5.4 Train and subway graffiti

Train graffiti emerged in late 1960s NYC, revolutionizing the art form. Writers tagged subways, creating mobile galleries that spread styles citywide. This competitive scene drove innovation, leading to complex pieces and new techniques.

The illegal nature of train graffiti posed unique challenges. Writers worked quickly in dangerous environments, adapting to curved surfaces and time constraints. This led to efficient techniques and sparked debates about artistic merit versus vandalism.

History and Significance

History of train graffiti

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• Graffiti on trains and subways emerged in the late 1960s and early 1970s
  • New York City was the birthplace of this movement (Bronx, Brooklyn)
  • Early pioneers include TAKI 183, JULIO 204, and STAY HIGH 149 who tagged their names extensively
• Train and subway graffiti played a crucial role in the evolution of graffiti as an art form
  • Allowed for greater visibility and exposure compared to static walls (city-wide, mobile)
  • Trains and subways served as mobile galleries, spreading the art throughout the city (five boroughs, commuters)
• The competitive nature of train and subway graffiti drove innovation and creativity
  • Writers sought to create larger, more complex, and stylistically advanced pieces to stand out
  • Led to the development of various styles, such as wildstyle and 3D lettering (bubble letters, throw-ups)
• Train and subway graffiti influenced the global spread of the art form
  • Visiting artists from other cities and countries were exposed to New York's graffiti scene (London, Paris)
  • They brought the techniques and styles back to their home cities, contributing to the worldwide growth of graffiti (Europe, South America)

Techniques, Legality, and Impact

Techniques for subway art

• Time constraints posed challenges for writers
  • Writers had to work quickly to avoid detection by authorities (police, transit workers)
  • Led to the development of efficient techniques and styles (throw-ups, block letters)
• Limited accessibility to train yards and lay-ups
  • Reaching train and subway yards often required trespassing and navigating dangerous environments (fences, dogs)
  • Writers had to be resourceful and strategic in their approach (lookouts, night missions)
• Unique surface challenges of trains and subway cars
  • Trains and subways presented curved, ribbed, and otherwise irregular surfaces (corrugated metal, windows)
  • Required adaptations in lettering styles and painting techniques (skinny caps, fat caps)
• Mastering can control was essential for clean execution
  • Achieving clean lines and consistent coverage on a moving surface demanded skill and practice
  • Writers had to learn to control the spray can's output and adjust to the train's movement (racking, tracking)

Legal issues in transit graffiti

• Illegal nature of the practice under vandalism laws
  • Graffiti on trains and subways is considered vandalism under the law (criminal mischief, trespassing)
  • Writers face arrest, fines, and potential imprisonment if caught (bench warrants, probation)
• Property damage and financial costs to transit authorities
  • Removing graffiti from trains and subways is a costly endeavor for transit authorities (MTA, solvents)
  • Taxpayers often bear the burden of these expenses through higher fares or taxes
• Debate over artistic merit versus criminal activity
  • Some argue that train and subway graffiti is a legitimate form of artistic expression (freedom of speech, creativity)
  • Others view it as a destructive and antisocial behavior that should be punished (broken windows theory, blight)
• Ethical considerations and questions of public space
  • Questions arise about the morality of defacing public property without permission
  • Discussions about the role of public space and who has the right to alter it (community, government)

Impact on public perception

• Negative public perception linked to urban decay
  • Train and subway graffiti often associated with urban decay, crime, and disorder (1970s New York, poverty)
  • Contributed to the stigmatization of graffiti as a whole (vandalism, gang activity)
• Influence on public policy and anti-graffiti measures
  • Authorities implemented stricter security measures and harsher penalties to combat graffiti (razor wire, buffers)
  • Led to the "war on graffiti" and the criminalization of the art form (zero tolerance, clean train movement)
• Commercialization and mainstream acceptance of some artists
  • Some train and subway graffiti artists gained recognition in the art world (galleries, museums)
  • Their work was exhibited in galleries and sold for significant sums (canvases, prints)
  • Graffiti elements were appropriated by fashion, advertising, and popular culture (streetwear, music videos)
• Debate over authenticity and "selling out" within the graffiti community
  • Some argue that commercialization dilutes the rebellious spirit of graffiti (corporate co-optation, loss of edge)
  • Others see it as a way for artists to gain financial stability and reach a wider audience (career opportunities, legitimacy)