat Street (Orion, 1984).
This period also saw the emergence of the new stencil graffiti genre. Some of the first examples
were created in 1981 by graffiti artist Blek le Rat in Paris; by 1985 stencils had appeared in other cities
including New York City, Sydney and Melbourne, where they were documented by American
photographer Charles Gatewood and Australian photographer Rennie Ellis.

CHAPTER 2
GRAFFITI BETWEEN ART AND VANDALISM

A. Graffiti seen as an art form

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New
York's outer boroughs and reached great heights in the early '80s with the work of Crash, Lee, Daze,
Keith Haring and Jean-Michel Basquiat.
It displayed 22 works by New York graffiti artists, including Crash, Daze and Lady Pink. In an
article about the exhibition in Time Out Magazine, curator Charlotta Kotik said that she hoped the
exhibition would cause viewers to rethink their assumptions about graffiti. Terrance Lindall, an artist and
executive director of the Williamsburg Art and Historic Center, said regarding graffiti and the exhibition.
"Graffiti is revolutionary, in my opinion," he says, "and any revolution might be considered a
crime. People who are oppressed or suppressed need an outlet, so they write on wallsit's free. In
Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly
within visual art. Oxford University Press's art history text Australian Painting 1788-2000 concludes with
a long discussion of graffiti's key place within contemporary visual culture, including the work of several
Australian practitioners. Artistic graffiti is a modern day offspring of traditional graffiti that has elevated
itself from just scrawling words or phrases on a wall, to a complex artistic form of personal expression.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris
a clear acceptance of the art forms into the French art world.
B. Graffiti as vandalism
Graffiti advocates perceive graffiti as a method of reclaiming public space or displaying an art
form; their opponents regard it as an unwanted nuisance, or as expensive vandalism requiring repair of the
vandalized property. Graffiti can be viewed as a "quality of life" issue, and its detractors suggest that the
presence of graffiti contributes to a general sense of squalor and a heightened fear of crime.
In 1984, the Philadelphia Anti-Graffiti Network (PAGN) was created to combat the city's growing
concerns about gang-related graffiti. PAGN led to the creation of the Mural Arts Program, which replaced
often-hit spots with elaborate, commissioned murals that were protected by a city ordinance, with fines
and penalties for anyone caught defacing them.
The Philadelphia subway line also features a long-standing example of the art form at the Broad
and Spring Garden stop, along the Broad & Ridge (to 8th and Market) line. While still existing, it has
long been quarantined and features tags and murals that have existed for upwards of 15 years.
Advocates of the "broken window theory" believe that this sense of decay encourages further
vandalism and promotes an environment leading to offences that are more serious. Former New York City
mayor Ed Koch's vigorous subscription to the broken window theory promoted an aggressive anti-graffiti
campaign in New York in the early 1980s, resulting in "the buff"; a chemical wash for trains that
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dissolved the paint. New York City has adopted a strenuous zero tolerance policy ever since. However,
throughout the world, authorities often treat graffiti as a minor-nuisance crime, though with widely
varying penalties. In New York City rooftops became the mainstream graffiti location after trains died
out.
In 1995 Mayor Rudolph Giuliani of New York set up the Anti-Graffiti Task Force, a multi-agency
initiative to combat the perceived problem of graffiti vandals in New York City. This began a crackdown
on "quality of life crimes" throughout the city, and one of the largest anti-graffiti campaigns in U.S.
history. That same year Title 10-117 of the New York Administrative Code banned the sale of aerosol
spray-paint cans to children under 18. The law also requires that merchants who sell spray paint must
either lock it in a case or display the cans behind a counter, out of reach of potential shoplifters. Violations
of the city's anti-graffiti law carry fines of US$350 per incident. Famous NYC graffiti artist Zephyr wrote
a viewpoint opposing this law.
On January 1, 2006, in New York City, legislation created by Councilmember Peter Vallone, Jr.
attempted to make it illegal for a person under the age of 21 to possess spray paint or permanent markers.
The law prompted outrage by fashion and media mogul Marc Ecko who sued Mayor Michael Bloomberg
and Council member Vallone on behalf of art students and "legitimate" graffiti artists. On May 1, 2006,
Judge George B. Daniels granted the plaintiffs' request for a preliminary injunction against the recent
amendments to the anti-graffiti legislation, effectively prohibiting (on May 4) the New York City Police
Department from enforcing the restrictions. A similar measure was proposed in New Castle County,
Delaware in April 2006 and passed into law as a county ordinance in May 2006.
Chicago's mayor, Richard M. Daley created the "Graffiti Blasters" to eliminate graffiti and gangrelated vandalism. The bureau advertises free cleanup within 24 hours of a phone call. The bureau uses
paints (compatible with the city's 'colour scheme') and baking-soda-based solvents to remove some
varieties of graffiti.
In 1992, an ordinance was passed in Chicago that bans the sale and possession of spray paint and
certain types of etching equipment and markers. The law falls under Chapter 8-4: Public Peace &
Welfare, Section 100: Vagrancy. The specific law (8-4-130) makes graffiti an offence with a fine of no
less than US$500 per incident, surpassing the penalty for public drunkenness, peddling, or disrupting a
religious service.
In 2005, the city of Pittsburgh implemented a customized database-driven graffiti tracking system
to build and enhance evidence for prosecution of graffiti artist suspects by linking tags to instances of
graffiti. One of the first suspects to be identified by the system as being responsible for significant graffiti
vandalism was Daniel Joseph Montano. He was dubbed "The King of Graffiti" for having tagged close to
200 buildings in the city, and was later sentenced to 2.5 to 5 years in prison.
C. Graffiti as a means of legal or illegal advertising
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Graffiti has been used as a means of advertising both legally and illegally. In NYC, Bronx-based
TATS CRU has made a name for themselves doing legal advertising campaigns for companies like Cola,
McDonalds, Toyota, and MTV. In the U.K. Covent Garden's Box fresh used stencil images of a Zapatista
revolutionary in the hopes of cross referencing would promote their store. Smirnoff hired artists to use
reverse graffiti (the use of high pressure hoses to clean dirty surfaces in order to leave a clean image in the
surrounding dirt) to increase awareness of their product. Shepard Fairey, the artist behind the now iconic
Barack Obama "HOPE" poster, rose to fame after his "Andre the Giant Has a Posse" sticker campaign, in
which Fairey's art was plastered in cities all across the America. Fans of the Charlie Keeper novel have
used stencil graffiti images of dragons and stylized story titles as a means to promote and support the rise
of the story.
Many graffiti artists see legal advertising as no more than 'paid for and legalized graffiti' and have
risen against mainstream adverts. The graffiti research lab crew has gone on to target several prominent
adverts in New York as a means of making a statement against these criteria.
D. Peoples opinions about graffiti

