Wednesday, December 10, 2014
Style Wars
Style Wars was an interesting movie because of the perspective it provided on the origins and growth of hip-hop culture and graffiti art. It traced the development of the art form and showed us a variety of different artists along with insight into the ongoing fight against authority. It seems troubling to me that authority figures seemed intent on removing the graffiti and stopping the artists, even going to lengths such as using dogs and barbed wire fences, and devoting resources to washing the trains. It may seem like a way to make people feel safer, but it seems like the police should put less time into stopping graffiti artists from putting up art that makes passengers feel unsafe, and instead devote that time and resources to making the subway rides safer. One interesting dynamic that we touched on in conversation after the movie was the racial diversity on display in the groups of graffiti writers. While rappers and break dancers seemed to be solely made out of minority groups, mostly blacks and some Latinos, there were a surprising amount of white graffiti artists. It was cool to see how the artists learned from each other and were able to give a history of the different innovations and when they came, almost like a history of graffiti art. The concept of style was very central to the culture, hence the term “Style Wars”. I think this clearly shown in the way the artists interact with each other. It seems like the worst thing somebody can do is steal from someone else; each person had their own individual style and technique that made them different. Its also interesting to see how much street art has evolved from the days when the movie was shot. The development of graffiti art and the idea of chronicling the different innovations shows just how quickly the art form evolved. This rapid growth and evolution is a product of the nature of the art; when it is on trains, it is seen by a lot of people, and thus ideas seem to spread so quickly.
This movie also brought up the question of crime, and what it really means. The idea of defacing public property seemed to be the reason that people considered graffiti art crime. However, the art did no harm to anyone, and it seems unfair to consider it a crime. The writers didn’t exploit, harass, or hurt anyone; they just wanted to express their feelings in art and let the world see it. On the surface, it seems strange that these writers do what they do; they aren’t paid for it in most cases, run the risk of getting thrown in jail, and don’t get any material gains from graffiti writing. It doesn’t even seem to be about recognition, its more about expressing themselves. I think that graffiti art and hip-hop culture gives a voice to groups of people who often find themselves unable to express their ideas. It gives anyone an ability to express themselves through art, they don’t need permission from anyone else, it is their own work. This dynamic seems to draw people to graffiti writing.
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Yeah I think graffiti being a crime is inevitable because the main motivation for it is because it is a criminal act. I would imagine it would be less popular if it were legal.
ReplyDeleteI think that part of the appeal of graffiti is not only the fact that it is illegal, but that by "defacing" public property, artists are emphasizing the fact that they are not part of society. They aren't represented and for the most part go unseen and unheard, so I guess part of their thinking is 'why should we both playing by their rules?' The mayor of New York was complaining that they should "contribute to society" by picking up a broom, but why should they try to be a part of a society that is never going to accept them? Whether they did it knowingly or not, these artists created their own subculture of graffiti art and dance in response to their isolation from society.
ReplyDeleteThere's crime, and there's crime, though, right? I don't know that any of the writers depicted in the film would argue for full legalization of graffiti and free rein to paint all over the city. As Neil points out, the criminality has a lot to do with the appeal, the sense of being on a secretive mission. But their objection seems to have more to do with the extremity of the means of trying to stop it, the degree to which the city is spending money and risking the lives of writers and police officers trying to crack down on something that should (arguably) be less of a law-and-order priority in a city as dangerous and crime-ridden as New York was in the 1970s and 80s.
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