Week 6 Readings

,"lOlllTIC"L

"!STOllIC"'" rlllsrlCTI\'l

New Visions, New Viewers, New Vehicles: Twentieth-Century Developments in North American political Art "'ST."CT

Paul ton Blum

The amor nen lilt

mu~

"\!.:'l.

'K;,I 'nd polhk.1

,omm,n,,~·

_

ditwtoemelltl " JI'tIStJC term IOd lI.OtIlCe. He

CQ'lIInt.

,on,,;-

a pu",'cJfullrMthioll of anistic e:c:pression in the Western

\\1,r1c1. ~h)$1 an hi~torians, critics and memben of the ednCilI·

public, hOWC\'CJ, j;u:k exteran-e knOl.:ledge about the semi!lOll {kn·lupmcnI.,< in politiCilI an throughom the twentieth (t'nIU"', Cnlil f:l.irly Jccen~', an ideol~' of -modem-an h:u dumi~;lIcd .-'merinn ;lnd Western European cultunll life, .-\m~urk! fucusinl{ on critkal liC"'S of politics and JOCk~' Ila\-e ~"piQlll~' bc-en m:l.r¢rWi1.ed, routine~' dismd.soed iIS qu.a..int. hi$luric;dry' uutmuded or JnW!~. topical. Socially conscious artisu ,,-ho usc Iheir tillmts 10 call atlC'nUon to such injusticn iIS "w, pu'-c~', r.lCWn. SotXism, alienation. penecution. political COl"' roptiun. mlironmental degr.w:lation and SCOI'1:S uf other tociaI dd"Kts ha\-e Kcner.aUy,,'Ori:ed "ithoul the SlaWS and I"C'C'Oft'1ilion ",ccorded to theil" contempof1ilrin ",ho nche'" poIitiaJ wnlCnt and COntI"OI:~~'in theiT ,,"Orb. Reccnt dC\"Clopmcnu in posanodem, femini$t and multicu~ tur.al theory and criticism Ila\-e combined "ith actilism from lhe 1960s up to the present to genenlle somewhat I{reatel" interest in lind recognition of political an in the 19t«A and l~ Respected scholan and "Tilen appt:"
toricallr
\'(1

'0 19!1J ISAST

MlI:W)'

01 oolIDaIIan " lilt I'\IIItfItletn ten1I.I'Y.toQI..... "~onmap dtscrUs hoW corurnoor.-y cxM> til nm 11M broItI't lPDh:Ie(I

lrdllonll Ewwunl!leme5 " _

II soclII c(ll'lWl'ltl'lll. ~" Illt ~ 01 rlCtS/II. ~

-.sm.

"'Irldl\lon IOd

KOIlCIIT'It 1rIfQIIIIIly. lit tIso

ANTIWAR ART

d1SCU5MS I'lOW II ""'.~ Socially conKioul anin~ of thi! lX*ticaIlr1lSlS Nor'II MIInea IIIw used llIdc KllCn 1Od_ century ha\"C expanded the tf1iIdi. IIdI. . . .SIO~... tiona! content of a long historical ITlftSIIIU. aIIICIIIr irlllU1ll. tradition or \isual social enpge-lIOSlIt tnIll'llllllDoll b-ms. ment tllal ~es back 10 rutttl'l~ WrTOts 01......., e:IlXrrC .. l7Itst CIotwdWiiEiU n ~ and sixtccnlh-centu~· pilintcrs "'--"~1JIt Bosch ;lnd Brucghel and eiR"hleenth· and nineleenth-cenlU~' painteTS Hogarth and~"1 1bese new artisu hal'e added themes that correspond tel lhe political. 50Cial and «unnmic rnlitin; or the modem C'r:l. :"ut sllrpriRnf(~·. for nample. lInli\\"al" an hu pl:.l~"Cd II prominent mlc sincc World War I. Tht· U-.u'b. mOl-cmCnt folk"'';rlJ\' Ihat cemmet l'p:t""llro :111 cnlin' Jtl.'IIC'r.l· lion of anli-e!tabliJihmenl anisu. WhUM' ,,'orb C"hllll\'IlJtm the enlire politicd. !lUCial and cultllr,tl ~lnlCIIII'T uf mudem lOCicC!", Tht' brillianl paintinKs :Illd printS Hf «mmn :mi5tJI GC:UIll:C GTOlil. OtUI Oi!\:. KoIl"iO'. alld uthene dll't:Ii1L-d th", hllrroTS of tht' " ....1' iuelf. lhl: fiTSt Indy 1liltll-tL"(h- war in l\lunan hiuu~·. KIIIl\\"ill.. in paniclliar. prndllC1..-d I{l"lIphic \\"1I1k... thai ha\'c rr5111l:111:d ";th 1:Iq::c :I\ldienn'~ ;md influC'nced SIlbsC'qu",nt J::eller.lIH1Il5 of ~lCi:llI~' oriC'llted lIni!IU. Her TCnlJ\\T1C'lln::e5 thlll incloot- G()~'a's unpar
_.

".... \.,.., _ ,nl...-

t......,

1too<

1..-.I~ ~I ..........

~

..iol'_..

,.l~,~

ICr.l:;.1"_~

,.._....001 ...........' l·...._ ~

...

r,.,.;\.

U:Ol\:AJUX). \'..I.:tti, ~,.. 3. pp. ~~M, 1m

459

~ult o( dc-I-eklpm~n15 in mod~m comnlUniQtiOIlS. moreo,·~r. cOntempor:af'\' polilial i1rtillS ·orking in thC' l'nil~d Slalt's lind d"C' h~re ha'-e ~come inCTraSinJ;lly lamiliar ...;th the ,,"urI: o( meir pt"t'rs. Accordinttly. crhiCillly orient~d OlniSL< ha\"f~ infnrmal~' rU$lere
Race anisa in pa.nicu!aT hiil"t" (UIKt'nlTale
.,),fric-.oln-.~.merian \ist,gJ

injuJllices experienced by Arrican:\filericans in Ihe Cniled St:llies Jlinct' thl'ir lorct'd remO\'ll.1 (rom their .-\fric:an homt'land). Frum the Hult'm Renai!\s;mc~ to the presem. Ihe!lC' anisu hal'e ~'I1p;itheticall~' and sensitn'e~' documemed Ihe ,stru!t/tlt's and triumphs or the .,),fric-ollh~eric.tncommunity. despite !he hustilir. and indifference of ron'-entional louSC"um.\. !'.dleria md educational instituOOns in me aru. Artists including .-\:lIron Doujl"las . •\rchibald :'\Iotle~·. Hale Woodruff. 1.0ts Jones. Romarc- Barden. Charks Whitt'. Eliz:ll~lh CatktL Willi
.,-

T he ci\i! rij;hu explosions of the 1960s enCOllraJ::ed a ~'oun~er Rener.uion of .-\frie-oln-.-\merian ;mists to inleTUi~' thi.~ cfllllmitml·l1t IU pulitial an. A I:~' ronll'lOpUrJI" fiRurt' is P,II Ward Williams_ whl"'l' rmnpclling "urkl; hal'e blai'.ed n~,,· thematic and furmal palhs in political an. "n",,"1\ especially ror her personal rC'Sp"n.~~~ 10 the histo~' of African :\meriCilns. Williams (ocuses on pasl C"'enu III offer treneh"'nt commen~' OIbol.ll r.il.dsm in the American past. Her thret-dimensional. frecstanding KulplUr.il.1 ,,"orl: J2. HolI." in II Boz , , • SiiU Qn""t;,tg (Fig. I) is a urildng eumple, ThC' box al me center is conuructt'd or ....indow frames with cy:anOlype photognlphs shO\\;ng Ihe figure o( Henr~.. Brown. contoned to fit "';Ihin Ihe con!.:Iint'r 5eT\;ng as his p;w;age 10 rreedom. Th~ single sentence wrapping the bouom or Ihe box forres ';ewen to circle the work and gnsp qu~'lhc 5t.~. ora sIa\-e ...no found m aIrt\05t. unbcl~-abk- ,,~. w frttdom: HenlY Box 8r00.n escaped sJa,'. eT\' enc~ in a box ! (ecl \\;de and 2 fC'Ct Ion~.

\\illiams's pic'Ct' e~ rrum tht' InlC' of Brtll'n. who in 18.;(, n;.o him)C'lr nailed in a box and ~hippC'd from Richmond. \·iTXinia. 10 PhilOldC'iphia. PC'nnS\"h':tnia. His uniquC' 4nh·...«h- ~..ILI· lion nusC'd him 1(1 be' dubbC'd -Sox· BTO\,n. Hi~ "lIX is surrounded ~'I(ltlr pH. lar~ siltnif~'inll: lhC' m:.tj\lr tenet~ or \feslC'm sliciC'[\·. Earh pillar comaim a fr.il.01ed ima~t:-l\ rose. a ';olin.:\ d()lr~ (ace and a skyscraper_pitomh:inp; l\ notion of bc'.IU[\·. culturC' or technology lhat uans!ates u a c~ I':due of \\'CSI~m culture. ThC' m~e i.~ clear lind unantbiguous: these nOlioltS of -c~;Ii7..:ltion­ lla\'C' be-en imposed on .-\mnia.ns or colur. especial'" Ihose o( Arrie-oln descent. This art....ork joinl hundreds of olhers lhat ~;cld new. ImneT\;ng 'ision, in politiCll an. 5101"\'

Gender Gcnd~r

has been 11 nuhC'r recent thematic addition to the long hino~' o( politie:tl art. urRely iKJIored ~. mllinwarn wrilers md critia. women anisu including Alice :"~el. Iso~l Bishop. ~anc~' Spero. :'\h~' Sle\·ens. :'\liri2m Schapiro and Judy Chicago ha\'C' pur· sued~"'C'rfl\[ social "isions in their ....orl: throughom the T\\'C'nlieth cenlllf~'" The feminiSI an mOl.·eme01 of the 1971):0 serl'ed as the imnlcdiatC' cata~'51 (or Ihe recent fOCliS on ~el'ism in il~ multi·

f:ICC'led t"mls. III I;ll').!\· IlIl111h.·" "'Ullll'll ul Ihat .·!:I rt·hdlt·t1 a!!:.lin'l lh.· hi~lnric }XUlt'nl of "xrlll~inll ;mel ll\·..! kn ~' rrt"OlIillj.:: ;th"OI;I1"·'· in :md l;tl.;.in!:l r.lCik-...1 dt·p:tnlln~ 111 ,i~ual I""" :lnd rUOlt'IU. A nl"" "'millisl n .....d"u... nt'~s. stimlll;ttl"ri hI' major tllt" I" crC':lle \'arinus rC'p:illn;11 .mel II:Ui1l":11 orJl:mb.:uions and an puhlir:lliullS I...·". IIlrinjt lIlt" df"ns urw"nwn ani.>\tJi. ..)" 1;('\' ;Ini~lk 1il-'llrt· ..1 Ill<" l!Jilt-. \\~L' Jllm.· ehit~u, H\'r alll-"'" r\...p..IL....· I" ,..".\:. is! ;ll1inwlt'!' ;md P~IC"Iit'.., 1."'It il•.,.. I" nlltcC'h'l" lhe li!omini,q ';"11:.11 hn';ll;thrnll!=h~ fOl'" "ilich sht' ha.-; otehi.","'It illl,-m;ni..nal I"l"cl'ltOiti(Yll, H.-r b..'S!-knCII111 pn!il'(1 1\';1" 77" nil/I_I'tII1!'·. tht' l'ull:lhur,lln,' nll'm. sized ~culptllf~ thlll Illt'llIutl .. li/ed ... omt'n·~ arhie"C'1l\C'1I1~ :Inri ~,rllj.::j.::II'~ thmujthmu hi~llll"". (4,mpll'I\"(! in I!li!.l. this n'KllInlllr-nml r-AC>rt ad:tplt'd '~Ij...in:ll fnnn.s and im:'l:l:e~·. C'mpl"~iIlJt Ihetll :.t.' Iibcr.ninll: $\mhol< lhat C'nabled .....men. (or-m~ fim lime. lIll!S.qmlt' nJlltnll ,"tt Ihdr own kXllali~' in th.' anll_ Hi!.'hh' COOtTO'l'C'rsi::tI. t:lpecial'" .lnlClll/: COll!ll,'TI'atn'C' critics and an h~ori:ms. 711, /)i",," Pnrry (uruk(! nn IhC' sllbjerl uf ""llll"n ,md their ilccumpli~hlllenl~ IhrnuJ::hllUl hi~to~' :md rUStt'rC'd ;1 lit'.... ,,~II· til L'!\:P'~ Immen'l e!\:pt'ri~("C'S. Such dron~ hal'e Iransfnnut'ci th .. ani~t~

rl(' t.. Mupret

L.aaari.

,.Jt:~.

oil on

paatl. 60 I( 48 in.

1 ...,-'-'~

'988. \ ~

demucr.il.Uc predilections and aID'O(2(\' of pTq!Tt'S$i\'e ideals in thC'ir "urk. thC' ,':t5t nliljuritl· or .,ulitical :misu O\'C'f Ihe centuriC'S necessa.ri~· diTt'Cted Iheir \I"Ork 10 dite audienrC'S.. Their p;ainlinb~' Kulp\Urn and prin1.~ Wt"T'C' pmduccd and coo~I1OlC'd (or tht' mOSI p""rt in prh·ale. lIhhllugh S1lltle pu"iler ~niJlI and cartooni~(l; LlsinJ( lithUW-.,tph,· lind other technoIIlj:!ical ad\":.tnces SOll~tll mure public .paces :.tnd "eoues 10 disseminale Iheir 11;'icaI pnlitical mC'S.5altC'S. :'\lo.sl prM\.-en· lit'th<eOlur~.. ,;e...."Cf'S uf polilic:al an. ho\I'. l'\'Cr. h:.td ecunomic mources lind time. "'hicll 1I11uwC'd them 10 become participiUll5 in Ihe an "'Of1Wi of their rCSfl'C'Ctn-e ~rol.s.. upilali,nl....·ith its emphuis on finilncial OIch"llll(ement 2nd technical illllnl',t1illllS rJlher lhan lIuthC'tic or lll11r.ol1 'alues. encour.olged the an,world !l\'MeOl II) rl;'\"Ol\"e around patronage. gallC'riC'S. museums and critics. .J,n. in shon. "';IS;l luxun' tll bt' ~njoyed 2nd con.un,,;,d. ifllnicillly C'\'C'n when thC' ,;sual COCtleOl fir specific ,,"Of"b; l'C'pudialed lhe I~' JI"\tem l(C'Ocrating me ca'S pril;kgc Inponsil>le for WI arnnp;cmC'llL Thdr harsh Itruggles to sUf';\"e en· sured Ihat mosl peuplC' \\"Cre excluded rrolO significant contilCl \\;!h 2n-world prntilioners and institutions. In Europe and Ihe L'nited States. working.d:.w men and women. r.olcial and ethnic minorities and others Ull the ecunomic and polilical mar~in.~ or societ~· ha\'e had minimal imuh'C'ment \I;th such dominanl cultural inWlutiun' III mu)Cums and galleries. a r~liry Ihlll C"\-en nOI'( h:u ch2ngC'd onh' -li,l:hth. FUI" them. the' \Uual;ms tm"C h3d al lOost :.t tangC'Otial impllCl un their lio'n. LI'ClI thdr cullcctn"t" PTOlC"Sts aga.iosl their "'alerial cunditillns and Ihe injustices lilt", l'"S'pc'rience
Mexican Murals TIw: :'\ll'S'ican rC\'olulitlll uf

1~)0-19Ii

the ~ for 1I major democr.uiullon lJ( ani.slk iludiencC'S bo' 5':~temaWojnJ:: the liS(' "f puhlir sp;;tce rur disseminatingpoliticalllm,"Orks. By thl'" t'1I~' 19'1Os. the gO\"C'mmem or General :\I\'lIro Obrq:l"on brought a measure or pCllitic-.olI.stabili~·w Ihal hind. clltaly7.ing IhC' eme'Xence of nnC' of the nwn impurtant de\"C'lupmC'nts in the hiSlO~' nr politic:!1 art. Obrql:un's Minister of EduClIlion, Jme \'asconcelos. an imlli{inath-.: intellectU:llI 1;001\011"1. slimul.:ttcd IhC' cuhur.oll li(e 1M :'\1C'l'1rll ~. lurning the walls or public buildings tII-er 10 mUr.il.lllnisu. ThC' thrrt 1tT"t"".,t1 artists "ilo hq:'an thi~ mur-al renai,.

