This piece is an effort to sum up feelings of ambivalence about graffiti. I’m divided on whether my reporting on something many consider delinquency means I’m supporting or even glorifying the activity. I offer a disclaimer when I’ve written about it before, a statement that has found me wallowing in wishy-washy conceits. I embrace creativity and graffiti is too pervasive to ignore. It’s on buildings, street signs, poles, highway barrier walls, jersey walls and every other wall. I’ve seen it removed, usually painted over, but it sprouts back after it’s covered. Some markings linger when they aren’t cleaned up. So, we live with those.
I’ve wondered if it’s right to bring attention to street art. A past commenter questioned responses to a previous graffiti post noting that other comments, mine included, sounded like they were written by “a bunch of people who have not had your property vandalized.” It was a mild rebuke that had me searching for where I stand. I’ve been lucky not to have had personal property tagged, but I realized that graffiti in my neighborhood is something I have to look at. I responded to another commenter with a quote from film maker Andrew H. Shirley about his movie Wastedland 2 that appeared in the Willamette Week. Referring to graffiti he said, “It’s anti-everything. It’s punk. It remains outside of the system. It alludes to dysfunction and allows a public audience to see that people without a voice still have a message, and by any means necessary will get it out to you.” The quote made clear grafitti’s unstoppable nature. It’s easier to take other’s thoughts and see how they reflect my view-point and that quote put things in perspective. Some days I complain, other days I admire. This may be my opportunity to use my blog as a way to get a dig in at all the lesser, yet omnipresent expressions of amateur-Cy Twomblys or maybe, just a chance to make a Cy Twombly reference.
Graffiti has that feeling of being something it shouldn’t be. It can be called art but it’s art foisted on an unsuspecting audience on a unordinary canvas. It’s an intrusion on people’s property or businesses. For clarity, I sought input from other sources. I had heard rumblings of a Matt McCormick film about graffiti. Matt is a film maker who keeps a tight grip on his work mostly showing it on the big screen. I was surprised to see it appear in multiple versions online. When I contacted him through messenger, he directed me to his film The Subconscious Art of Graffiti Removal. An earnest narrator talks about graffiti cover-ups that mimic art movements, something I’ve touched on, and I found this to be humorous reaction to municipalities dealing with graffiti. He commented on something I’m guilty of: “It does creativity a disservice to lump all graffiti into the same category,” he wrote. He touched on the conundrum of the varying skill levels of people who are taking spray paint to public places noting, “there is some beautiful, creative work out there being made by some talented artists, but there’s also a lot of crap that’s just uglifying the urban landscape.” This reflects my inability to appreciate squiggles as much as someone who makes an effort to create something viable and uses a relatable tag.
Later that day Matt posted on Facebook about a new form of cover up he’s noticed that he named “cross-hatch.” I’ve noticed this and wondered about this technique, as had many commenters. Who is doing this? Does it save paint? Does it make someone who creates graffiti upset to see their work only partially erased?
Other cover-up styles include blotting out the image with black spray paint, an homage to Robert Motherwell, perhaps, or painting over it with squares that usually don’t match the paint job. I’ll touch on these questions and more when I take on graffiti abatement and clean up in a future post.
Will Simmons, who writes the Pittsburgh Orbit, explained that in Pittsburgh, “there’s a whole lot of graffiti that just feels like dogs marking their territory—stupid tags and whizzle-jiggles that seem to cover every street sign, lamp-post, building backside and bridge support.” Will finds these “cool in a gritty, urban America way,” something he explained he didn’t experience growing up in a small town. Seeing old buildings defaced bums him out though. “(Graffiti) occupies a very interesting and entirely subjective netherworld between public menace and cultural institution,” he wrote. Will derives joy from what he calls, “graffiti in another state of mind, stencils and wheat paste and cool murals and weirdo installations–the artists *know* this stuff won’t last, won’t bring them any acclaim, nor any monetary gain, but they still give it to the world.”
While working on this piece, I witnessed a tagger in action. I always thought this happened in the dead of night with the world asleep. Around 10pm during a dog walk, I stumbled upon a tall tagger wearing a white hoody. Brazen! He was applying the last of his tag on the side our neighborhood motel that’s being renovated. The next day, my inner arm-chair quarterback had me searching for a response. I could have rushed him, attacked him, at least yelled at him a bit, or called the police. I realized what bothered me more, besides not knowing what to do, was the realization that I was going to have to look at the loopy script and strange combination of letters until the renovation was finished. I’m particular about my graffiti. Anyone blatant enough to tag before bedtime deserves flak. My doing nothing led to a plot line out of a comic book. Not scaring this tagger away, with a Batman-like vigilantism, led him to return and mark up the motel’s mural. I hated seeing it tagged.
I also contacted Jeff Bagato, my go-to authority on all things underground. He offered educational tidbits, perspective and slang terminology. He has an appreciation for the “rich and diverse” street culture of Portland adding “there’s a general blackout in mainstream media regarding graffiti, most likely because they fear that publicizing it will only encourage the artists; nonetheless, these same outlets have no problem publicizing the work of serial killers, mass shooters, and monomaniacal presidents, with the same result.” This had me thinking that I have only seen one local news story about graffiti since moving to Portland ten years ago It was a story about the City’s abatement office that seemed understaffed and overwhelmed.
Like the others I’ve polled quality is an issue. “You get beginners and toys slopping cutty tags around, or you might get fully developed pieces or really interesting stickers or posters,” Jeff wrote. “Good with the bad. I believe graffiti is one of the major art and counterculture movements of our time, perhaps the only one that has remained on the edge over its life cycle since the 70s. While other movements have been commodified to some degree, graff and street art remain dangerous and unacceptable to many people. Even to photograph it, or to write about it, can be seen as an accessory to the vandalism.” Jeff pointed out that taggers get respect for the work they do, not necessarily for attention from bloggers. He schooled me on the “real hierarchy between ‘real’ graff writers and street artists, between petty tagging and full pieces, and between those who do a couple of things when they’re bored or drunk and those who bomb the hell out of a town. There is a code among writers and serious street artists about respecting the work of others and the spots where it appears.”
Jeff included in his email a plea that people see beyond the “perception that writers and street artists are thugs or vandals or just playing around” adding that no stereotype applies because “many (street artists) are serious, educated and accomplished artists of all ages and walks of life.” He directed me to the story of Ultra, a DC street artist, who theses days teaches art and creates airbrush paintings. I may still be confused and in the middle of an unrelenting battle but the fight to stop graffiti seems unwinnable. Sure there is bad graffiti. Most would consider all graffiti bad, but those who heed the call to tag have to start somewhere. We can only hope they improve. Meanwhile people can find ways to deal with it. These other viewpoints have helped me accept graffiti. Jeff advised me to write about subjects I enjoy. Compared to ugly billboards selling me things, graffiti isn’t half bad. There’s plenty of clutter out there, blaring and blasting away at our senses. We live with it.
So what’s good graffiti?
Mook writing his name on the back of this I-5 highway sign took daring, planning and a need to figure out how to get four letters on the back of three signs. Combining the two O’s in one panel did the trick.
This rabbit motif in pink takes the sting out of the visual clutter. Sure it’s a nuisance but a pink rabbit-like thing seems harmless.
Fast food can be equated with graffiti if you’re going for a fast food vs real food, graffiti vs art kind of debate. I’ve always appreciated these fast food meal creations. This one is operating on a scale larger than usual. The numbers are a mystery but this might be a work of biting satire.
2 thoughts on “Ansty About Antsi Part 2”
I love the efforts you have put in this, thank you for all the great posts.