See... I always thought it was terrible, just vandalism, etc, etc. Then when I was in about Year 10, I
learned in Latin that graffiti actually dates back to at least Roman times... people have always done
it... writing who loves who, who's a nasty person etc. So that kind of changed my opinion a little. And
then there's tagging - pointless, waste of space etc... but... I dont know, to some extent it's like, you
see a familiar tag (like ' Inch" ') all around Sunderland/Newcastle area, and it's kind of awww...
home. I dont know: confused: I mean, I realise how much it costs the government to clean it up
(although I suppose it's useful as a form of community service :P ) but... I mean, what would happen if
they didn't clean it? Would more just go over the top, or would people stop doing it, or what? I'm not
condoning it. Just wondering what people think.

I think the artists that stick up those huge pieces do a great job, really livens up a shitty area. Im not
on about a bigger tag, like a dub or whatever you want to call it, Im on about graffiti art.

It is vandalism however you look at it. I do agree that some graffiti that is done well is really very
good

Criminal damage is criminal damage. I dont care how "pretty" or otherwise it is, it is illegal and it is
repugnant. When I see entire trains desecrated in this way- and even though I can see the artistic merit
of graffiti it is still desecration- it makes my blood boil. Though if it is done with the owners
permission I seen o problem with graffiti.

A classical example of an unsolvable problem created by so called public ownership. The public do
not OWN public property; they merely have a trust stake in it. And as the authority is the trustee, it
owns legal title. Therefore the authority says who can, and cannot, destroy public property.

A classical example of an unsolvable problem created by so called public ownership. On one hand
people pay taxes so they have the right to draw on their property. On the other hand people pay taxes
so they have the right to have their property clean. Ban it or allow it any decision is unjust.

If a person owns a building, I think he or she should decide what goes on it. If that person decides to
let people paint on the walls, that can be cool. Some graffiti can be done really well (while other
graffiti can be immature and tasteless, depending on the artist).

Graffiti is a talent not a crime it is something that takes a lot of practice so dont get all pits of at as
because you havent given as a pulse to do it besides the streets

Well I see it as an art form in my point of view. And its really cool to see the different styles in which
they are drawn in.

CONCLUSION
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Having said all these, I can certainly say that I have changed my point of view about graffiti art. It
is not about simply painting on a wall, it is more than that. It is a huge talent of children, teenagers or
adults who express themselves through these paintings. I was shocked the first time when I started to read
about their work and now, I am totally impressed about their own and significant way to show to
everyone that it doesnt count if you have black or white skin, if you are tall or small, adolescent or adult,
the painting that you made can lead others into changing their impression about graffiti in order to view it
as an art.
In terms of graffiti as an act on vandalism, if we could be able to understand their work like it is
and support them, this negative part of graffiti art wouldnt exist anymore. All we have to do is to get
thinking of a way to be close to all people who create these paintings. Furthermore, graffiti in U.S.A. is
seen like a way to earn a living, money and respect through your work. So, they are perfecting their
technique till they become the best in their domain.
My opinion regarding graffiti is that it is a great way of relaxation, of clearing your thoughts; its
the ideal method of getting rid of stress and also the boredom that pressures us every day and stops us
from fulfilling our dreams and wishes. How does it help us? Its very simple. People, most of the times
transform their work into a routine, and they get bored. So its nice to have something to do in order to
relax from time to time and forget about day to day problems.
Therefore, graffiti is a perfect way of relaxation and helping people to forget about work boredom
and problems. In addition to this, by simply starting to create something, you soon realize that you put all
your dedication, your patience, your passion and your care into that creation almost from the beginning
and you want it to look as beautiful as possible. Because if it is beautiful and perfect then people will feel
what you want to express and they will appreciate your work, exactly like in a real business; and if you
are appreciated, then people will ask for your services again.
To end with, I would say that graffiti is and it should always be considered an art form and not
vandalism. Because by doing all those paintings and shadows and details which give to the creation
originality a lot of skill and precision is needed.

BIBLIOGRAPHY

www.wikipedia.com
www.nyt.com
www.smashingmagasine.com
www.timeout.com
www.graffitihurts.org
www.magnetreps.com
www.politicalgraffiti.wordpress.com
www.theguardian.com
www.pbs.org

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ANNEXES

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