-'C't

.. 461

MEN

WITH

NO

LIPS

sanee, Oieg-c> Rh·C'r:l . .lust- ekmC'nlt' OrolCO and Oa,;d :\Jfaro Siqudrnll. 1I"t"r't. :Ill infhWlIfl'd !'rI' lhe dnmill:llli slyl... ~ "I' Eumpe;tn mlldt·millm. TllI'Y Il: ufTC"r ,..cilll ("lIllltllr-ttt:lIY In \\;dl"r public audiellC"l'll. Thrull~huut the IY:!lI,s .llld IY3Ib. lhC'SC' anislll $Qlhing~' OIll2cked npilOllism. the (Jllln::h and furriJtn <.-ennumil" inlereSlS. ""1111 cummented la\"rabk' nn P~'C' hislllric-.ollligul'C'S. "lI,,'\'"mt'nL~ lind instilulillns that supptlne
hllildillj.:S 111l'nll~h"lIl :'\!t·!\:iro. III :'\!t'xir" (:il\". (;,t;,tl:,I;!i:lf:I. (:'t\'Tllal~lt';1 :md dst·wlwn'. l11<mllllll'lIl:11 p"lilic,ll ;11'1 ht'C,llllt· alOlilalll.. II' milli'''I'' ,,\ "retin:l"' !,eupl.-. wh" ("uIIMn"... t·,ti<~· Ilw ..tli.ns :Illrl rdkn nil llwir rIl.~""!:~"S in II1\" 1"'1tin,· l'UUf'!Il' nf Ihdr cl:.1i"· li"",- :'\)l".\:icJll puhlk ~In limd:lml'111:.l1l" ahL"IT'd Iht'" dili"t ("ha~\("It'r uf \;,,11:11 rre:lliun. Thi" pruli,ul1t1 dl,\'d"PlIWIlI l'Slahli)l...tlllw firsl ~i~nili("'lllli IW\'llIil'lh-!"l'ntul"l' m..r,::· l'r uf plllitk:11 :\rl :Ind pllhlir sp:lrl', :t fllsiun Ih:ll wuult! ,·~app•.'ar in ';lri"l1~ [clnm rnr lh... nL'!\:1 till n·:lI"~.

Muralism Moves North Thl' ~lcxiC;tll mllrJIi.~L< prudur\"'It lilenollly hundrcd~ ..r public murolb. m:tn~' of' "'hich 1l;J\1,' hl"n aclmuwlt'd;.:t:d as linn.. 11r nl:l"t'rpk'C('S. Thl' innUl'1'(".· uf Pll~ lie mllr:tlism sprCiid rapidl~·. mllSI notabk· II> Ihl' Cniwd Slall"S. TIll' lhrn'

1... 11/••• S....·\i.~." •. "'.·... \-............

s....·\·<-llil·lt....

463

-

.

.ll

w

.

~

_ _ _•

•

_- __ --0

_

o

asl.lH" Suit Riou 119811 IFig. ~). This d~llIil prell'ides ~n ~fT~cth'f" liSUill ilnlidOI~ In Ih~ immC'ns~ hiSlOrical ij;t"no-

ment. aparlheid. hnmele"uneu and AIDS. P05t~~ on theS(' and other ~Ud:ll and polilical topic~ ar~ readil~' al'3ilablt' rancC' of moSl Californians r~R'~rdinj;t" throughoUl the" 1>'Orld. rold<m i1ltilinsl Iht Chicano ctlmmllni~·. Recently. l";lnOIlS poJtt'r arti~u ha\'C' Thf" ....ork dral." Ih~ au~ntion of iu put> embarl.ed on .. guerrilla 5trat~' dC'Sip;nC'd lic audience'S In the blilck. Gestapo-like 10 ~ener.m: public: disclWion in unusu:oIl h"oc\ nf Ihe local police. an ima~e "ith public wa~". Los Angeles anisl Robbie llncomforuble contC'mpol';u~' resonance Conal h:ili perfected mis ..pp~ch ~. pm. in li~ht nf Iht' s:n2lte hc2linll; of Rodn~' dudng and p\'CnliC'th century'. leriltl2d; ~1Ut the Ir.aditional mode of anislic crenion and disaihution in WC'Stern culture. Posters in the Street His fin! guerrilla poster. .\lnr milt .\0 The postC'r h3s also been one of the most J.i/J$ (986) (Fig. -I). "''as an im~natkT I;fTC'Cth'C furms of political art. from the ninelC'C'nth c~nlu~' 10 the present, political postC'fl 1w'C pla~'Cd a ,iw rok: in c:aJJing public: auconDon to social injwtice :and In urganizing political opposition and FIC. 6. Erika ~ rC'sis~ance. The~' hil"e represented a bel'( (wid!. an::billea libranl ahemilth'e to conl'C'ntional artLaurie~ works a\"ililable in mtaC'WtU. galleries and COrporalC' nfficC'S. In the early pan of Ule ""'~ aniIt John ),bJpede: l. cC'ntu~'. ilgKTe$Sl\'C' posteR accompanied F...J_ f(b:/w-'.. Noti....JM_ _• tht' strup;glt's to orp;:.nir,e labor unionJ and rt'sisl ecunomic I~Tann~·. ~Iilitant lIIilteckDedia in$laUa. lioa. 1984. J>Ol'tt'rs were Jimililrly pruminenl in th~ demands of \,'Om~n fllr the right 10 \'Ole. nIt'" S<..iet and :\kllia.n r'C'\'Olutions. likewist'. J.(t'"nt'"r.l.ted an impreuiw body of poliliC"oll postC'r iln, ..utd !hI: Spanish Chil War. from 199fi In 1939, 1,";1.5 the C2t:oli~"t for Ult'" production of scmI;' of tht' finest political poslers in Iht' t'ntir~ history of

,In

;1n!;11J'(":11ll ill' ill\alo:"~'" ;11111 "'01"11;00 Ih:11

("".lIlSC"d ,1t'\\'1·r.< H' riu a miUll,'IlI:U,\ dUll. bkt:lkt" h'"('":llll'l.· it IiI ah11l i II" <'''"1\'11' lional milldl'l.·l. TIll' disllIn 1 ill1:I;:~'lo "I Ronald Ik:lj,r,IlI. DUll;lld R~1!".tIl. (;;ISp:Il' Weinl>t'"ry{t'r and Jaml"l' Il.akl'!· talllllt'"111be", nf lht' l'lmlt'r IkaJ
r~ics '3Monl

1;ljl!jltJI

n.

V.t.... Affairs: Assistance Program 1'l>c

tis.

~t

VC'Ul'ItII A1faln' West

d.

U.

J.nctIs WeclIcal Caller Iw

)lined 1 _ wlUI tlI.. 5&1TI!lDIl AnII1 til _It: IlIl

appca~.

e!fln-leDe1 .,mel pro. JI'llI for lIaaIdea Tl'W'UIL

~. Il.~inll:" nl\' ",rt'C"I.<:a.> a mort' "''Stcln_ uk. hiRhh' puhlic t'"~hihilinn sp:u::t'.

TlM PftIInlI' CI!If'Il HAVEN (Ad,.,., AaIi:rI Vet· enn, _lib Emerrent1

Conal ilnd hi;; confedC'r.lIC'S h:!ll: addt'(l a dI'namic elcmt'nt tu til<' lnn~ n".ldiliun of pnlitiClI pUSIn" iln.

Nfttb)...... dcdlerlllll on 'nleIdq b1 VI!lcnI\I Al·

I.ln

Secretar1

JuS!

Brown. II ill Intmdtd ~ prondc \.C'tIlflIII'V7 !lauI1nI

Public Installations

fer~~tnd

beIp thaD bet:orllc tdf·fUIlldmC "lim and _ _ 1>0

:\1.1n'· contemponl"\' pt.lilical :!tlist.t hal't" like"'ise transfnmlt'"d sculpuu-:;II forms into cfTectk'f' l'f'hick'J fur puhlic cnj{iI!l:ement in lhe" kC',' iMun of nur times, SC'C'kin~ 10 appc:!1 In nrdinan people who ('.an idt"OliF.. t'a.~ily "11h lIlt"

fqht ler tnedolII dIollld tU.n to Un on the N'ftU.,- Brown lUI III i r1Att1MIIt iIIued ~1. ., torwider lhla lit ihmlUIt DIll.

priorit1.~

Busineas: Farmers Market in West'Nood ADotbC'r flrnleft Illarhu: It IproutlllJ up 011 the WeNId.., On JtIlIC' 2. Well' wood pliDIlD .... ~ I

....

VI1/.qc F'rnnen MlI"ket on We1bum A"C':llut, bet_"n Wnuroocl .BouIeYVd and

cnmll and _ben be _u in junlor 1l1Ih.. 1 ilI_.yrI A_ cnJliU !T· fl'YW~~ h! AJd. 1 IlTfd in Ea.r.. L.A. and Jr*f!ill ..u _ . Quan', lnteTm In

Itt bepn

Ihln&: I could relit! Ill. "I U1lnIl OtIC' thin. tha1lDUlled aU 01 \II II that Jf'&!1i1l I I &II 1ft fOl'Tll tPOk! to \II in , _,)' Uut

Olh!r fonnt 01 1ft d/dn'L It q:>;Ik, to lhc rulll)' 01 .. Iltl I &lid m)' frimdl knew. and from thm! it wu a " ~ to oOler . thlnp. J JO'.lnll'Oduefd to ma!It.

,n.

art thnNJh pffltl ~ or lhc 12 art1tta. four. lncJud·

$I1t'UII

TC'chnoloj::iCilI :.d\"ances in IhC' posi-Worid War II t'ra. allowing chellp and rapid production. generalt'"d a tremt::ndoUJ increilSC' in me popuJari~' of political pollen. ThC' politically I\tmul. tUOU5 1960:5 illso stimulated thousands of pOSleu for I'uious local causes and mo"emenlJ..,),1 present. nearly cI·t'ry political and social issuC' and cause is reprC"SC'ntC'd ~' the political poster. During Ihe 1980s and 1990s. Ihousllnds of poste", in the l:niled States hal'C' dealt with such wmes u connicu in Cenlnl America and Ihe Persian Gulf. the dis.~ lution of!hC' SOIiel l"nion ilnd f.lul~m bloc. human rip;hu.. me ""Omen's mO\~

inI

Quan, haT! bfetldor', de-

ll""" in fU>e trtt. Two an ttudenlt at 0t1lI Art IlItIitute. SC'>'en 0I1b, 12 Il"f silo Cl!IltIItI:1Ilhdr YOrb in the MlIIC'\lIII of Cool..ealporvy An" ahlhi.

tlon.. -Urban RC'TiIIonL"WbfD I ~ towud tlI' 1ft

~

at Ill)' hJ(h tdlool 111,)' rn.Jl)' falJed _ - MOl'lIat..-o Aid -c;ttf![U wu the ~ of Ide.... xtu&1J11ittin1 down in , dTde of fritrlc1r IIld luminl Il"OllI eadl oC!:er. In that JnftIti nwt\ll't'd the arJrl. ill. mil!}' bI II>L Ma1be )'OtI cl)dnl ha~ acet:II to oilt er canTlSa Of 2O.COJ di!fft"fDI bnaha There

"'1.

... onl1

_tel

[WI)

tlIfnp-r-

~ Ken-

aDd painl.lt tuily tibI.. t.nd tIw tIftllcm .... l1\ert.VnIfI • few ran qo. lhcrt

46.:;

-

'I1Tmon A TC'lIIJI. The !flUb!, to be held

Thundl)'l froal3 10 7 p.m... wW lellure pl"Cldute IrllIn 30 fUTllert. Ptrtlnr wllb

nlJcliUon wW be anUihle .t Bullock', WUI..ood

"'''''''

...

Education: Teacher Fmalist for Award A Venkt fUrh Scltool mub luther hI' been lWIled • tlDIIlr1 fer Ul! J.lme EKalan11 MIIIl,mallei: Tuclm of llle Year

A....

CII"'oI Locl:C't1 and 10 olll-

er Iln.lI,lt will recel'" U.tJXl 'M:h dIlrinJ. l'eCep. UoI1 ~ II UlI ARCO To"'er iD Dcrwn\.01l'rl Lot An,pI.... 'I'be wiMer olllle

SUCO tacba' of the ",ar i"'ud wW be IfIfI(lUIlC'fd.1

""---

Tbc .WVu hecII Ji"m Uce 19119. &1caW1U IillJbt IIAUl ,t • hl&:h rdlooI bI Eatt ~ .uJd lib NrUII w\th IUldmts CIll('I comid.

u.

ercd tIllderadu.."C'n _u !be flI!Ijett of .luNl"r 111m. "'SWldandDdlTer.-

LOS AHGn.U TlMf

SOCIAL ABSTRACTION:

The Phenomenon of Graffitti By Chaz Bojorquez and Luis Ituarte

There seems to be something very, very wrong with America. We are Dct willing to understand ourselves. The ashes are still smoldering from the Los Angeles riots and as a city we are grappling with the ideas of what constitutes art.

Can art really work in shaping a new

visual mentality? Can art function to elevate the spirit and create Dew leadership (social and expressionistic)? There is supposed to be a Dew social order, but in place of order we seem to be stumbling into a new social disorder. We see artists still today attempting to redefine traditional social problems in "the same old ways. Are there"

Dew forms of art? Here in Los Angeles we are living a new level of culture clash. The 90's is bringing us out of our personal and· traditional concepts of culture. T~ere is now the new concept of the Dew participation in the "event of culture", symbolizing our culture of change. In Los Angeles we are witnessing a revolution exposing past cultural supression. There are many more minority "players" that constitute an entirely new make-up of this city. These players· together become the majority and they will determine the blueprint of what is the New American City. Everyone is participating in re-inventing the identity of this city. We have new forms of music (Rap), new foods (ChinoLatino cuisine), changes of street names to names of minority group's social heroes (Martin Luther King Boulevard and Cesar Chavez Avenue). Art galleries and museum spaces are responding to increased interest io, and showing more socially-conscious artwork. The traditional gallery market is. collapsing for lack of interest (equals sales) in the current mainstream art. A majority of new cutting-edge art appears to be coming from grassroots initiatives and the "anti-/counter- shows". Artists are not turning to the old gallery/collector format for exposure and validation. The closing of galleries has denied much new growth. Not surprising, the focus of art patronage has shifted to the social arts administrator. Altogether, community groups (constituencies dealing with violence, gangs, grafitti, homelessness), City Hall's cultural Affairs Department and the Nation's concern address a new re-evaluation of what is the New American Culture. Who are we? How is our art reflecting this new identity crisis? Who is going to re-define us as a people? The artist/non-artist participation in this new social '"event" is what we can call the New Social Abstraction. The "Abstraction" is the many faceted, non-related social elements coming together to describe the mental make-up of our evolving culture.

Social Abstraction works in the social consciousness and is a new definition of art in which abstract expressionism cannot define the social (dis)order of grafitti, revolutions of the youth, Hip-Hop culture and Rap. The preyailing artform of conceptualism surrender. the artist as a spectator and evaluator but leaves him out of the social "event". Social Abstraction is a pragmatic concept, a way to engage a consensus of the public concern. It deals with what works. We invent a new way to survive, and that's what is going on in the streets. The artist is becoming the social phenomenon to explain t 'social "event", and by participating in the event, the artist reg.i his individuality by signing his name. That validates him in the context of his culture. To be a Social Abstractionist, one works wi the forces of culture. The culture of ancient Egypt we understand through the explanati of their art that has survived. We do not ask who did the art, who the artist. We just know that it is part of the the Egyptian cultu as we know it. Its art tells us of the culture, not the artist. T artist's intent is inconsequential, it's the culture that prevails. Today's multi-culture a~cepts only what works in the context of it•• The surface intent of the artist is irrelevant. Art is the result 0 the participation in the social "event". In these days, preoccupied about the Post Modern world, we see t grafitti phenomenon and one wo~~ers if this is the beginning of a n form of art. Not so much in the sense of what Generation X (the yo are doing, but more .in tbe sense that we are all invol ved in the creation of grafitti. We are all vandalizing in one way or another, pollutio~. :political demagogy, corporate irresponsibility, 'religioua manipulation of spiritual dogma, education deficiency, and social racial limitations. Grafitti represents all this. The destruction comes from having no respect for the icons that represent them. In grafitti movement the object is not destruction but re-building a D definition of our city. Grafitti lives in the failure of the social responsibility. Grafitti destroys the face of the canvas. The grafitti artist explains the social "event" through grafitti, regardless of the int to vandalize. Just as the Prench revolutionaries, in the search for equality, burned and destroyed the beauty of Versailles, South Centr Los Angeles burned its own neighborhoods, to destroy its ineffectual existence, but subconsciously, to cleanse and rebuild new leadership Grafitti is inventing a new form of seeing art as if culture would a mind of its own. More and more we realize the importance of languaging. looking like it lives in language, and it's no coincidence effecting us the most is the re-definition of words, which is what grafitti does. So often a cultural revolutionary or guerilla artist will choose language and· word-art as his battlefield. Now this erea the premiss that grafitti lives as a interpretive element of culture and an important part of the transformation process into the Social Abstraction that begins to define the Post Modern era. Grafitti artists do not call themselves artists or consider themselves part of the art world. They call themselves "writers". They write their names, territories, or pieces to draw attention to themselves as a product of a dysfunctional world. They are part of

cial Abstraction. and as participators in the cultural movement.

