Bundeskrimonologichal http://thehoodup.com/board/viewtopic.php?f=22&t=97860#.UuNZOfEo7RY

[6] In short order, the writers‘ designs were also translated from the outsides of subway cars onto the time-honored support of canvas. The canvassed graffiti art genre is generally considered a phenomenon of the 1980s, but writing’s transformation from performative act to static, collectible art object occurred as early as 1972. Initially construed as an attempt to reform young vandals and rechannel their energies to more lucrative and less precarious venues and mediums of expression, the entrance of writing into the commercial art gallery was soon touted as the hottest new thing since Pop. Commercial graffiti art appeared early on, as a way to package, label, and „tame“ writing as a practice. Yet it was not uncommon for writers to engage in both illegal writing and legal graffiti art, finding no conflict of interest therein. Many writers transposed their colorful spray paint signatures onto canvases for wealthy collectors by day, while entering the train yards to paint masterpieces on the subway cars by night. While the city aggressively erased the illicit subway murals, collectors bought up graffiti art canvases on speculation, and art critics bemoaned the canvases‘ lack of „authenticity.“

[7] Art critics‘ attitudes toward graffiti art on canvas generally fell into one of two categories, as illustrated by the opinions of Rene Ricard on the one hand, and Hal Foster on the other, both writing in the early 1980s. Ricard’s aesthetic valuation of graffiti art canvases made distinctions between what „looked like art“ and what didn‘t; he quickly relegated canvas works by writers into the „lower“ realm of design, even kitsch. For Foster, it wasn‘t a matter of whether or not the graffiti art canvases retained the same aesthetic quality as the subway paintings, but whether or not they retained their original radical strain once recuperated into the mainstream. Graffiti art in this case was used to support the author’s polemics regarding cultural cooptation.

Sweet 16 Bel at 1990 Wembley.-cos nos.-


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