Pa Lo K Kieran Saber Mas D El Graffiti

[shorty_kiana]

What it is: Graffiti, or graf, is one of the four elements of hip-hop culture (the other three being breakdance, DJing and rapping). It started as underground urban art boldly displayed in public areas, usually sides of buildings or walls. It was used by citizens to make political and social commentary, as well as gangs to mark territory.

How it all got started: There is no universally agreed upon place of graffiti's origin. Some say it started in New York in the early 70s alongside breakdance, others go back even earlier. According to www.at.149st.com, it started in Philadelphia, Pennsylvania during the mid to late '60s. Two graf artists, or writers, bombed the city, writing their names all over the place and garnering the interest of the community and local press outlets. They were known as "Cornbread" and "Cool Earl."
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Pioneers: In the early '70s writers in Washington Heights, New York City started the movement in earnest. At the same time TAKI 183 is credited with being one of the earliest writers to garner mainstream recognition. A foot messenger whose real name was Demetrius, he rode the trains all day everyday and left his tag wherever he went. His activities became so prolific even the NY Times took notice and published an article about him in '71. Other early writers of note were JOE 136, FRANK 207 and JULIO 204.

Foundation: Before long the movement spread to Brooklyn and other boroughs, and crews were started. The subway system became the arena of choice for writers and it was the trains themselves that served as a speedy transference of each borough's accomplishments, hence creating a bridge between different crews.

There are many writers of note during this time including Stay High 149 who developed one of the most artistic and recognizeable early tag styles.

As writers and crews became more and more competitive, tag styles became first more intricate, and then larger. These larger works were called masterpieces. One of the first writers credited with creating a masterpiece was Super Kool 223, who is also credited with creating the first masterpiece to span a subway car from top to bottom.

Soon entire sides of trains were bombed, usually under cover of night in train yards, with once-humdrum looking trains emerging the next morning transformed into rapidly moving works of art.

Since the city of New York was financially unstable at this time, the transit authority's clean-up efforts could not keep up with the writers' output, and soon the majority of the trains were brilliantly, and beautifully, bombed.

Graffiti, once considered an annoyance, was now at this point a bonafide crime.

Potential jail time didn't stop the writers who now developed different styles. Two of the earliest styles of lettering were Bubble and Philly's Broadway which more or less formed the basis for later styles.

Peak: From the mid to late '70s the movement peaked. Hugo Martinez, a student at NY City College was one of the first to act on the movement's artistic legitimacy. He founded United Graffiti Artists, which offered the best writers opportunities to formally show their work.

While the works became more complex and stylized, the public's anticipation and appreciation of the art grew. Commuters would stand and look at pieces as opposed to getting on the trains, and in some instances break into applause.A '72 New York magazine article, "The Graffiti Hit Parade" by Richard Goldstein drew even more attention to the movement's artistic merit. This article would later be credited by famous artist Futura 2000 as being his inspiration to bomb trains. Ironically Futura, along with other writers of his phase would be the ones to bring graf into a new era of the art as we know it.

Styles such as Wildstyle took writing to a whole new level. Masterpieces soon covered entire cars across the city. Lee Quinones, credited as one of a few graffiti artists to successfully bomb an entire subway train, starred in the seminal hip-hop film Wild Style which documented hip-hop culture's beginnings in New York.

By the early '80s many elements conspired to bring the movement to an end. The transit authority fought back by making train yards inaccessible, among other measures. Also the option of having professional careers drew many of the best away from the subways. In 1979 Quinones and Fab 5 Freddy had an opening in Rome with the art dealer Claudio Bruni. By 1980 galleries such as Esses studio, Stephan Eins' Fashion Moda and Patti Astor's Fun Gallery were full of works by writers eager to get out of the increasingly hostile and dangerous environment of the streets. Many of these artists like Dondi, Lady Pink, Zephyr, Daze, Futura 2000 and Melvin Samuels Jr. aka NOC 167went on to have illustrative, and lucrative, careers.

With the advent of the government's war on graffiti and the emergence of crack in the inner city, graffiti in the subways and streets eventually died. The writing crews and accomplishments of those glory days have given way to modern-day worldwide movements. Where ever in the world there are poor, disenfranchised youth, one is bound to see their creativity expressed in the beautiful public works that, now in the new millennium, are finally recognized as a valid art form in the United States.

[kiu]

What it is: Graffiti, or graf, is one of the four elements of hip-hop culture (the other three being breakdance, DJing and rapping). It started as underground urban art boldly displayed in public areas, usually sides of buildings or walls. It was used by citizens to make political and social commentary, as well as gangs to mark territory.