:~eY produce art. There.is a social,in~ent in what they write. not ,01 el y artistic. As Soc1al Abstract10n1st, they work with the forces

of culture. The consequence of grafitti is the awakening to the f "lure of social responsibility. Social Abstraction resigned from the .a~ent of vandalism is realized in the subconscious aspirations of a ~~tter world. Graffiti writers have no pre:determinati~n to chan~e the rId. They come from pain and anger, need1ng self-fuf11Iment, w1th a ~~sessive burning desire to validate their self-esteem. Through :rafi t ti, our youth are not destroying the ci·ty. but deforming its valls to expose its social faults. We are living in a heavily multi-cultural city with many languages. Language is a main social ingredient. So, it's not surprising that a war on language is taking place here and grafitti is but one of its players. The qrafitti youth have little or no protection and representation. Their attempts to express themselves become the most vunerable to attacks. Grafitti describes the social "event" and proclaims the need for change. Let the politicians. homeowner's associations, arts advocates, grafitti crews, and the rest of the community work together where they can acheive new solutions. Through all of there efforts and participation they then become integral parts of this new social "event". There appears to be an enlarged new arena of many players, each equally aware of the need to change for the better. It is the' tuture results and the historical analysis that will put grafitti ~nto its proper context. Any visual medium that addresses these crucial social problems can be defined as "art". We urge the established art community to embrace these rebels. We could offer more venues to help grafitti crews to v~lidate their vision and express their concerns. Only through the participation within the social group will you have change. When you have grafitti in contact with art, it brings grafitti into the spiritual context ~f creativity. We truly believe that creativity is a cornerstone of good citizenship. Even now grafitti is preparing the social arena for the redemption of humanity. 1

.-

.

• :

·

..

-~-~-

k'

the

~

c.. 0

iti gra school

_......... sc:hooJ

.-..----

-- B -

.!.'- 'NrIC::l:M:o,

.!......'c.an

..... bMltlo~

.. • . . .nt.rt

tt

L

r

BY KnI 8OA,11IAH

',"..

SAN fRANCISCO

ASEBAl.L cap backwan1.

_~lhetrtcu

•" :!: •a,

ta~ nlfht jacket

_ $aid)' 1ft c:nd;td J*m.. £:sm_ is on hit _)' to tM Marlt TwaIn HI&h School oftk:e kid ,tops him ne:n to ~ Coke lnlIChine. '"Got an)' dlanat, man!"' Ellul. te:lloC:hes Il'ItI;I • podtet and. plllis out. palm rllD of ~ 'pray (&II no=leL 'Sony, It', all r~ lat.-he uUs the atllda\t. n- he awn. tOday, ' - ' plaa back I" his podctt. At Mark T'wabl Hllh, , CDIltlnllatioll IChool or 236 atlIdenta who ror lnCI8t or thdr &I;S(lClftl( C&l"ft'l"II hav, pte:fentd to be IJmoat IlIyw'Mte: c.oept , dassrooll\, UKMl"II look ror llOrntthl.nI - anythlna - to enpIt

_twn.

"""

So. on Wtdntsdaya, ~u partklpau I" modlllft. e:xpIo.rin,a m..-..ma or atuelyint'Africlll-Arnt1ic:an ~ 5H CR.AnT17, ~ 5C

<

·Z

:.:

G)

.. '1

.".;1. . C

Ii ". ,• '.

Al Mark TWIirI. veterall "ooeocr'·' te.eh the l ~ 01 s.pl"'Y can aI1 10 t.~ lTlOIe !~r wi"lh tn.IrIIlng pens.

.-

L

t"

.0

-ll

-ll ~

....

-

-'~":~"~.'. ,.

Handing down the spray can C:'

....., . . . . . . . . . . . . c.Mt, , . ...

-N)' duI hall the belt

r.N. m... of hie ua!t. t .. YbIlirI&

AM tMl',

reeopDM

_ _ &II cIoII

..

tndleI' . . . . . ,..,.... V.'lI1le' IN publk . , . . about pV'ftti. ud ~bUc apndls MI.. t.It fllriolDly and of~ futl~l)' 1(1 wipe It OIA. the 10 or 10 .cuekma

leftac It. nutcll<'C .dy with I dluckle,

o

and tDId to 10 to IL ..,.,. IOGa, tJwr could be the MX\~~"l'FMriL-But If thtT don't han opollW't &II an. )'0'111 _ _ knoW. ~ lIIiJln Jet Into ICUtpwre.~ l.hls. WIY. be I,dntl -.n will open !.heir

Grafritl ian't wNt It.-cl1O be. "AD you'w aot II; a bUlldI or tagm, lOin« IIOl.Ind Ole cSt)' UICI tenwiIl.nI the WaUS.- "l'I Cnyone with ulltrIlltlkablc ICOI"II. ~ UICI Estria art rrnm the oM! .chocK, .... hen, they . .y, ....rrttl 111. C'Ountcd for 10"',," thilll- They'rt ItI\OWfl I I pi«ocn. ho Iabnr __ dctaIltO _ _ Tlwrt'1 roothlft& .... pduh lbout whit tile,. do; the)' UN .....ycanalike~ "" And 01",. bcllc"l:.- in IOmc

an. P'riod--

o

an-. ....

A_~ to lqItlnllx

cm'lltl _'1 all th8l \l.IWW.al Mea._ IIIullllln lNt unlHru.ke anti· IP'flhl ~ Ioclk for ara.ic 0IItleU tar lA&P"o the pntl writers who ClDIIlpeW to .crawl thdt ~ UllI their tal IIUnD

-

_ , C!'!1arc iaolIted fl'Vll'l the: ~ an. world and rnJIII

;::-:.:n:*'~ ~-:nt~l~ ...

- A lot or

COIdI

.. -

or ..

~

didn't raJtr thow Ole"""" ~ atlofI the lit aldt 01 It. the .....,

un-

dfl'lT'O'Und ",",adM, belle¥D Twain _ be' IIIIlOIIJ Ule tll'It to I'KnIit an. te8ChftS orr the KreIf,.

_1IW1ed." I"or £aril UICI Cn)'one, tt It alIouC. oploraUon, the IICIJ'dl for new ~ UICI_ttyln, F..&N knowa ....hIt he II; tllkin& ~ ~ ,",mu hN been

"

To do 10 ~ .. t'lGlblllty ill atdtuclc _ dosn't ofte\ find

~nm, lMR',

tM

s-n. 0( hiIIl

WII.h the u:eoeptlon of Rllt'

to Ute _ hooked him. Thal', ....hy tlJ: years qo he _ to Sen Frandaco from H~ IlCIIuN to put h\INIelf thnN&h lit tehooL He 11)'1 he umcd I derr- 1M UnI¥Ct1ity of SUI P'rancitl:D. but he n. Ilctit aood

by thitlr ,nfnu IUlltltles. on the 'Ot1'OfII side of property ~ ud they don't ~ . ~ u- 6cvu"ln.r~ alIltn)"ed

er-

of

to . . , about an acNool

. t - ~ tagrn - fro. cldk' InI public pn)pe:rt)'.

-It ... about IIIIItinC VI IVW... buck doUII averap an, t.. to be the IlUt CI'UJ f'Ieaa.

er.,..

"I ... you up _ .. - ._ ..ya UI _ IJtUCkftl. malcinI

10,- he aQS. , . ,• • to .......

M""""'" r..trIa. era,._ 'lid ..-.....u 1M OG Uld H_ C1eat'l)' their 60 nat nIII .. conW!nlJoll&l ~ Onr IIlIadent worb • Ule ct.. .~II

OIIt

.pta,.

rk

H ...

pla~ MMllnI'" - wtth.~, an in _hand aNI. ~ 0at\IIlnI

TwaIa"

lift ..

frolll lib llpa. A tagIr who _'t ftII"lll*t ill the eta. .m .,... vp to pUM.

And &tria, who'. . . . . . . . 1ookI1Wl'I . . . . wM b» IlU'ftl pill, to ~ raiI&akeB .weM:nt, . . nil( ~ ill UI6nC "llJIlldt luII"I'" wl\Ue will",

~

_

of r.tria·1

aw-

. . . . . . tagIl"t. they _ ' t aIdIW wUh .....y pa,Int. Tht7"""

rr. .esc.. - " or their" WOI1r with _ _ _ becauac peJnt ian't tctIIU-

'« •

_~and_of~_

IIaWltl 10 qIIlt fool~ &n:IUNI. StIli, themall """ .. IICIthIal but I rtJlIDin& - .

b'.....u.blc for "'\non.. "T'hey're ItUl cJCplorln. thc

I

phy.lcaJl~y ur Il," "Y~ £lull, I"t"rin« towlrd the lI\udcntl wwldnI on t.M ....alllO the "'IPC ~.t OIump.!n« rrom I .-arby

-

To kftop the d_ ~ e.ma. Jlnl 1'111 'SW"t SUO ~ rlr nn .pray palllt. and (clloW I.tadlf'r ShcfTy Baa has doled out S176. Clm";I"! I. Ipplylll« III ~cach xhooI on Sllurdl)'$ 10 PlY for

-~

......

hall bct'tI ctwiIlcIlinf: ill . . . ,.... all. Pic.-. ...., b _ 1ft . . . ttl ~ rlthen In a r.... - . . . . . OIey hnc Dthct" prioriUes. But £atria and __ Cn~

dri_ by the .n.. "'tII)' or lw.'rinl IlOdliIII ... ~ 10 " ' - ror 01 U. IlOO ... «I II'IUl'la. IUft)' . . . . . . thrir ~ .... J'IftI(Iuo;td. F.alria ....

-r

C... ynnt Irr lucmlJtinlln _ _ • JII (If Il III I ~itimaLC an . . . . . Onn. or a>UP8C. they rtfcr 10 dwIr work • C'lIIIIIIissInned and _ commiuloncd ...thcr tharI .... and i11cpt. Thcy._ dotIC _ ...... rtff or In ftchlna' foo- . . ,

SM'I mlll' to IIcrln« I chwUt of Mr Sawrda)'l ror the ~ 1fl2r wa.tc\'liTC her ItIlCScfIu ....11t_ftdlJll:l\Ollt .. U ..~ "'1'", IIlt.Md_'lt"I~of paint. aC'CC'fKed • rc.... ~ _ _ to ~ III lhb cl-.- ea",a· .ionII ~ IIId C\In'f'C1Uy . . . . .lM1 ")'I. "I kilo.... thll II ror the • dL1,play of can"-' 1ft I . .

arnur JOOd or 1
IJwft aTe f"" ~

"cn_ for ,rlfflti. £lull be· Itc¥n ttudcMI IIUCh .. rc.rt zu-

Uta, Rk:udo ~,JoeI e.u.

tisI.IaNl8a!am N~a1117.arc Iclmilll rftpKt. diKIpli.- and

.....-..

........ I n ~ A Gerinl", moment came rt· ocntly, ....haI onelll:Udcnt applied hIa .... to the Ifttiol:l oflllUraI on whid\ he . . worktn&- £atria. In I way III aodmlrinl Ca/oIaJIftl alb -mantr,- told the ttudmt he was nil( to I« tun.ftf apart from Ole &rouP and told him to CI"IIC the:

tat ...

I ' - In the pWorra' code of ethks, a ' - ' lbout ~ tpecl fer the an.. 1loc daM it auppoaec! to n1" f""" I to 3 Po.... but kidI ahow up ewtJ' and ,""" laSe. "I IooIl: r_ard to It C"try - - . ~ .,.. Neil PIke, who l&bon _ the ~Ikc dw'actcr he'. eonutbutinl to the mural. "IIQ to othtT ea-.. The)"rt boriftl, and 1juat It:a,". I IIwI)'l hete."

ao

o r.tria and Cnr- arc tneh-

lnC thb: daM an

rer ffft bKIuM ft'a

ImporWlt 10 them. Or II -.IanI pUll It. .'they "'""'"

c.,•

nm

out.- and they'rt aIWl" on time. 1'hnc t_llly_thlnp are SUI Fnnc::i3cD'. flnt &encTMion of prit! WJitc'rs. piKcrI who ckV9Iopcd nputlUONI ror UUTf'aprIt m:un.b and who',"

amona

AM IIIIYM th •• wh)' hc aprftdt Wcdnnclay IfternooN tadItnI. ahowftlI I IWdcrIt hnw to wNlUt I nra:Uc wiUI VI X.AcI.o llnU'e 10 It wiD pf'Cducc I wtth ... J*nt per aquarc Inch of a1rf_ am. offcrilll the IOn or _troI that Clllble. plca~ to pnIdr.tcR deu.l1tO 1l'f\qeL

Pf'OJecl- Cl~ • ...tond_

ral U.I' .nil

he . . . I'; At

_

Joncl1nw partner. o-t Ntbla 10

_

~

tlrwt .. tI1ed tllPl\I. but _ he W'fd of the: ~ _ _ But the an _ wlt.dlln« mul'k

ar-

OM-l'laJIll

"'"C"rone" .... Jllntovac, t.trt.'. 111.1 thrir Itlldeaa -

us. wc'"c

done our thin, lad mo"cd on to other thirCa ifI tile.- II,.. Ink aG. -We try to .m _ IIOl.Ind, but _

Bay Arel tup achool., uacher • Terri e.-JaIV. who ~ tIaia _hcrlthe ... lUm pIint!nc the _

don·t kno....

"I ha_'t """ wid my cliItri('l,- . .,.. prillc\pal 1::1,,1... Dun-

In Twala'. Spray Can An Cl_ an hINItd cans ndI W ~ y

mltw:l to

.ucn-

dlnn In the .chool:' rAula ~ "'1'hc otMr tnehcra ~ jea.IouIlI hdI.But off\ciab; who miIN ctoaJ.

umed rccopjtlon in under· pvund priU public8Uoftl. And a1thouLlh they dcn,. It.

their ace II; ttartllll 10 ....c\Pl Oft ~ 1'hc7 rtallzc there artn'l man,. of thdr Idnd around any· ~

1'1-. who 11)'1 "!'1lI purely !No k to ;..c. wreck m1fr but who donn't 60 church" or hoInD. .. In dcntaI 1«h ac!'aooI. leamiItC tAl aaekc dct.wrca. Cny· _1127.

, .....

_ '1.1 ,', ' •.:-.

0"

r..

I

_ '....... , - • •

fP 1-- /2-.

en,.

_ ~••

_ &ot..... u.s,...,ea.Arl;..,...........

or _ bar!'aI JWd bt-IUnd U. bMdl ~ in the r..- HOI _ -eJl 01 Golden (". . Put!.

r)'

I"~ _ ,

J" ',.

T~"'IUI Nt-yte. the ~ t! ~ crew ~ Md OM he"'" ~ to rer ,...."

'Ta-1lIIM. they - . . . . N tIM next fI'tcae-. . . . ., dMy

-GllAFFm

froraPat/tl J

.,

f"~ caf~ TlwJ ""'"' ~ bYlclty~lOdol""" llonC I bulklinl lite. £Iltrir, . . .

taken pwlt-~ ~ -If you ctoo-e ttl ~ a ...... artilt., you haw to be r..tJ • Ill' poor," Ettria ..,.•. "AM 1 _

poor.. But he II also In love with .... Irt ronn, Hc l.elchlN btn_ paRin, on 1'111 pasalon lbout....,. fiti miIht helP it cncluI-e.. -If I III ~ 1ft hbtery forflllWI, than OK.- II" £Ilria.. ..,. 1M, whit I'"c pined II Mb(I pDIcd Oft to thctc PfClP/Ic a . . . ~,.

