Commercialization of the graffiti subculture

Graffiti on the Mirror WallSigiriyaSri Lanka [24] Contemporary graffiti Graffiti writing is often intertwined with hip hop culture [25] and the myriad international styles derived from Philadelphia and New York City Subway graffiti. However, there are many other instances of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrinesrailroad boxcarssubwaysand bridges. The oldest known example of modern graffiti is found on traincars created by hobos and railworkers started more than eighty years ago, called Bozo Texino, documented by filmmaker Bill Daniel in his film, Who is Bozo Texino?.

Commercialization of the graffiti subculture

Commercialization Technological developments in recent years have globalized modern graffiti culture. A quick glance through a graffiti magazine or gallery will show the viewer artwork from every inhabited continent of the Earth.

It has also inspired some who would have never thought to write graffiti on their own. The prevalence of websites like Art Crimes is evidence that graffiti is a popular tool for mass communication and has an influence that can be used in a variety of different ways.

Mass communication by itself is simply a force and can be used positively or negatively, much like any other force. Used in one way, graffiti can spread positive messages to inspire youth to rise up and work together as a community to change a social situation.

In the circumstances from which graffiti grew, social messages were often seen as important to incorporate into the artwork. Now that graffiti has been lifted out of its original context, the message is not emphasized as much. In a sense graffiti has "splintered" into a variety of subcultures that deviate from its original style.

One such subculture is street advertising. Many multinational corporations have selected graffiti writers to spray their logos and ad campaigns onto city streets in return for a paycheck.

The use of graffiti in advertising is not an inherently bad idea. As previously mentioned, the lower class was usually locked into a cycle of poverty that was difficult to break out of. The cycle Commercialization of the graffiti subculture perpetuated by long working hours that brought in very little pay, which in turn encouraged workers to spend all their free money on entertainment that kept their minds off work.

From this perspective, the use of graffiti to promote a commercial product is bitterly ironic. In a sense, it is being used to encourage the stratification of society, although it was originally created to break free of those very chains that were interfering with quality of life. For example, picture a teenager who works five or six days a week to help provide money for himself and members of his family.

His parents cannot provide him with spending money, so he works long hours so that he can buy the things he wants. Having been indoctrinated by materialistic values that are glorified in mainstream rap, he finds pleasure in buying the latest Nike or Adidas shoes.

Walking down the street, he sees an ad promoting a new pair of two-hundred dollar Nike shoes, which uses dazzling graffiti art to sell the product. The ad convinces him to buy the shoes, giving him immediate gratification.

This was not the vision of the original "bombers" who took to the streets in the early s to spread their message. Ingrained deep into the roots of graffiti is a loud and clear message that the lower class deserves as much respect and equality as does the upper-class.

To achieve this goal, artists need to realize the things that are keeping them locked into poverty and work to correct them. The following are photographs of the work of UK graffiti artist Bansky. He visited the Wall of Separation built between Palestine and Israel and sprayed a number of politically-motivated works.

The pieces are meant to encourage people to question why it was built in the first place. Art prankster sprays Israeli wall. Banksy at the West Bank barrier. Conclusion There is a line between graffiti and vandalism.

The social motives and implications of graffiti have legitimized some forms of graffiti as art. Further, aesthetic qualities of the work fully validate graffiti art as an art form.

The average reaction to the sight of graffiti tags by someone who is unfamiliar with graffiti is that it is a cause of urban decay and a detriment the quality of life in the city. In reality, the opposite is occurring. A large number of graffiti tags is a response to urban decay; a cry for help from the disenfranchised masses that are struggling to survive.

Commercialization of the graffiti subculture

Though a clean city may superficially seem in better condition, this is because the working class those who make the city work have not yet been pushed to a point where they need to turn to the streets to express their frustration and resentment, or because graffiti has been suppressed to a point where it is no longer noticeable.

Agitated youth took to the streets to protest the ways in which they were categorized not as people, but as a resource for production.From there, characteristics that spill over to graffiti could help in the study of graffiti as a subculture.

However, since graffiti is also practiced outside of hip-hop culture, I hesitate to confine my study to “hip-hop graffiti”.

Furthermore, graffiti writers do not strictly listen to hip-hop and rap. A subculture is a group of people within a culture that differentiates itself from the parent culture to which it belongs, often maintaining some of its founding principles.

Subcultures develop their own norms and values regarding cultural, political and sexual matters. Commercialization of Graffiti Subculture Introduction In cultural studies, a subculture is a group of people within a culture that differentiates themselves from the larger culture which they .

Commercialization of Graffiti Subculture Introduction In cultural studies, a subculture is a group of people within a culture that differentiates themselves from the larger culture which they .

Before the arrival of colorful murals and the commercialization of “street art”, there was a time when the youth were simply inspired by the energy of the worldwide graffiti movement.

Commercialization Murals (+interior graffiti design) Contributions Big Name Companies Advertising Hypothesis The commercialization of graffiti has brought positive attributives to communities and the subculture despite its controversial background.

sociology of graffiti | studying the subculture of graffti