How it all got started: There is no universally agreed upon place of graffiti's origin. Some say it started in New York in the early 70s alongside breakdance, others go back even earlier. According to www.at.149st.com, it started in Philadelphia, Pennsylvania during the mid to late '60s. Two graf artists, or writers, bombed the city, writing their names all over the place and garnering the interest of the community and local press outlets. They were known as "Cornbread" and "Cool Earl."
Sponsored Links

Hip Hop ClothingGear Promotions, Discounts, Events enyce, girbaud, akademiks, morewww.urbankind.com

Want To Sell Your Art?Must-Read Ebook For Artists To Sell Their Graffiti Art Successfullywww.ArtSellingSecrets.com

Dope FX: Enhance Yo SpaceCustomized hip-hop airbrush art affordable & ready-to-hangwww.chemspace.com

Pioneers: In the early '70s writers in Washington Heights, New York City started the movement in earnest. At the same time TAKI 183 is credited with being one of the earliest writers to garner mainstream recognition. A foot messenger whose real name was Demetrius, he rode the trains all day everyday and left his tag wherever he went. His activities became so prolific even the NY Times took notice and published an article about him in '71. Other early writers of note were JOE 136, FRANK 207 and JULIO 204.

Foundation: Before long the movement spread to Brooklyn and other boroughs, and crews were started. The subway system became the arena of choice for writers and it was the trains themselves that served as a speedy transference of each borough's accomplishments, hence creating a bridge between different crews.

There are many writers of note during this time including Stay High 149 who developed one of the most artistic and recognizeable early tag styles.

As writers and crews became more and more competitive, tag styles became first more intricate, and then larger. These larger works were called masterpieces. One of the first writers credited with creating a masterpiece was Super Kool 223, who is also credited with creating the first masterpiece to span a subway car from top to bottom.

Soon entire sides of trains were bombed, usually under cover of night in train yards, with once-humdrum looking trains emerging the next morning transformed into rapidly moving works of art.

Since the city of New York was financially unstable at this time, the transit authority's clean-up efforts could not keep up with the writers' output, and soon the majority of the trains were brilliantly, and beautifully, bombed.

Graffiti, once considered an annoyance, was now at this point a bonafide crime.

Potential jail time didn't stop the writers who now developed different styles. Two of the earliest styles of lettering were Bubble and Philly's Broadway which more or less formed the basis for later styles.

Peak: From the mid to late '70s the movement peaked. Hugo Martinez, a student at NY City College was one of the first to act on the movement's artistic legitimacy. He founded United Graffiti Artists, which offered the best writers opportunities to formally show their work.

While the works became more complex and stylized, the public's anticipation and appreciation of the art grew. Commuters would stand and look at pieces as opposed to getting on the trains, and in some instances break into applause.A '72 New York magazine article, "The Graffiti Hit Parade" by Richard Goldstein drew even more attention to the movement's artistic merit. This article would later be credited by famous artist Futura 2000 as being his inspiration to bomb trains. Ironically Futura, along with other writers of his phase would be the ones to bring graf into a new era of the art as we know it.

Styles such as Wildstyle took writing to a whole new level. Masterpieces soon covered entire cars across the city. Lee Quinones, credited as one of a few graffiti artists to successfully bomb an entire subway train, starred in the seminal hip-hop film Wild Style which documented hip-hop culture's beginnings in New York.

By the early '80s many elements conspired to bring the movement to an end. The transit authority fought back by making train yards inaccessible, among other measures. Also the option of having professional careers drew many of the best away from the subways. In 1979 Quinones and Fab 5 Freddy had an opening in Rome with the art dealer Claudio Bruni. By 1980 galleries such as Esses studio, Stephan Eins' Fashion Moda and Patti Astor's Fun Gallery were full of works by writers eager to get out of the increasingly hostile and dangerous environment of the streets. Many of these artists like Dondi, Lady Pink, Zephyr, Daze, Futura 2000 and Melvin Samuels Jr. aka NOC 167went on to have illustrative, and lucrative, careers.

With the advent of the government's war on graffiti and the emergence of crack in the inner city, graffiti in the subways and streets eventually died. The writing crews and accomplishments of those glory days have given way to modern-day worldwide movements. Where ever in the world there are poor, disenfranchised youth, one is bound to see their creativity expressed in the beautiful public works that, now in the new millennium, are finally recognized as a valid art form in the United States.

Pa los que no estaban claros JOE 136 es Dominicano, todavia hay firmas de el aki en R.D., fue uno de los primeros rayadores .