~

otfJOIth: RockS~ Crew lnfrol'ltof WlkI Sty" ~and""ott

~ton).lftJ

Atlantic the image of their own fvD..re, like it or not Those at the Kids write graffiti- because it's flnlt is also an expression of the cutting edge in cutturaI and artistic circles are. as arule, quick to longing to be somebody in a 'WOrld that is always reminding )'OJ notice anything new on the American scene. One such person that you're not That being the case. it .......as not at all surprising was Claudio Bruri, an art dealer from Rome. who frn became that when tJ-e youth n other parts ofthe world became aware cJwhattrer cosnerpartS n New York City had been l4> to fOl'" aware of New York graffiti in a small co8ectlOn of photographs po..t>lished by an Itlian visitoo" to New Yori< Oty. Among the ~. theywere quick to try their hand at spraycan art. The netwQr'k that orce linked the ·bombe~••crews.••mgs.•and artists with trains represented in this book was Lee Quinones. "toyS" from all the far·fkJng boroughs of New Yark City grew to In J 978, notsatlSfted WIth the staggenng runber of~top·ter encompass cities from Chicago and San Francisco to London. bottom whole cars· that for frve years had by sheer numbers, scale, and mastery overwhelmed the competition on the -twos : Paris, and Viema and around the world to Auddand and ·nfl'lleS. ~ Lee had begl.n to transform his neigI"OOrhood ~ the Sya-.ey. New Yori< Oty is Slill the capitlJ ard antur;; cerne' of graffltl. It is like Mecca to those who -.vorship at the altar of sty\e. shackm of the Brooklyn Bridge into one of the city's mOst spectaC\.la< _ of pub!;c art. Panting by ust1tmcould ~ us all Fab 5 Freddy brought new an: ttvough such fdms as Sryfe Wars and 8eaI: Sveel The the VifkJge Voic:earoundtosee thewalls and they ran an article f", leg of [);,,., polgrimage had taken him to San Francisco. and photographs of the rn.rrals, These came to the attention of where he had looked up Barbara Bode, the widow of Vaugm Claudio Bruni, who flew to New Yerlc to find the artist Shortly Bode, one of the spiritual ancestors of graffrti and creator ofthe· thereafter, Lee and Fred were invited to exhibit 1:tlei'" paintings at Bnn's GaJIeria Medusa in Rome. This was fOl'" many in • . . Cheech WOZMd ard 0 _ appealing ""'000 ~ Ore. In New Yor1t. it wasn't long before Disz was exploring the ElXOpe their fll"St experience of the arrestl1g beauiy and energy ru'I"tler onetlSrlel at I45th Street with such arrent borrbers of gnffm art. as Say and Wesr.One and old masters like Kase 2 In 1983.anartdealerfromAmsterdamarrived nNew What is a young man from The Hague doing bombing the York Iook.ing for the -writers" he had read about in art journals. one line in the I 4Sth Streettumel with Bode ru:les?The Yaki Komblit ha(j plans to introduce graffiti to the European art marlc:el to the same coAeaors who twenty years befOf'"e had ""we< ~ " the histo<)' of an exuaeeS. tra"*,, from Europe began to bring back economic: backing to launch that movement in the 'NOrld, news ofa most ll/'l..lSl.Jal phenomenon taking'pIace on the scooping rnon American collectors in the process. YaJcj se1ected subways of New York. Somebody .......as painting the trains with a as his core group artists who not only were veterans of the strange new form of lettering and crazy scenes, transforming subways. butwt-o had also been rouded;n ~ New Yori< sI-ows: Fasruon Moda. the Mudd CLb. the New Yori<- • the 'olling stock of the Metropo~T ~tion AulhOOty rito giant mobile comic stJl:>s. The Europeans were higNy NewWaveshowatP.5. I. the FmGaRery.ardothet> One by entto..lastic:. They had long looked with fas<.Ntion upon the one. he launched Oon:fi. Crash, Ramelzee, Fub.xa 2CXX>, latest trends in the United States, seeing in the giant across the Zephy<. Qu;k P01k. Blade. Seen. ard 1>1 Blast in t>grIy successful solo show's. and he organized a major breakthrough exhibit of wori<s by these anists at the Museum Boymar6-van Baringen • Whie we aelerieJoMedge lhat graffiti is a plt.raI ro..n n the orignaIllaIian;rei in Rotterdam. tt'at~~ ~demandstNtitst'OJdbetrutedassuch. l-IoIland was fertile soil in wnen to plan1 these seeds. It had a sncf:the~dthe ~Cllf~Cllld ~art. thev.o-d '" lively. ard 00eperdent youth- p«MlS. p
_oous.

-

7

Forl.rt: G"enoAn by Dream(l.os Anlelu).1 9U L.efC: DHtltand Hlp Hopby Zakl (London). 198<4 Selo w: Brim (lDndon).19aS &
8ortOlll rilhc Brim u Orionl,19"

New Yark wnters are proud of tI'e history ofthe development of gr.lrr'" style. of the "'deals they have to face to palnt trains and of the harstYless of II'Y'IE!r-oty life that

"'d

meet the great writers from New Yark at Yak,j's openings. and this influence contributed to the rapid proliferation of sprayan art in Amsterdam and gave it a strong New York flavor. Two trends have emerged snce the art world embraced graffrti in the early eighties. ~ one, those writers who joined the estab6shment an scene began to ,espond to the influence of deaJers. collectors. and other artIStS. and they discovered other motives to produce their art They evolved as artIStS. their work becoming in some ways more complex. more subtle. and at the same time more appealing to collectors in the fast,moving art world. These artists have often lost sight oftheir original public. retaining only the use ofthe spraycan as a tool, vestige of a former vocation as graffrti bomber.lhe second trend is the. extension of the original NeoN Yark graffiti world beyond the: • Sl...bNa)'S that f"* the Bronx. Brooidyn. Queens. and MaMattan to the streeu. playgrCUlds. and underpasses of Pittsburgh. San Francisco. london. and elsewhere. The)'OU"lg inhabitants of NeWYark CIty who Invented the art were part ofa youth culture 'that included artists. break-dancers. rappers, and D.J.s and their creations were ways of communicating with one another. likewise. it is young people who have taken up spraycan art wherever it has emerged in the rest of the wor1d The artists and their public are stJD mostIyteena~ Probably the greatestagen;: forspreadlng ths art form beyond irner-Oty America was the Hip Hop exp/oslon of the early eighties. The films. videotapeS. and books that described and promoted the culture of rap music. break- dan&ig. and graffm writing made heroes of the young forerumers from New York's streets- Africa Bambaata.. the Rock Steady Crew. Phase 2 Blade. Seen. Skeme. Dordi. and lee to name only a few. Kase 2's formlClable presence" the film Style Was and the bookSubv-oy Art prompted wnters in Pittsburgh and San Francisco to adopt ris style and the camouflage tednque he nvemed called ·computer rock. "In Spain. Bambaata is a demigod to young B-Boys who )'eam to be 'down" in his crew, Zulu Nation; while in london. Bristol. and Birmingham, England, they paint the walls with the Zulu symbol. the raised hand with extended index and little fUlge~, sign of love and peace, In many aries. write~' fII'5t exposure to graffiti art was at a Hip Hop concert. often staI'1'W1g the Rock Steady Crew, one of whose members was Doze. a wrner from New York. Others saw Malcolm Mcl..aren·s Buffalo Gals video. shot. n front ofSky's the t..irrot Bil Blast's handbaJI court. or they saw the films Wild Style and Style Wars. Through these rnedia. the culture ofgraffiti was transplanted intact. embracing language. history, customs. and rules. bombing. -racking." and the competitive spirit. Beat Srreet. a product of Hollywood. probably did more to spread

B

the word than anyttVng else, even though the art'WOf"k'ln the film was done by professional scene painters. amateurs as graffrti artists without much experience with spraycans. But only New Yorkers. with a practICed eye. questionedthe authenticity of the

each has had to come to terms WIth. Therefore. although they are flanered by the admIration. they VlE!w with a certain ambivalence their counterparts In other places, those youths Impelled by their example to palOt.. The)' are pleased that what they have created is a source of inspl1"ation to so many others. but they complain 'that these o~ have not palC! thetr dues. ..:: Wnters n CaJiioma and El.ft""OPe have been able to study and copy advanced styles that evolved ., New Yark over a penod of fifteen years. One of the key figures in the development of New York graffiti art was Phase 2. He and a few of his contemporaries originated the forms and made the styIlSOC inventions that have defII"'oed spraycan art up to the present time. Phase IS still an artISt and his current work has passed beyond the narrow formal boundanes of traditlonal graffiti, whIe stiI retaining Its fresh improvisattonal cNracter.1-!e has exnbrted hls INOrk n Europe and has been able to observe at first hand the rmpaa that the new art form has had on people outSIde New York. Phase IS not surpnsed that others have been inspired b), New Yo~rk graffrti style and that they want to imitate and borrow from'rt. He told us:

p!eCes that appeared on the screen.

The Statue of Ube"Y. the New Y"" City skyfine. bridges. and subway trans are the mages commonly depicted in mJraIs from COOgo and los Angeles to Paris and Sydney. These are the icons that symbolize the wel!spmg ofgraffiti. The subway In particvlar arouses a response. even among kids who have never seen one. Spraycan art evolved on the side of a moving train. To be sure. it can easily be translated to a fixed surface. but itcould never have started out therein New York. wrners have an . aJmost mystical attachment to the trans. the giant worms, arteries., the beUy of the beast The drama ...,...folded on the trains. ., the dark n..n"leIs where wnters encOl.ntered danger". high voltage, cold O"US/"lng s;:ee1whee1s. giant t'urtf.ng monsters. The trains were the arena where the wmer could prove himself, and it is this adventure that caught everyone's attention. Throughout the hislory of New York subway graffrti. writers also did pieces on walls. Theywere a good place on which to practice and in penods when the -buff' was operating they presented aconvenient alternative to the trains. a place to keep yoor name up. Graffiti in New YOO had firstappearedoo ~ waJls when !ods began taggi'lg up therr street names. Graffrti as an art form began to l10urishwhen the write~. as the)' had come to be known turned to the subways totake advantage of the high visibility. the n..rge potential audience. and the link with other like-minded kids throughout the aty. Other writers have stayed away from the trains and concentrated Mead on palntingmurals in their QVo.Ifl neighbort-oods. refll"ling their styles on walls and handball courts, someti"nes invited by local merchant5 to paint riot gates. Still others were adept at both trans and walls. lee was. at the same time. king of the dty subways and a recognized master in his neighborhood, He carried the art of painting handball courts farther than anyone else before or since b)' comprehensively utllizing the gfven space. A different magic was at work here. 'that ofa roeigttlorhood transformed overnight by a mysterious hand. SudderlytO come upon a mural by lee is fike frdinga treasure ina cave. Trains have been painted in VIef'Y'Ia. Dusseldorf. Munich. Copenhagen. Paris. london, and Sydne)', but they are rarely seen by an)'one. This is because the writers in those cities are relawely few in number. and the transit workers can easily take the painted trains 0\Jt of sel'Vlce and buff them. So, apart from a

few forays intothe yards, wnters outside New York City have stuck for the most part to walls. Tnus there is an essenoal difference ber.veen New York Slyle and styles 'that have evolved elsewhere. a dIfference summed up by Shame 181 of london The Amerrcans.//jke their stuffbur I \o\IOU/o'n'[ follow It Their scyle IS for !he [rarns. Our style over here./ couldn'[ see ony or thor. Sluffberng put on a rra", ·CQ>..ISe I don't think I[ would rod:. For a wall. yes. alright But 10 rode on a rran the pJeCe needs movement Most ofthe EnglISh pteCes cb1'[ got nomovemenr or oJ/. It's e!he pece IS leon,'- rrselfaport 'Mlen I see p.eces cr.AmerICOt'l U"0I/'lS. !heyJUSt look "'-e !hey're meo'lt ro be there. theyJUS[ go WIth i.he (fOIn. Walls OOn'[ go anywhere. so (oro wofI, JA'U could do anything,

When I wern to SWItZerland they were checkng out what I was OOingond rryi1g to emmce it ood l6e It n theKwork.lts ~ normal, W'hen ~'(e "rosomeUing ood you see somebody chng I[ differently, you're etther gcJI'lg [0 1MOVOte. ekDorate on it. Of just toke the thing and do it the same way. That·s the difference berween being aeotiYe and imaginative andjust being there. But I think. rfyoujusr hod a bunch ofguys that were developing oJJ these new tedvl~ end there was nobody [0 go out end do !he eytf>ng.

Oppo,fte: Ve...,hn Bodt·uon. Ma"" (O....I.aN:I).I'"

8-801by~(Hankatull).I'''

Wmers in smaJI towns around the world ha"" had spedaI problems not experierKed by.......riters i1 New YO
was a solitary artist named ICrlg Pi1 who had a1ceady beg\.n to do pieces when he met Lee. W'ho was visiting Kassel as an ex/'lbitor n the Documenta st-ow. This early entMiast vOited New Yori< WI 19&3 and made M way to Hervy's studio, frle .. Graffiti J-IaJI of Fame•Lee's walls on the L..owerEast Side. and the writers' bench at I49th Street in the Bronx - an alternative itinel:;aty for particular tourists. Upoo M retum to Germany, King Pin sent picttJres of pieces he had done in BrUhl and occasionally he would ask to be sentttings n return. like "fat caps," that are hard to find in Europe. In one letter he wrote:

tet

cops C>'>d, afthough they realized very weN UlOt I was King Pin, they let me only pay (or the piece I did thor. night Then they soid to me. "Dcx'l't do It again. otherwise we will charge you (or oU the other things in WWT'l. " TOOt was definttefy the end o(my career as King Pin in our town, Ibelieve then ort has to be in the srreets and, ifit is necessary, against the fa.N and not in a gallery or in the museum where nobody sees It ond where it has an economic undertone.

I heN
Whether it's done on trains or walls, spraycanart is a form of pubflC art. Writers everrwhere concur in their desire to bypass the system and the normal channels for exhibiting art that are. more often than not closed to them an)'Way, 3Dof Bristol, one ofthe flm writers in England, sees the potential o(the undergroundmovement and people doing "'""'thing ('" tl'err5eNes meed o(ft being ""'en from the top. You know. you live in a aty in which you realJyd:tn~ getanysay at all. You couki go andJOin some kindo(committee andtryand gel tJ>ngs pas>edwhichrrigh' ~ y
3D has. been arrested several tJmes.. has had to pay fnes and do penance n a weekend wort<. program. Nevertt-eless. he is corrmitt.ed to thrs chosen form of seIf-expresslQ(l To the 10

objection that wntet"5 are forang their art on a public that has had no say r.the maner, 3D answers that people are quite powerless in any GlSe to do anything about the esthetics of their surroundtngs:

In the clty)'OU 00n'[ ger aJY say 10 what they buJd. You get some cremea thor: does crappy glass buidr1gs Of gray t:uiIcings.. No one comes upandsays. We're buiIcfng thts.. do you ike it? Here's the ctCl'oW'lgS. we'tltoke a pol" So wtlyshouldl hcNe [0 explain what I001 I live n the city. m 0 atllert Maybe 11 the' eyeso(dlts rownrmOO{ somportDnt becl1lSe I cb1'[ hcNeal that high 0 stDtLIS. as III das:s end job. but I We here so I shouJd heN'1)'CCle else. and that', -<>y /go out and paint Cl1lSe Iwal[ [0 say something. end I don't wont to be told • when I con 00 it

r

lnere are other writers who use different methods, while they share the same goal of getting their name and their art up in public. Depending on the approach that a particular city may lake and its attitude toward graffrti, a writer may be able to play t:he system to M 0\IIIT"l advantage. Many cities have taken a constn.Jetive approach to what they see as a problem. finding ways and places (or writers to paint handing out grants for supplies, and creatinga dimate of cooperation with tOW1'I councils and community businesses. In Wolverhampton. an industrial town outside Birmingham, England, a politically astute young writer named Goldie realized early on that being the first in his community to ~ piece, ~ he would be very vulnerable, As. he put it. "I would be cn.JShedt"ln that way he saw that he would defeat his 0\f0II"I purpose, which was to get his name up before the public and to ensure its survival. With the help of his agent anassodate from his days as a member of The B-Boys, a professional breaking crew, Goldie was able to get the support ofthe administration of his l"oJsing project to do pieces forthe school and day-<are center. He enlisted the efforts of several local businessmen to help further t>s plans. When we visned Gold;", t>s agent Mart;> Jones, took us around to the local branch ofthe Pittsburgh Plate Glass Company, .......+.ere lab tedY1idans were helping Goldie by testr1g primer"forcanvas that would be both shlny and f1exibIe norder [0 provide the optimum surface for spray paint. Next we visited a pam contractor who irMted Goldie to the factory to mOe M 0'NI1 c~- a spraycan artist's dream Gold;" says roe owes ......xn of t>s pI>Iosophy and t>s nspirotion to BrYn a veteran writer from New York City whom1he now defoo:t G'eatec Lor
murals with an aerosol can. The \'NO young men (ound that they had a lot ll'l common. each one havinggrown up n the lmer crt)' on elther SIde of the AtIantJc. It was because of the support of the GLC and other crty councils that Goldie and London crev.-s such as The Chrome Angelz ana the lGA (Incredible Grove ArtIstS) were able to devote themselves to pamtlng legally. The GLC apparently saw If) graffiti and Hlp Hop a chance to strengthen Its links Wlth the community of dISaffected young people. At the Taberl'\Clcle Community Centre IfI London's LadbrokeGrove, Jenny, a youth worker, told how the GLC had given OC<X) (about $3CXXl)forthe youth club to buy spray paint for the wrrters and track suits for the break-dancers. She explained that:he kids at the center were all unemployed and rIVing on SOCial security payments of £23 (about $35) per week, and that they had all been In trouble and ~lnslde ~ at least once: "If yCN haven't gO! the money, you either steal it or you can't do anything: We iound the center bustling withaetMty and kids full of plans for palntlng murals and preparing for an up-COffiIl"lg break-danclrlg battle, Jenny said all this was 10 stnkng contrast to the prevalhng mood In the days before Hip Hop. ~I really haven't got the words to explatn the sort of depres:slOl"lll1 the late seventies n the nner city, The first two years t worked here, absolutely nothing was happening _ pool. table temrs ... the apathy was really awful: Money from the GlC helped put SClr'ne' of the dreams the Iuds had WIthin their reach. But not every COCTYTlUMY has confronted the graffiti nItS rTMdst 'Nlth suchequanmny. In an effort to eradicate graffiti from ItS walls, the atyof Ph.1ade1pNa rormed an anti-graffiti taSk force and prOl'T'olSed wnters amnesty If they would come out of the undergrOU"d

and give up bombing. As an ll"ICentJve. the task forte offered opportuMJeS and CorrvnrsSlOnS to writers to paint legal murals (or the crt)', and at the same time rt vowed to prosecute 'Nlth seventy those who persISted in their errant ways. Many writers declCied to take advantage ofthe offer, and some have tended to play both sides of the fence, joirungtask-force mural prOjeCtS by day and bombl/"lg the crtyWlth an alias by night Meanwh~le, the task force,lfI an excess of zeal, pu;: pressure on local merchants to get rid of murals done in graffiti style on their shops. even though these had been painted WIth their

permissIOn, The task force was apparently opposed not only to Illegal graffrtl, but to the graffiti style as well. and they forbade the use of graffltllettenng and B-Boy characters wnh their aggressive poses and expressions on task-force-sponsored murals, thereby engaging In a kind ofideologlCai censorship, Paflsh, a Philadelphia wrrter. told us: They worn you to be like a robot We will tell you what to do," There's no way that'sgoma worl<. N"., if they hod gone about <~ 0 different way and let wnte/s do murals. even cOn£rolJed murols Wlth Bode characters and nudes and on that kind 0(aozySlu(f, .. /lut they"",,',~, t>'»dydc>tl>at

They

I'"' won",," to po.;u!hex silly-""*"< fTU'"oG with patnt brushes. yOU /o:ncN.t.1ke p«:wres o((arms. gr05S b1d. . ,. No kId!S gomo respea trot. Wnters are gonna ~ nght over trot. Char.net' bJ' spnen. .at>d Sketcft tt..... A" ... ~\.1986

Ken, 8-Boy by Shame

{H:anhanan),ltaS

BIle To copy another writer's style.

&mb ProlifIC painting or marking.......m-.

""-

Many parents It"I the UMed States dISapprove when their children come home wearng B-Boy style clothes: KangoI hats. KazaJ frames. name-belts. and wKle-laced Pumas. They say It makes them iook like hoodh.ms. The parents recogruze that tt.s style IS symbolIC of thetr children:s allegiance tostreet rUes and their assurppoonof a street personalnthe sameway. the task force. whICh represents adult maJnStream aJture and civlI authonty, rejeas graffot>-styIe lenemgand fly-boy charoaers because they see In them an adherence to values that oppose thetr own. Pansh continues: Taskforce wouldn't like a name. B-Boycharocr.ers with hots to the side. sneaks and guns and all that kind ofswff. 'catJSe they thrnk then kind ofswffmakes us seem lik'e civiolent cit)' ... like wmers cenvol the city. BlJt. the reason whywnters draw those characters is to make )QJ look ~bod. - You know. its like 01 mage o('fC'KSelforo:!.ncn )00 were tNrldng about lha! rig!1, ... tf.'S hkeaswtement to onotherwrit.er. You're tI)Ylg to role to cnother wnter Wlthot.tt. really meeang twm. The way he sees Jo'OlX nome. he sees C'h7octers. he con pcrure t( ., his head.

The 'ask (orce soy when lI>eysee chaoaers.lI>ey(ee1"""""'e' OOn', urxJem1>nd lha!. , 00n1see (>1)'thing ><>Ier" about the_ Its on there. I could see if you were drawing a bunch ofpeople killing one another. but nobOOt draws anything like that. The BBoy character prOjeCtS the image for another writer. He's not tfylflg [ostlOW thac [0 the oCy. Nowthat these artIStS share a worldwide network messages. meanings. and symbols born ll"l New York surge across State lines and naoonaJ borders. If New York City generates style. tf.'S because there IS so mxh competition. With so many wrn~ in town. you really have to be great to be nooced. And ltw'Igs move fast there because COrTYT'llJOlCation is so direct you do a pteCe and ~ of people: see It nghtaway. UnJess writers start hrttll"lg 747s ortranseormnental contaner trucks, they'll never re-create that Jltensrty on a worktwtde scale, But more and more, as contacts are made and pt-otos orculate, they understand that their audience of peers IS out there. beyond the neghborhood. far from the yards, tunnels, and elevated lay-ups. ' At first. only the names of the New York kings were 1<nov-'n townters rn the rest ofn world, but gradually the flow of Information IS begNYlU"lg to move bothways. and New Yorkers are becomrng aware ofwmers It"I other places vvtosetalent is making people SIt UP. and take nooce.

&ff Any means employed by the

•

aut:hontJes to ret'T'lO'Ve graffrti from traInS or walls, To buff To erase. 8 To beat the competIbOn Cop, (ot 0< sIonny Interchangeable spraycan nozzles fm.ed to can to vary widthofspray, Chillin' Being out there and betng cool. Crew loosely organlzed group of wnters, also known as a clique, 0.( Real~ good (demed from·death") Down In, part of the group or actIOn (e.g" -He's down WJth us) Fade To blend colors. Fresh Synonymous wrth de( Generic Synonymous WIth wd<. Go<>g "'"' One wnter covemg another wnter's name W'lth his own. HIt TotagupanySll"facewi't:hpall1tor

""-

I<.i/t To hit or borri:> excessrvely. I
spray pa;rn. Toggi'tg up WnMg SlgNture WIth marker or spray palnt. ThrOtN-up A name painted quido:Jy wrth one layer of spray paint and an outfne. Toy lnexpenenced or lI"ICompetem wrner. Up Describes a wrner whose ....."rll. appears regularly. Wok Substandard or Incorrect(derived from Moutofwhack) Wildstyfe A complicated constr\.lCtlOl"l of ~terlOdong Ieners. Wnter Practiooner of the an. of graffiti.

r.f:ON JII

'P'"'' ~

l.--LJ.1U

I/f:;':-..L

,_.~.

-.

WHOSE MONUMENT WHERE: ..:. Public Art in a Many-cultured Society By JIIJi/h F. &rm Using the term "public art" in an audience of m;,ny cultures brings dirrerent images to mind in each of us. Some of us may envision the frescos and statues of the Italian renaissance, Christo's umbrellas, the murals of Los Tres Grandes. Of the ritual sand paintings and tolc"ls of native peoples.

Public art may function like adobe formed from mud into the building blocks of a society; the purpose of any monument may be to investigate and reveal the memory contained in the ground beneath a "public site", marking our pas· sages as a people and revisioning official history. The ultimate question for us to consider as public artists as we cn:i\le the monuments of the '90's is: "What shall wc choose to mcmorializ.c of au'' time 1'" Over my years as a puLJlic artist, I have been continually struck by the derivation of our common legacy in public art from the "canon in the park" concept. By that I mean that impulse that caused us to drag out the rusty canons from our past wars, polish them up, and put them in the park for children to crawl over at the Sunday picnic. The purpose was to evoke a time past in which the "splendid triumphs" and "struggles of our forcfathers" veered the course of history. These expositions were meant to inspire an "awe" in us of the power of our great nation to assert its military will and triumph over enemies. Running our hands over the polished brass we shUl'c in

u_.-.._ ·

.

<...eu

r"\V\-H

these victories and become enlisted in their caus· iKlMI1es. Never mind if as people of color they were -( not our forefathers, pr even if the triumphs were orte-n over our own people. !\. more contemporary example of the dis· play ~f canons in the park occurred during the promenade of military weapons in the mall in Washington D.C. immediately aner the Amcrican·dcclarcd victory in the Culf War. In ,l' an exhibition prepared for American families in the adjoining Smithsonian Hall of Science. a grandfather's voice (sounding remarkably like Ronald Reagan) soothed us into believing the war was a giant, bloodless, computerized science demonstration. The promenade and exhibition asserted that young American men, their renexes adroitly trained in a video game culture, had demonstrated our superiority as a nation over Sad dam Hussein through on·screen strategic air strikes. FnJln the [,ron7.c geller,,1 on hurscbi'ck in the pla7.a (where the public's view is the underside of galloping hooves of the triumphant soldier's horse) to its more contemporary corpo· rate versions. we lind examples of public art in the service of dominance. The intention of these works goes beyond creating giant decorative pigeon pedcstals. By their daily presence in our lives they mean to persuade us of the justice of the acts they represent. Just as the power of the state is embodied in these monument's, the power of the corporate sponsor is embodied in sculptures standing in front of towering office buildings. These grand works. too, inspire a sense of "awe" in the viewer. both by their scale and by the (presumed) import-ll .... "' ...

)1

I

1£1

. --

tance of the artisl. H·en~:, public art is unashamed in its intention 10 mediilte between the public' and the developer. In a "'thi;'gs go better with public art" mentality, the bitter pills'of develop,,!ent are delivered to the public. While percent for art requirements have been heralded as a positive spin-off of'"growth" - developers' creation of amenable public places -every inch of urban space is swallowed by skyscrapers and privatized into the non-publidpublic space of shopping malls and corporate plazas. .In these dev'elop- . ments, the "public" is predetermined in order to seleci out undesirables: the homeless, vendors, adolescent youth, the urban poor and people of color. Planters, benches, and other "public amenities" are suspect for their potential hazards as pulJlic loitering places. With lhe loss of 6ola"icaJ, IIWl.'tlJtV, j'euJei1t,,'t', •• and all things familiar. ethnic people disappear to another corner of the city, reinlorcing segregation. Los Angeles provides the clearest examples of development as a colonizing and displacement tool of ethnic communities. Public Art now plays a supportive role in these agendas. Infamous developments abound in the public record. if not in our consciousness: Dodger Stadium, which displaced a Ilisloric Mexican &immunity; the llunker Hill development (now home to the premier arts center, THE MUSIC CENTER). which displaced another; and the less well-documented history of the intersection of four major freeways through east Los Angeles's Chicano communities. One of Ihe most catastrophic consequences was the concreting of the entire Lao Ancel.. River (on wIUc:h the cily wu •

by

bon cutting ceremony. Hailed the developers as a great symbol of "unity," the juxtaposition of artifacts stood in for contact between real people in a city terri lied of the majority of its citizens. Tragically. the $500.000.00 spent on this single work was more money than the whole of the city's budget to fund public murals. These murals are painted by ethnic artists who work within Los Angeles's diverse Chinese, African American, J{orean, Thai; Chicano, and Central American neighborhoods and who employ I~al youth as apprentices. Komar and Melamid's piece provides one local example of a growing national phenomena in public art, in which decontexted symbols taken from a culture falsely represent the actual presence of that culture in the artifact and in tile crealive p...ocess urils generation. No single view of public space and the art th~t accompanies it will work in a metropolis of multiple perspectives. While competition for public space grows daily, cultural communities call for its use in dramatically differenl ways. What comes into question is the very different sensibility of order and beauty operating in different cultures. When Chris'to, for example, looked for the lirst time at the EI Tejon Pass (badger in Spanish), he saw the potential to create beauty by imposing a personal and individual vision on the landscape: yellow umbrellas Auttering in the wind, marching up the sides of rolling hills. The land became his canvas, a backdrop for his personal aesthetic vision. . Native people might look at the same landscape with a very different idea of beauty, one without imposition: rooted in a vision of a

boom. The river, now atrophied into hardened arteries, created a giant scar across the land, rur~ .ther dlviding an already divided city. This scar metaphor inspired my own halfmile long mural on the history of ethnic peoples. painted in the Los Angeles river conduit. Just as . young Chicanos tattoo battle scars on their bodies, the Great Wall of L.A. i. a tattoo on a scar, w~ere the river once ran. The mural's imagery un~~ven the buried stories of ethnic populations that, make up the labor force which built our city, state and nation. Through community and par. ticip~t dialogues, the nine-year process of paintJ,;g this half-mile work models, in its content and i'n the process of its production, new possibil- . ities of interracial connections. Public art can become a false amelioration by beauty, as in Komar and Melamid's work in First Interstate Bank in downtown Los Angeles, where two New York-based Russian artists were selected to decorate the new skyscraper's lobby. To represent multiculturalism in Los Angeles, the • artists £irst chose the angels from Our Lady of the Angeles of Porciuncula's chapel in Italy. The.,r then tacked ethnic emblems onto the European angels, "borrowing" the preColumbian feathered serpent Quetzalcoatl from the Aztecs, the crowned mahogany headpiece from Nigerian masks, and the eagles' wings from our diverse native peoples to stand as "emblems of a variety of cultures." These symbols replaced the real voices of people of color in a city torn by the greatest civil disorder in the U.S. in this century. At the dedication of the work. which took

place ahortlY after the rebellion, Blac:k and Latino

perfect order exemplified in nature itselr. integral to a spiritual life grounded in place. From this view, nature is not to be lampere<1 wilh; if a plant is taken an alTering is made in return. Rti:hard RllY Il7b,imall, a lIatil~ Ameni.·dll arlt:'/, ,'m'J, "'&itttlificn/ly CObGlil'e. -I am lbe altm"" IIw/~cu/~", hll1t1{J, a"t} iJlIJl tJ/ my dU('~,'/",,,, - 11111 "" h,:,,,"-y 6uI t'~ a cm,ltiuui'.9 petlple. II7t- (k,'rri6~ tJilr rulilirt t'" d rin.-It J~ which we mea" Ihtll it I:' tUl tillt..,jml
first-growth foresl's in tile Northwest and killing Por Ihe Mexican sensihility (at least in rivers with concrete conduits as a method of part), public al'l is besl manifested by the work of flood control. These ideas lind their parallel in • Mexican arl'ist David Alfaro Siquero5, e.g.• a the late-modernist and post-modernist cult of the 1936 mural in Los Angeles's historic Olvera Sr. exalted individual, in which an individual's vision Obscured for decades by our city fathers of tile and originality hold the highest value. As a soli-~, J 930's, who had it painted over because of its tary creator, the artist values self expression and portrayal of the plight of chicanos in California, "artistic freedom;" i.e. separateness rather than the mural is currenlly in restoration. Siqueros connectedness. He is therefore responsible only .• depicted a mc"ftzlJ shooting at the American eagle to himself: rather than to a shared vision, or he and a crucified Chicano as the central figures. fails to I'econcile the individual to the whole. . While this mu.·al is becoming museo-fied today During Christo's project, the nature of the with millions of dollars provided by the Getty Tejon pass assert'ed itself. It is a place known to f'tundation for its preservation and re-presenta. locals for its high winds; t~ey uprooted an don to the public. it is important to recognize that umbrella planted in tile ground, causing the tragthe same images would most likely be censored ic death of a woman who had come to see the onfos Angeles' streels today. The subject mailer work. Christo said, "My project i~it'ates real is a•..relevant now, seventy years later as it was life." then. Contemporary muralists meet with the .I ' IWhy I:' illl(lIII(I,',1l1Jl~fi"'l'ublti: (11'11" d" IIU"'~ same.. 0 11'ICla reSistance to I he portrayal of domithdll timillte lift? P1l61ti: drt 1',IIIIJ I'e i",)~pdl'tlble Imm nation and resiSI'ance by Los Angeles' Latino or lhe Jaily lif~ 4 the pe'Jpl~ fi". "'iNm i/ll'll,) .:rtd/~i). other populations of color as did Siqueros in lkloef,'peJ II' lil~ hamwlUim.,(y lillix pllhlti: "pace, il 193~ Despite these struggles, in many commued"M htll'(" fimdlim wilhtillhe ('lmulII/JUly 111ft) el'en nities murals became the only interventions into Im",iik 1,(1I1l~'fi"'llxli'I't"i'~'" public spaces that articulated the presence of ethJ couldn't help musing about what a different nicity. Architecture and planning have done lillie project it would have been had rhe beautiful yelto accommodate communilies of color in our city. low umbrellas marched through Skid Row where As competition for public space has Los Angeles's 140,000 homeless lie in the rain. grown, public art policies have become calcilied Art cannot any longer be tied to the non-funcand increasingly bureaucrat·ic. Art that is sane. tionalist state to which it was relegated by tioned has lost the political bite of earlier 70's moderni~, and post modernism in an "art for murals. Nevertheless, a rich legacy of murals has l arts sake 'tyranny. Would not Christo's project been produced since"America Tropical" was· have been even more beautiful sheltering people painted by the maestro in Olvera street. in need of sheller. the gesture an important state.Thousand. of public murals in places where pea-CN

•

..

•

to

~.. and

ties of color. Here Chicano murals have provided the leadership for other communities to use the form to assert their presence and articulate at least in part their issues. Today in our city works appear that speak.of a range of concerns, from children caught in the cross-fire of gang warfare in the barrios of Sylmar. to the hidden problem of AIDS in the African American community of South Central. to the struggles of assimilation and immigration in the Korean community. These works have become monuments that serve as a community's memory. The generations that followed the mural movement. growing up in neighborhoods where murals dotted the landscape. have been influenced by these works. With few avenues open to training and art production, graffiti art has become another method of resistance to privatized public space, especially for the youth. As the first visual art form developed by youth culture, it has become the focus of increasingly severe reprisals by authorities that spend 52 million dollars annually in the county of [,.os Angeles to,abate what they refer to as the "skin cancer of society". It is no accident that the proliferation of graffiti is concurrent with the reduction of all youth recreation and arts programs in the schools. My work in communities producing public artworks has put me into contact with many of these youth. On one occasion. I was called to a local high school afte~ having convinced one of.the youths working on the Great Wall project that he should return to school.' The urgent call from the boy in the principal's office said, .. I need you n

_

L_~

__:_1.,

,,,

"'

I·

nin".

In

ITpt

won. La.........

'LIe ia

bJie

boy. formulated over a long mentorship, was that he would not quit school again withoul talking to me first. I arrived to find the principal towering over the young boy, whose head was held in the defiant manner I had seen ovec and over in my work with the gangs. This sta~~e, reminiscent of a warrior, the kids call unceremoniously. "holding your mug"; it is about maintaining dignity in adverse circumstances. The principal said with total frustration, "You've written on the school's walls and you simply do not have respect for other people's property. Tell me, would you do this in your own house?" I couldn't help but smile at his admonition, in spite of the seriousness of the situation. The boy was an imporlant graffiti artist in. town and indeed, having visited his house, 1 had seen the walls of his room where every inch was intricately covered with the boy's writings. What was operating was two different notions of beauty and order. Obviously there was a dispute about ownership of the school as well. The boy's opinion was that he had aesthetically improved the property, not destroyed it. This is a time when the conditions of our communities are worse than those that precipitated the civil rights activism of the 60's and 70's. 52% of all African American children are living in poverty; 42% of all Latino children are living in poverty. Drop-out rates exceed graduation rates in the African American and Latino comml1niti~s. What then is the role of a socially respon~ible public artist? As wealth and poverty are increasingly polarized in our society, face-toface confrontations occur more often in our llrhl'tn environments, frequently with catastrophic

down on the side of weallh and dominance in abont their visions of and for their neighborthat confrontation? How can we judge the hoods. Finding a place for thos~ ideas in success of our public artwork and as artists avoid monuments that rise from below is the malt aiding colonization? If we choose not to look to challenging task for public artists in this time. our victories and advancements in terms of tri. umphs over nations or neighborhoods, what ... Judith F. Baca is an artist, writer and activist. monuments shall we build? How can we assist in She is a founder of the Social and Public Art creating a public memory for a many~cullured Resource Cenler (SPARC). society? Whose story shall we tell? Of greatest interest to me is the invention '. I The Great Wall, focusing on the history of of systems of voice-giving to those left without ethnic people in America, has employed over 350 venues in which to speak. Socially responsible young artists. It .was PAinted over a feven year period artists from ma"ginalized communities have a 1976·1983 and i.slated for particular responsibility to articulate those condi~ additional segments on the 1970's and 80's tions and provide a catalyst for change. since by 1995. perceptions of us as individuals are tied to the \ conditions of our communities in a racially unsophisticated society. We cannot escape it even when we choose to try. We are made of the "blood and dust" of our ancestors in a "continuing History." Being a catalyst for change will chanse us also. We can evaluate ourselves by the processes we choose. not simply by the art objects we create. Is the work a private act in a public space? 'It is the focus on the object devoid of the creator that has brought us to a moral bankruptcy in Eurpcentric modernism and postmodernist traditions. For me, what represents something deeper anetmore hopeful about the future of our ethnically and clan-divided cities are partner. ships that move well beyond the traditional notions of architect and artist. These partnerships

:)rmm

" ,

•

include artiola and aoc:ial acrvice provKlen. artists tal ...m.a.aDd~aDd com-

aDd en

r!.~f1._ :jfteAJfL es . FOPfB:--LINro1Wt3tv nO"l.5 _ - ......_....__.... ,uS.".• :; ..( ... ~_

Ad.~ LA <<< I· r· ("'/\"(..(

'6l10l.l)

6(J, "U~N R(jU("'y(UN5"

6) "'10CJf l-A

;A,,",!- Ir;~

J1Jo

WRITINGS ON THE BORDERJ The Hidden Politics of Graffiti hy Bm'Jlty J. A'acdrmalJ

Despite the great cultura. mirage sponsored by the people in power, everywhere we look we find pluralism, crisis, and non-syn.' chronicity. The so-called dominant culture is no longer dominant. Dominant culture is a meta-reality that only exists in the virtual space of the mainstream media and spaces of the monocultural institutions. Today, if there is a dominant culture, it is border culture. And those who still haven't croaaed a border will do it very soon. -Guillermo G6mez-Peiia l [T]he Borderlands are physically present wherever two or more culture. edge each other, where people of different races occupy the same lerritory, where under. lower, middle and upper c1uses touch, where the space between two individuals shrinks with intimacy. -Gloria Anzaldua'

_i

.... ~_ •.•• ~ ~""

...... ~ •• , .. ,,~ "_~"

.", ..... ""-.?~

Ztt ,lqCf'1 If in the Reagan era Los Angeles was becoming the stage on which the capitalist world would play its drama. it was also a period in which gl"afTiti began 10 work its way onto diverse surfaces throughout Los Angeles' urban space. While graOili was conlined originally to nei.borhoods riven by gang activity and conflict. and served as territorial markers. gang rosters and hit lists, it now appears in almost every area, irrespective of the "genteel" and proper character of the space. In this period, we encounler the emerH gence of LA's "graffili movement. whose participants engage in a fonn of symbolic violence by disseminating their insignia or "lag" throughout the urban landscape. While mosl of these tags are simple marks, quickly inscrihed on Ihe intended surface (buses, trains, billboards, fences, walls), others are more elaborate in their design and color. The Inlier works are known wilhin graffiti movement as "piece•• Hand are considered Ihe highest form of Ihe craft (Ihis is due not only to their more "aesthetic" style, but also to the risks incurred by spending so much time in its creation). Yet. from the most basic tag 10 the most inlricate "piece," the subject is almost generally the same: the tagger's 110m tie .!/lItrre. Their monickers are invented and strik.. ing, havins some personal significance to the tagger and representing dear stalemenls of bravado and deliance: "Never." "Fana. "Razor, "Vector," uEmpir.e,~. :Sin, HHex," "Omega," -~I I'e any, --I~'rnme()~e, "Hn ,"enr.I .. Witllin the gra'rtiti movement, writing becomes a ritual of compel it ion. with each lag or piece representing a statement of personal victory H

H

H

individual competition, many writers are linked up with larger groups, called crews, and thus graffiti writing becomes also a way to gain notori~ ety and status for the group (some of the more famous grafliti crews in LA include "l{ey To Success," "Kill To Succeed - Second To None." "West Coast Artists," "Criminally Minded Artists," "Back Together Again," "Create To Devastate," "Loyal To None," and "Kids Gone ~; Bad'}.J Moreover, a "well-done" tag (which would imply one that is well-placed in public .' view, as well as unique and interesting) is not necessarily the goal; rather, it is the repetiti.on of such a lag across a diverse range of environs, the continual social visibility of its form. , While graffiti writing has become an ubiquitous practice that is 90n~ increasingly by youth from all class and ethnic backgrounds, it has a particular lure for inner city youth, whose lives, though replete with desires of status and fame, are limited by the harsh realities of their urban environ. Moreover, while writing is no longer unique to Latino commu,:,ities, LA's first graffiti crew ("[4 Bomb Squadj came out of the barrios of PiC:O-Upion and East 'LA: areas with a long history of graffiti writing by Latino gangs and .&0 established practice of community murals that flowered most spectacularly in the 1960s and 1970s,~ Indeed, some of the most important wril~ ersjoday are Latino youth. At first sight, gralliti writing seems 10 be just another youth subculture, an attempt to wile away the lost hours of adolescence and early adulthood. But. we mUlt look a little deeper at '

wb,y lhia partic:ular form Of aclMt;y ia _ _

from pain and anger, needing self-fulfillment, with an obsessive burning desire to validate their self-esteem. Through graffiti. our youth are not destroying the city, but deforming its walls to expose its social faults.'" Not only do graniti writers deform public space to show the "social faults" in which they must survive, but in Ihe process they constitute themselves as active subjects in the making of citY life, a process that is too often denied in other ways. Self-formation, as Juan Flores and George Ytidice remind us: is constituted by everyday aesthetic practices such as the creative linguistic practices of Latinos which in the current historical juncture do not amount to subalternity, but rather 10 a way of prying open the larger culture, by , making its physical, institutional and metaphorical borders indeterminate, precisely what the dominant culture fears.' Yet, what is represented in I"heir intricate insignias is not just the attempt by grafliti writers to gain a sense of identity, but also the crcation of areas of individual expression, a revitalization of everyday life. This is particularly Ihe case for those writers who engage in creating "pieces" which are more or less elaborate forays in expressive creativity. From this perspective,' then, graffiti writing intimates the possibility of transforming the urban environment for the expres&ion ofhurnan needs (for instance. the cre"finn nf On",'!; nwn life). and in lurn represents a

can see graffiti writing as a form of IJllrlkr wni,ilg-an attempt to consti.tute a sense of mean· ing and identity within the spatial bifurcations established by socioeconomic, disciplinary and monocultural practices-in which participants continually contest and renegotiate the everyday repressions, lost ideals, and entrenched divisions that constitute urban space in Los Angeles, in the process providing an intimation of a utopian project of reconciliation (a true multicultural process) and human fulfillment. In interpreting gran"iti this way, we are not attempting to glorify J\its existence (it is neither a defining cultural prac- . COmmUnities, . . nor a necessary . ,.lice 0 r'LOAtmo harbinger of much needed political change), but i~tead elucidate how ita practice implies a whole setpf dilemmas facing groups.in Loa Apgel£s. What this implies is that while the dominant culture may see graffiti as terrifYing signs of urban • decay and rampant vandalism, there are other issues involved in this ongoing symbolic process: it sisnifies a hidden politics of generally marginalized-groups in Los Angeles to live their lives with human dignity and to be part of a radical democratic practice of constituting t\rnerican life. As Chaz Boj6rquez and Luis ltuarte - two LA artists. involved with graffiti turned "organic intellectuals" -argue: "We truly believe that creativity is a cornerstone of good citizenship. Even now, graffiti is preparing the social arena for the redemption of humanity.'" Drawing lessons from mainstream cui.. ture. Latinoyouth who "write".heir signatures for fame reappropriate monocultural lpaca u

...... of'beir ........nd

--.

practice that is implicitly linked to a larger vi.ion of political and social transformation. Yet, as any graffiti writcr knows, such a liberating practice (if we may call it that) is always brief and momentary. The walls will he scrubbed ancl the authorities will be in pursuit. Having to work on a "canvas" that is already occur~1 byauthorilY· they must take any opportunity they can in their "bombing" missions. When Michel de Certeau described what he meant by a "tactic." a form of everyday resistance in urban life, he could not have described better the way graffiti poses its political subversion: It operates in isolated actions, blow by blow. It takes aelvantage of'opportunities' and depends on them, being without any base where it could stockpile its winnings, build up its own position, and plan raids. What il wins it cannot keep.... It must vigilantly make use or the cracks thai pal'tic- . ular conjunctions open in the surveillance of the proprietary powers. It poaches within them. It creates surprises in them. It can be where it is least expected.'

To discuss graffiti in such terms is not to romanticize the possibilities that it opens for large scale politic~1 struggles-it is a displaced form of resistance and liberation thai is nol only contra~ dictory in its· appropriation of the dominant culture's code, but also easily demonized given its transgressive quality. In terms of this latter issue,

individual compel'ition. many writers are linked up with larger groups. called crews. and Ihus graffiti writing becomes also a way to gain notori~ ety and status for the group (some of the more famous graniti crews in LA include "l{ey To Success," "Kill To Succeed-Second To None," "West Coast Artists," "Criminally Minded Artists," "Back Together Again." "Create To Devastate," "Loyal To None." and "Kids Gone ~, Bad'}.J Moreover, a "well-done" tag (which would imply one that is well-placed in public view, as well as unique and interesting) is not necessarily the goal; rather. it is the repetiti.on of such a lag across a diverse range of environs, Ihe continual social visibility of its form. . While graffiti writing has become an ubiquitous practice that is done increasingly by youth from all class and ethnic backgrounds, it has a particular lure for inner city youth. whose lives, though replete with desires of status and fame, are limited by the harsh realities of their urban environ. Moreover, while writing is no longer unique to LariQo commu~ities. LA's first graffiti crew ("14 Bomb Squadj Came out of the barrios ofPic"o-Uoion and East 'LA, areas with a long history of graffiti writing by Latino gangs and an established practice of community murals that flowered most spectacularly in the 19608 and 1970s. 4 Indeed. some of the most important writersjoday are Latino youth. At first sight. gralliti writing seems to be just another youth subculture. an attempt to wile away the lost hours of adolescence and early adulthood. But, we mUlt look a little deeper at "

lhia

can see graffiti writing as a form of IMr,kr lI'ril,ilg-an attempt to consti.tute a sense of meaning and identity within the spatial bifurcations established by socioeconomic, disciplinary and monocultural practices-in which participants continually contest and renegotiate the everyday repressions. lost ideals, and entrenched divisions that constitute urban space in Los Angeles. in the process providing an intimation of a utopian project of reconciliation (a true multicultural process) and human fuHillment. In interpreting graniti this way. we are not attempting to glorify !\its existence (it is neither a defining cultural prac: 'tice of Latino communities. nor a necessary harbinger of much needed political change). but i~tead elucidate how its practice implies a whole setpf dilemmas facing groups"n Lot Apgel£s. What this implies is that while the dominant culture may see graffiti as terrifYing signs of urban decay and rampant vandalism. there are other issues involved in this ongoing symbolic process: it sis-nilles a hidden politics of generally marginalized-groups in Los Angeles to live their lives with human dignity and to be part of a radical democratic practice of constituting !\rnerican life. As Chaz Boj6rquez and Luis huarte-two LA artists involved with graffiti turned "organic intelle~tuaI8"-argue: "We truly believe that creativity is a cornerstone of good citizensllip. Even now, graffiti is preparing the social arena for the redemption of humanity...' Drawing lessons from mainstream cui.. ture, Latinoyouth who "write" their signatures for fame reappropriate monoculturaJ IpACU U

•

r..r.~'~

from pain and anger, needing self-fulfillment. with an obsessive burning desire to validate their self-esteem. Through graffiti. our youth are not destroying the city, but deforming its walls to expose its social faults.'" Not only do graffiti writers deform public space to show the "social faults" in which they must survive, but in the process they constitute themselves as active subjects in the making of city life. a process that is too often denied in other ways. Self-formation, as Juan Flores and George Yudice remind us: is constituted by everyday aesthetic practices such as the creative linguistic practices of Latinos which in the current historical juncture do not amount to subalternity, but rather to a way of prying open the larger culture, by " making its physical. institutional and metaphorical borders indeterminate. precisely what the dominant culture fears.' Yet, what is represented in their intricate insignias is not just the attempt by granili writers to gain a sense of identity, but also the creation of areas of individual expression, a revitalization of everyday life. This is particularly the case for those writers who engage in creating "pieces" which are more or less elaborate forays in expressive creativity. From this perspective; then. graffiti writing intimates the possibility of transforming the urban environment for the expres14ion of human needs (for instance, the cre· ation of one's own life), and in turn represents a

practice that is implicitly Hnked 10 a larger vi.ion of political and social transformation. Yel, as any graffiti wI·iter knows. s\.lch a liberating practice (if we may call it that) is always brief and momentary. The walls will he scrubbed and the authorities will be in pursuit. Having to work on a "canvas" that is already occupiJtl by authority. they must take any opportunity they can in their "bombing" missions. \Vhen Michel de Ccrteau descrioed what he meant by a "tactic," a form of everyday resistance in urban life, he could not have described better the way graffiti poses its political subversion: It operates in isolated actions. blow by blow. It takes advantage of 'opportunities' and depends on them, being without any base where it could slockpile its winnings. build up its own position, and plan raids. What it wins it cannot keep.... It must vlgilantly make use of the cracks Ihat particular conjunctions open in the surveillance of the proprietary powers. It poaches within them. It creates surprises in them. It can be where it is least expected.'

To discuss graffiti in such terms is not to romanticize the possibilities that it opens for large scale political struggles - it is a displaced form of resistance and liberat"ion that is not only contradictory in it~"appropriation of the dominant culture's code, but also easily demonized given its transgressive quality. In terms of this latter issue,

Community Murals: The People's Art (Philadelphia: The Art Alliance Press, 1984), pp. 109-115, for a discussion of the community mural movement in Los Angeles.

5 Cha2 lloj6rquu and Luis Ituarte, "Social Abstraction: The Phenomenon of Craffiti," 6 illid. 7 Juan Flores and George Yudice, ~Living BorderslGuscando America: Languages of Lalino Self-Formation," Social Text, 24, pp. 73·74.

8 Michel de Certeau, The practice of Eyervdav Life

,,

(Berkeley: Universily of California Press,1984). p. 37.

9 Alan Citron, "Upscale Youths Making Own Marks with Graffiti," Los Anceles Times. April 24, Section I,

p.3. 10 Ron Russell. "Foes of Graffiti Uncover Few Signs of Success," Los Anceles Vme., December 10, 1989. Section B, pp. I, 2; Sheryl Stolberg, "Engulfed in a

Sea of Spray Paint," Los AOides 'urnes, January 8, 1992. Section A, pp. I. 12, 13.

-'. ,.

..

I J Cornu.Pena, "The Multicultural Paradigm," p.49.

graffili writers have been labeled as "gangwannabees." "villains," and purveyors of urban decline. all of which help to reinlorcc Ihe threat that citizens feel when confronting these strange wrilings.' Wilh Ihe crealion of such programs as Operation Clean Sweep (which coordinates much of Los Angeles's gralliti eradication efforts). increased expenditures on removal, a more highly ol'ganized police effort, and harsher penalties. the city has increased its energies to slop the spread ol'these url>an scrawls. lO Yel, sucb a;ttempts to eradicate graniti by "criminalizing" the practice-a modus operandi that is increasingly tlsed by political authorities to deal with the panoply of social and urban problems facing the United Stares-do not get at the underlying issues thai are implied in graniti writing: it is the sublimated expression by marginalized groups of their need to gain a sense of meaning and efficacy. More constructive responses have come f"om various coml1lunily groups in their atlempls to provide oullets-mural walls, storefronts, community cenlel's-Ior graniti wl·iting. AI the very least, such actions recognize the validity or graffili as a form of community art. Moreover'jas this exhibition clearly signilles. gralliti has increasingly be~me recognized as a viable "art form," moving o'ut the slreet and inlo the galleries. Many wl·iters see themselves as "artists," spending long hours wilh sketch books preparing their complex pieces. and taking pl"itle in the completion of their elaborate works. Yel, irrespective of the wishes of the gallery ownc,'S amI the dominant culture, graffiti may never be fully incorporated into the sanctioned cultural art

or

spaces, given Ihat ils pra.ctices are so intel"twined with Ihe transgressive desil"e of the "prank," and that its hidden politics speaks to issues beyond Ihe while walls of lhe museum. As an attempt to actively conslruct urban life and gain a sense of self-legitimation, gralliti may ironically be too "avant-garde" 1'01' the art establishment. As G6mez-Peiia argues: To be avant garde means to be able to cross the border; to go back anti lorth between art and politically significant territory.. ,. To be avant garde means to perform and exhibit in the both artistic and non-artistic contexts: to operate in the world. not just the art world. 1I Bn:ldley J. Mactl?naJd teaches political theory at Colorado Slale University. He is co-editor of the intel"disciplinary journal Stri\tc&,ies. I Cuillermo Comc2-Pena, "Tbe Muhicultural Paradigm," in Warrior for Grjn;,o5lcoika (St. Paul: Craywolf Press, 1993), pp. 46-47. 2 Gloria Anzaldua, Docderli!odsll"a Frontera; The New MCSliu (San Francisco: Spinslers/Aunl Lute Press, 1987), Preface.

3 See Alan Cilron, ;'Upscalc Youth Making own MMks widl CraOili," Los t\ol:e1es TImes, April 24, 1988, Seclion I, pp. I, 3, 29; Ru~n Marlinu. "Coing Up in L. A.," in The Olher Side: NOles from tbe New L, A.. Mexico Gil)'. and Oe,.yQod (New York: Vintage Press. 1993). . 4 See Martine2, "Coing Up in LA," p. 109, and

William Wilson, "A Look at Ihe Real American (;rilllili, "'I&s Ao,,"eh:s 'limes, May '27, Section I': pp. I, 4, ror discussions of Ihe relation of graffili to olher Lalino cultural practices. Also, see Alan DarnCtI,

AND

PUBLIC

ART

RESOURCE

C E N T E R

June 3. 1994 Susan Hoffman 238 Precita Ave. San Francisco. CA

94110

Dear Susan, SPARe is very pleased that you will argue against the increasing criminalization of graffiti in

Sacramento and would like to assist you as much as we can.

I was appalled when Debra Padilla infonned me of the movement in Sacramento to make graffiti a felony. Appalled. but not surprised; the growing hostility towards young people. panicularly young men of color. fueled by the media. was boWld to manifest itself in a pettY and nonsensical legislation such as this.

Enclosed. please find source materials which clarify what we at SPARe see as the only rational approach to graffiti art and tagging. First. there is a copy of the opening pages of James Prigoff and Henry Chalfant's Spravcan Art. one of the only serious historical examinations of graffiti as an art tonn. Street Writers fa copy of the introduction is included) is one of the earliest looks at the phenomenon of tagging. Two articles from Saber Es Poder. the ADOBE LA catalogue of the MOCA "Urban Revisions." discuss public space and graffiti. This show of current urban . planning projectS. included ADOBE LA and SPARC as the only' planes fueled by an organic. truly community rooted vision of urban life. Also included are copies of various essays and articles. from newspapefs and magazines. about alternative views on graffiti (including two pieces from a graffiti writer's magazine by graffiti writersl.

SPARC has recently developed a proposal for the California Policy Seminal's LatinaILatino Policy Research Program which I have also enclosed. We are proposing an analytical stUdy of current graffiti policies that will result in the fonnularion of new programs that address the issues behind graffiti. We hope to receive funding for this by 1995. SPARC has also formulated a plan for the city of Baldwin Park. called "Baldwin Spark." that will create job training and increase neighborhood! self pride by providing young people with resources and outlets for constructive expression (resources which are virtually nonexistent due to the dwindling state. county and city cultural budgets).

685 Venice Boulevard. Vc:nic:c. Cmfomia 90291 1"10\ R?,-.QC;fil)

J:ar 1"10\ R27.&717

I hope this information will be helpful. If you need any more backgro~d material. muar written. do not hesitate to call me. We are currently puttmg together a sLIde-showl cumeul about graffiti tentatively titled "Graffiti. Culture. and the Built Environ.ment." which might useful to you in the future; we would be happy to share the research Wlth you.

:.~'.'~.;':;'-=~-;;;------------------------------------------_.-

forward to receiving copies of the current legislation for our files.

f-H: Q. &sP.-T eu L-TV r;u;; ,

I hope to speak to you soon.

~CL·

Thank you for taking such an interest in graffiti and the young people of California. I I

tJAt-<~

kbl-ll-

CQ.An=f7-; A,iVp

R.£ \::>J; ~ 'Sv', .-A. PQ. -tq

LJR8fh'\!

I

3{ IvRS, 1

Sincerely.

.. ':..;pi.6-.c-·_·_'c-" =--~ ~::-~.

_~; v o~1\If.-l :c..- -;-.'- I-r-~'· .

".._

-.

'

1:.

..':'

..;:...:,:...=,:,,: '. .~ '., _....

..... _.~ • ...J

,•.

--1

~"" ''-:':'-''~~-. -:_'~-t . . .~

.. _ . _

c''--- :.. --

. - , -._

...J.~:--'-F-~-.:R'_' - -';7...... _.....: . ; c. .-, '~-'M1"-;" - L- - -,.

~

Krissy Kuramitsu Mural Resource Center

_

..:.,,~.

,

~'I'

•

,

~~ ~

'I

_.'.

'.n •

•

'~~'::::'2R'-i ',' -fj]~::~. .,~--T. . '",,-,;-

,

r

--"'. .'

-.:...,_.,~-~.._ ,

•

.',-

' _ .-.

.

"

.

:

.

'~\.. ,

hi> ...... ia lhU _ ,,;Iooft .., ... ith. . c1......' .",.,.a. .it. n. M"" _L .he "'_ ... eM ...., .iUt ~JoIwoal' ~iu· ..._ ~ a<;rmo
..,..w

-.Ion' '''" 10.- lAlI. 1loic.L_

"""wri.;..,

....

,,,tI

No..... IIoe ....., ........

aDOlJon' _

~"

.......

_'w

Aboo.ot w u_ Ja/t.n..,. ~_ Illy ...."" 1 IM;~,' ............. ,I........ <1 'ao!.iUl· tCnI kd _ _ •.he " .....Ill' lIao.. a"" hal .. uI ml """,tnlC"n, 1N.I.iJ.w.,. U cadl ;,ucrip<-, .... 1an
.,. ... Juhnny ..... ....Lnl him ,...... """·.........'i..'

-

tIoal rn.tI:

),tw,ia

• ,

Ill•

.....

01".,

PI_

n.

--

-

""'."Cp....

I .......

.....

"

.,,<1 "" ...... ""'...,,or" ,..

f._

1 ........ 41ft bklt.·L. .y

CooI." I 1ocM;. a, tlIC' ...11 _ e d<.cl)" ~n
'"

,r

__ - ' WI OIl

,..,. '" na.. ..,."rod·~Lq_ ~If ........... UM, I>uaI
•

I""""

·

..1II1 W""_

i"

JcoIoDloJ a..dI';'_ iI; 14 ."'11 Il\C'O willi hi, ~t. Ihfft bto&bcT••nIl ,_ o.iHcn in ...... .-w-W",,"ly ,.....0 -..0.. Kit,ht.or"-l.. 1.:0" year be uoppcd pin, ~. " prol rel="nofollow">oWI ~'I - . "'wch .1iI· r~tC"" 10 ~ awhori ,.u ~ "·a. dd.....1 alld pw iA a oct-l C · dall,. au.! tft>u,iofo;jU, buik/i", I......... i 110.. -a.ito( .. nul Wee ito 11M' IIwr..- tal;iftl ",rIC of hi. P'c-«" He b.lIo o.v 100 birt" _ ...... Iokn. lliCh,.. boonaIo. tI.· L _ ...Io'd, ui"l. 'y broI ia ..-indy ..10_ olic> and .....id\ io .,... >till .... . - . air. He bIOih a buno.cD' ...."'In "'....r..... loi(.I';. bi .... "lMI i. t,lO_ .. " npcn 10 oN nci,hloor"-l. It ;, ....1) alter lJu.., In ,.... "I....,.......' ...., 10.. liC~ ...,111 DIhcT .-plc lQi-. J IDn Johnnr"" .to'll ......... l. o.ri...a. I'" I h...J. p;or'J I ,. r....".". .... pill ...Iou h.od ~ rn "'I tith l~' .ilI....... bl·I.." alld "en __ io Ioirh "ho..l. T,,·.. .., Ii...... """"'tIlt, JuI"",,. "ud .oLc l'R,cn
__

~

tnft'JJ' alld . . . . .1 I lorlJOl alooon Ute alIlWf .. J......f. ~ U .....-rr

a.'" bc1 ........ tJw ,.. " a""C"~m ....en 'Iw in',"'I. T.LfL. IGS,.... _ l.hc "'id. _ 1100: w"u ""o
1U,;c_.l.n. Thai ...11 lI.oci...,.., _

atld.,>- ..,

an
r

_oy tl,;,o;_ u"', "-! .. AI,...... y (;c,oI

"Tban- ..... Cokln

" .......Ii••:

_al.

*' ••

Etlaat .. JOillocn "a rift IloI: A...........illo

thi,...'.,0Iorp..

WiUicu Other

JobMy"'" J.inorolU

10 rIO iolO pa".......:

..

W".ia tile aI.od. Q 191" • r-kI _I.e _ , a' _ ,;- Ti
_IC

J

.:;-;:;,:;-.,;

-.--------------------------------------------------- ...

~'_.;.,;.•-_•.•

:

-, 'O'idr.,... kllr.-..-I .hlpped

-

! •. - ..........11 ..w. ........ '1'1ot _ I ,,~ .11 I patl;n.let ••n. lht ~ 1 ...h lik... ...... .".... _ IN: IA,," 01 child",,, who _ .It• ..,.,. •• _ . I .... ~ dowl, •• dlilcltfto ill u.r ftriIl il:o-

- . • ...1 .irk ..,. .... lht IL an....m,: ) ,.. l.icMI ..,...;.1 ........ ... .,. ~u... _ .h lht blad q - . ) "_II •• , • ~ ."a ill • dill,......,. ,....~ •• _ boQ_ all .M -r lit _ ..m,,", ohc ... 11. D....i"ll: ...,...illll ~ he ..... oi'r! .M ____ H~ .",",,", K'l"td .OId .ahalMlll boQ_ '" tn
Oftt' ll.ty I .MO"ll JoIl",,! 00 _toe' ot._ I.. _.11 ..... _ loy hnn .nd _lot .,..IL H~ J"'O'iIlft'd lhit imprftOi." lioI:

"'_

...... ..... """,,,1._ 1_

_hi.',

.hoI,'"

aIp/Ia" ."" n-""'l J>ho"I0 f"I,," M "'""'!. ,.._pl1r r.. ea
I.'

~ U. He _ . ita~1' PO'

.".uw

0I1"ft1 .11 ...

............. hi. ''''IN II _. "'r Iftll'r.he okli'Tl"! bor .... • .u. __ ,he ..,," •. - _. I him bDrfM"I Mwoo o.hc .. fffl . . rl-ir be.. 1..11 .,f ,wi",iotc """' h4 ldct. Hc _iii ..., r.p wi'h _ ,i.k hile. , lioIw _. _ ...........,. II _ ". IJwrto. I. IS "'i tft IIr locI "' hia _ -por .. ck."iP'«- .....Ii"l: n .... ll'· .he torr. """" . .... 'T'lIIrf _14 .... m.ui"l: ....,. b ..,hifo&, ) .......! ......... I.h ... ..... , . . IIIr .. _ ... I'ft'lul" it .--101 be _ ."..,..u'e ... -r tMt lor _"" ptnn"I .... h ..... d..' ---.. I ....11111...,. . In IIr .. - . fII ,..I!! hio I~ •• rod It/Il fill .. hoDv .niWi.1 is ' ".. ,he "'"" oIlcadli Na ....... TIle 4naoo'C"'f .. J""".!'. I'" flf'ft ictl 10 • C,,"III" ioI _ rTI.. ioft. . . I ..w .....""", 'lIdi.... ~Ilofi.. at J"'''"", c.or _ihCII .......11; . . . .h he W.ohcd.1w torr,,, '0 ..I" .""". il .rod D1..... ";dllllOln. H~ npIa_ lhaI. - . kid. ""' ...... ,,! .. 100II• •io;k.._ : • " " 1 _ ..... ",",u. • - - ' 1.- 'horir 1'.. OId.... Ihin! 1.- ~ir '[Io~h<1'o.. .... '_nh I""" c'"- 'or I.........""". I - . . u - l ).i_ •• Ill.....": J...."r Ia..pl... lr il c1c.. I. _ Ihll .hio .... ) • •'1 "''''''1' ....1 h'-If. ),ht; callnl I"~ BI.ck ke..... III Iwr .Il'tucle...... lw ..... (Ill Jok",,! (.;001 I........... hc h.d ,,",. ri.......... iIr"'Id "r. Me "''''' td r.. mr 1'C'""Ii' Ihll .. iftC' "'CIC clDtht't .Ifll d.... "I' _ _ • liooc ~ It"." • ,itl. W~ ""-_ d - . .... joi'l""! hcu...... _ •.-Inl'd d...... ~ , He _ " ' ~ lik. lhe )M""! I'd .o.n,Td DOl the """"'" oroc" ,he rah·. "p li", _i,i ...... dow ",,11o.M .....1 iI
'1Ir

.bou,

!"I"''',.......

.hoII.

"',h ....

'M""

-.-....u ,'"

"""lr' _i._

....'. ,.....

- . . ltw ...."'....... r...r; 'Ioer 1"'" It

P"I' ..... w.

.ticNb.

"'_i

hialch 1M....... doe .,..,,,,,

110 whc_ Ih.,. _

'''''''1 III dial

Itia

...

Tid

!..anT J.......,

Aooiuo

Wil.. Ti..

""I~

lQ;'

M;,...1

~I~

J.''''''

...... ' -

.no.. ...

.1.,.

Anad

,~...

J""", _k1 mod .nd

L,..

kt.,.

JUil w....

~.

14·;, ....

..,.iocto

,..,..

.tillic

~ , _.....

J~

W.na

"'...

.11 of ,Jo-c ..._ .nd " •• IIOCC'Vff'I'd I. hi.. ,..., _ I . ,." •• w

...... raol;IOJ

..

, .., . . . . Iroof'l.

.. JOohIt"1 el "'T 1........1"'" wilh ...., I _ Ianlilttl .. brrJoN.l 'hei, iNCT;pli_ 1 ...... .. I . " 0 1 100II,. 01 ""!' ........ "-"""1 i" h.lI. or in I...., '" ...11 i"l1 i" .I~ _,. _ 101.. 1 triM 10 '""~ orru",.. l loy "ifnn, I""" .. ,..... '"'"' .nd ~ .. _f"'-b. _ ...",..,•• ,wo boob. .... I

,,...~

li'~ .. Ii), ht. •• iroodl. It _ i, ..... to thtft. I birr"

'F'aft' .....

jMk",

""'* ..

-.

_

Occa l1~ I w-.r J"'-~ of lht "'""'" r4 ......- ... .Ookl h ~lt ftOlMrn...t .1IIl - . -.... If'I'ih~ .,.,... _ .. Ii.", 01 ch 01 it I _ _ i...-...Ii"ll: lht ,.....,.., .......... ..... _ i"ll h 'Iorir lI'CfttL. '-tf'd ,.... "'" lOW _. -.h. k ...L ~'", .. _ "h~ _ he .... 1.. OtIlr Il.-.>"'P" ....·...........-

-.ott

"'''''! ,u,·.

- - ... torr _i.Uoc

_If

.wJ 1OCIt... ~ • _taWIII ;., ~ - - - . . "'" youtbo kaoI ~ W u.. ., ,.... - r d>iiodna. m. _ -.iaI ill Iliw J'

"'r. ..

..,i,. ,

10 'rT ""'" I" be mod, h'•• 'f"'I'II..... _ ulc ,"",,-.Ir ho -t _to- .....,.......... _ I l r _ • " lIr Ii"", 1'"'1*' _I b!' the ......"....", ioI ri . ' lri 01 II i. of lillie 1,,1C'tft. I. "'"r ......., people 1 \ioh il. ,hori. "''''''' ... _III. .rod .. _ I • Il""-' d"l u..-I...... T1lc _ _ "I

.0-.

NoT AU. WA1J.S 10 .......

_

t""'" CDIII""'''..........Cfl[......... ;M."

III ,Iw

-''f.

r""l'"

Cftt'OII"'- "DeNi, O'r 10 ........r lu.- or

_fo.,hrn......... M.-. ,.,. _li

w ....

....

...... ,*'-

_ ....hd ........ loOlIboaard.. ,.ikl ....11..... OIl"""! alh. Jft ,.,. .... Uoc ".IMO I.,.. Iooooc. be . . _f ,IPflCV ,he lk. q _ • lak lII kI' -'1.nd wfIaI"""rT willinl" uk••he , ... • " " ' , _ to

HUf'l~ A ~n...,i •• he DowUor: l"I:lI. . . . , _ , . . , .'" t,:a..., 1.lfIID IWGII. Oto 'N ..... u. ftiIOoIp ....... el,...hiIIorK 4,.. Nod III b~ Tlft, _ I11III 4..".. _ ""tW'f "'" plCI Iu.~ """ "1 pftIl-.v . .

T

pa'''''''''

......-- ..hidt ~ _ iJkI..inaWtt loy opoolitlh nw pnMI ,he la w1y oIq>lofft d d _ ., . - ca"" lIT "...2Ot1l « .,. _ ~ h ........ tha. ltoe 10_ I i ....he ca.... ill D f l l r . - _ • .,f. _ _ ... ,....... _

1_

_

....

III

'"

.....

A _'-a •..... ,,,,,,,,writ.... _

,''' .... Ii"" III ..._ .ood eLI pua 'htw

CIm'

11 root "",",Ir tIoe jIIkn., 1_ Iu. fI lUll: u

.... ..:GIlet.

I·

""";''''n

-1ct:.... -

'-r-

.01 .'''''')_' ftl'UllI) ....ocn (dn ..·• h_ udican) ,~"'inc I.. ,.;,do """". kokn r.ciooon ;" Ct.(Jo" okon'il tili.'C _ 11. 01 1 . ncial ......, C'DI,CC"'",I liioo;nl ..I;M. " ia t:ori.... IIOU '" no! -'''''-. od~.ion ••ICI ..,11""g,,,,,,,,iH_• 0,. 6tI11b 0IIdI tAl.... u:

e-co-raJl'l."'"

, lOi,," Ii........,., .ad . . . _ . . . • .....lolic .al./,a ... di-....r 'Iw) u. -.do ... el 10k ill _ . . . Wo.w .. " _ '~I Iboe r iJIIa.lrno _ III _ ~ • .~U'c.~IO~~"hia_lI)

.-a _ ....... _._

-r

to

"'liIy

w" "... '

...

.... IfIPCl"
w"

"..

. . --=- '- • wau

,,--

_Inial I• • P-poor: .1 .., 5k ., .... Moia _ ....... _ t. ~ if,

1" .- -

-.IM:r piaRI-

. .tnial _

en..""

"_'-.La. __ aa4.ua.

~

....

&lid ~ ........ It DOl ... ~ fool -.u.... riOIp .-. cI:Ic e-L all jacUu.. ..'" ~ .............. """"'-iLa. T-.. .. - - . ... ~ ....... "'-c III. . . . . jKa
.boo,o.

~"' "i!:! J~-"

no

,.,~. --",iaI ' iM_I_ III I I ' " _ .....ociat.c ......... 1"_.... T1M "'J dIq .1Il! ~aIII" - ..... tktftld • wni-r clwy :.....",.. ia . . lao i .......... 1& aJI Ill' ....... ct.iJd b ..-..an. _ ., Iym __ aM aMlItoW pnoclai-. • .tIlI aN pan ........ it aa.i.i.... "'JK. .......... DeC. . den Twf - J_lia Mocp OUI .

....... .--Ai1J''' "·r dliJd.ra "-Ian: la if. G'uDaJ aapra 01

_.'.11.. 1

..

J..... Bh.ri. '0....,. _........ h.i....._ , a..".. balry. IMItn. ..

In l.Iw wiko ~ 1Y 1I.... 1.1....., I.u.. at~ aJut a .... t.lir' ..I..... .., , - LIIcy QUI ."i.In,.h'... b.., poolIoIit: . . --.Iou wail: -J , .IId Alii.. - ",_ L-oc , . I ~ JeohDDr k _ hio • ..u........ bit .....,. __ Ihc law ,_ lIl4np. h - W bit Ioio lricn40 IIOId _ ... "'_ drc Wed. nw

-nor c....r- ..

r.a.-

"'.mI

-w

-u. 01 boUWinp ... "'--Ihlr ,ulolie. .nd pnpk ..... - '. . . .... (-to, daiWra • • •_~) • il ... trcaJ. """ "..w..a--J_

••ria.

t .. li .. i&nl.

pl~ ill

, oocW'r OC'CIII 'II k _II ~"''''Ial .. ith .1Me w.II. 01 1>1ir' "' "'..." 1""'i1i:.t wiu. ilf lilft1ll.... ~. ''be rKn" bouh 1I'''lIo lillk _ ,I"" coI~ .1 ...,itinc- I r.. --.ibnl Jr lhoc w.lla ....... S - col ..... ia """;..no iIII ."' i, '''''01) if if _ I . Ilw _ ,...,.. c::Ilarancri..ic III "",blit t~ _ c". pt_ _ ... t.bIIuclMa. I",linl" """ Ock.. w .......ur tn, .., i. 'poI.i..' _ _ .iofI. T.'.. ~Ii i ...... ..Ni III .....1II) ._,.

.baoo.

f'C'pa"ft ."' • "'."'.

,

"'IIftoIi"l W. ~ """",w.'• ...-...... ptdtiawrit .....". PIll ".b ClIft' to Mrp tIwDo .. r-iWoI. a..."""" I . . ""111--": 1 1 .."'"' ~ .... ~i.. .... "" ioo, OIl u... boca,,~ tIoq ",","' .. in... our ,...-upUuou III ~ i ad w - . Wc . .y '-'" _ 01 l\l'lh RfII"ry FIftIdo WCI'" _ lnocrual """.. i. . cioM. DI "'" "J'~ .no! _ .....11 ... p " ' i ~ UII I.... tl... waUo" tba Ca" III l.wu ,h;o" col pr~h it 50wcb -..JnI, ~a.,dp' il _ III k ...tnnl. III I",,\., , ,.,._1 - e 01 ..... ~.r lill col ..... e. ~I lila" 1100:........ ' .. Ih.ll ....aMud 10 . allr ·Wpikul,·.

'.Iro·

0" .'" ....... h.M.

1Ie"

I .. _

.., .....

-'If

l1li ,.- ic ",..""'1•. XDI... uf thew ;. 111 ,.. ,,-.1 101' II t iJwy c••"u"I III .lor .,u,~_ ,'"'" i" "'" 1...o.Lc booAl".. .....il. il 4u
Uo.u Dl .,....Iilb

......

HtaM

A_ \'~

... , _

_

.. ao-.I . - . ......

n..n p/ot:uww .. """'''1 10"'" Ita..... I'eopII dOt""r .. _toe.b .."...... • hidcSnI ~ WilliaM rel="nofollow">:. itoaT• ..., a_ ill pooWic ~ lhat .... ~ qlOOUlioo' CIl"ha, u..,. prod"",, . . prC"IOi . ... -....lIIIac. 'nUo ~ .... lorUUMa .u-wMdpd. .,..,. ...

Nqro .. J....

aa Ld"J' tAt·,aaj_ J-aa Fin a-.

, '

Oanac.c

Cow-..,...

A.acMay Cool ...... ....iUe AJ,i,gc . . .Ilicl.

~it:: 't,\' ~

. ... .~~~. .. .,

'-

..."

. \ .JL . ){' I I I {UJu... . 1,;:,,('";.1'.'/\ :' :]?'. 18' j"fi"i~> ~'. ,. . ..' ~ . : .. \.:.~.~ ~,' .' -.I·/'t··· ... , : .' 1J. .~~ _.... _.r·.. ....... ---'. .

.., '.

•

-

--I.

1

000 _

01 "'!' pura', _~, .... h 'M ~ ......... aPf,u!Td .... ,hoi,

,i.'"

WH£.N 0""[ .liCkU1·1,..IZLS .-.11 io

i~ tl nl", ,I....... ' ."" kt~. " ..., "."....... Ifa'i 6uo... toO< 01"""'1'" '0 40:1.... ..-.11.. s i• ., •• i"'pl, .·'r of oh.....i..~ 011'. !hu... ate 1_ 1II."r rq.. b"';11 In ,h.. f.... n" i" ~'''1(1t .'.11 .... nol..... " .. n _ 'D , ,I"" ..- , ,,'to' io 4o:.U"1 ..itl, i. I'lu culwnl ph
,.~:

:l

b'.c1I. oi Ti,; Mel.... a. Tiny

Clori.

II

~~. ."

,,,,,,k;"» n. ~'''''''~r Jo",," a'

~

~ r ulf(! John"l ...h .. 'h., .... "C",""I Illd hi, ... "b".,;on w ..

...plot: -It _,n' .......,,""" rln Joh.."y a"d _.ime. ..... Johnny <-1--

"1 "..1011. ;u..",;,~ ."d brio.." ill dIW......' "'":"1 wi.h ~~"".., ,. po peooplr. \1"...,.... d ...,,'of_ ""ro /.., ,,,,", icl..."ioion ... IW l _ ~ , P"'P" f"'Olll•• \,', " ..'. buoiowu ord.. pi".. _ ...".W..l .... bade 01~ In ""... 01 !O"....~ r._ 1"'0' "";.hbot"-ta. thry "or ,ht' ..... U , .vrntund IhnoI 10 ' ....."_"1 .nd ..... h ~l of .h.roor .. w-n'; TIl .. ; ,,,... lor dli~ol ,1M' • WoIIe du. li"f't ,lor ..... lk "'idtlle ~ ;,:"'-'*"10 on ....,.lIy ~ 01 ,ulli,; ~ C,....illt kt>". I....U...... 1('1. ...... ,.""',. . . . ~ ,;nlli'i dril.,,!"'.... 1'lwft io an ''''""'''' .Iu ttl ' ••" ' - '" ,.. If .. rtteo....,. 0.... di,,",,~ I..fh,· •• ~ll II 'Lri,!", ·AI SlOtl' as..,.lI .. 'Slick •• AI,"', II don r>CM dil.,....,iau:. fI"""I"" _1lIlro1 _ 1.- I "ic\ulftot..... ,hrT it rbft'O ....0-. I!f'" ot ....""'" i" • ~"JO"1t I""'i.;o.,. ~"d flU! oi,:••;/. ,h~, , .... ~u'hon ot .... h u - '" d"pU~ ....... ttl irl",li,~ ~ u <""tu~'" 010 \hr ....l..'. ad .. h • •'"','" _ 'C"J:ud 'hr < '!1""" 01 .......... e-li"~L ~ Ji.... "" ..... ~rr ...' ,.,. I n rltl _Id IIoc ...../'It of~. p""'~,! ~"d ..... ""~l .·hill , "i<~n · {Ltf,! $I;'~l _1<1 br 'toOIuJIh' ttl •• '"'""'d...... "no' in
~ ~F >r~ --•

The

--

.~

-

on'Upu""'''r ,,""

0.,,,,,,',

-u.a"

""'i

.id, .itl,

,!w,.

''''1_'''''

!h.,

il,..

ph<-_,

.,..okot>o.. 01 • loe..

li,,·.

·i," •

,""v"" "

n .... r .. po••.com"' ' ..,roo JUa" ....1. ...... IIU! br oa.- ...Ird b, i"",11 b.., i\ .·ill .1 ppr••

'0; .

,

,. di"'i"f:Ui.a him 1..- •.,,,", "il.... A .... Thr ... ,hor of .... ~f'O ttl .;- ;, ..~

.... ,Iu••..,n'" __ ,I,,, l"'e .,....i'r .. nc1 ,...,.,... 1 i .. I

~lil",

r.n.. the

Whicl\ a

T.\e the r

"'po 01"

I

...

.... hpo:o. _

eI

b<:r"tl, • ",..eM' ....~ ._"I.N i ... a.1~ .. I","""" j.... _ hiCh oe!-' t..-. ~...., "'" ~....,.. ..w~~ .rw'O'n1 oJ bi. ,,,,pOlo br 'lor ...- . 'for) f"'f. oi.Mnd Ihrir H", ,.-n! Wr u.,!~ .11 Iocit '¥I" ........., ""'. iL lite llalll"'" I II;' ...11 1.ocM.I.. '110..) to 'uCl ••".",. M ..... ~ """ ...u I.wool. •• , 'hq C.~bl.-I . . .1Ml 'un- i, .. ~. Tloc Wodter. - .. p' W, _ . .ioJ""" U, 'for t....,.. 01"""_ ."" _,. Iu"", fdl w. t< _ . ' " ~ .... M 1,,10•..- 01 hi. l1li AU tor 4;.J ..-a. i,"; p"'" ao1u.. ."" llo.n. l., N_.......... h:04 ....

-.y ....

~

b

,i

LlMI......to~

;,.;,.. 11

t.IIr .. in" n;"~n

o

·r~

,d

.--....in1

Uo'"

1..- 'M of. 10 1. 1M 'I"''''I'~' 011.....'''"' '0 .. hin/ ... ,....,.••.., the CTr:OI 01 fco'hen .IIOU' • biro", M'C\ a~ bra .. "'" 1M .... . , c1"';n, ClNn.ni" 1 ..... ba,. I.. ,h.. rollott.. ;"1 lo"...atr 'Mw.r .. poP"'. '0 '1"'0\ I _ ' . po ,e btoa .. or ul\ bile. , ... ' - k i•• ol'oorl .... p '0 calli.." • b •• p "'...,.... popo uwl "" ...---.

'Popn·. 0...... thc,...... r.po -.n. '0 It..... braonr. nick ..., ""'"it.. tIoc ..-. ten....... '0 ito or"I...1 --.o..i ..,.. I h.a .. a n ~ of , ,. Ria.. 'ric1od........, lIoc "K\"'_ 1"1 'T'lrt''' \ of ....... 0 hpo. !"" .. laimnl .hOl ,he ""'"' '''.. po', iwU UtI . .

,I"

;to

. r.po _ 'lor "k..... _ p..... ,. . . . . . . . 7""""lt:"" or ' ..-or;,.. _ 01 'hor fll.. ;I~ _ 1"""10.,. ahc _ , . _ - - . 1Icri.-i"C f ..... __ ! papo' C.,. boeOl). ... - - . lrimtl .iIl II . chc 0U'C'Cla 10 tla.ip'" ,...,.. ..-,.. "'-Jh, ...,. pooopk _ ~''''l the pla 1-' ' ~

M_

,

..,III "",t. ...trOfti How

.,..w.

.1IM1" .llWhy .. II ~ ,.......", "" ..,. . . . . . . tlmd ..... who bat dorIIaJ AmI', IIot-r jw& " ........ ,..,.. ..tIlrir.- • • other ,....,.,...•• COft_irrKca.I 'hoy J'O"ftP'ft' ....... wri. doei:r .._ ... -.110 oc ull

u..

lhc {~ ;. '... ~b~.. ,

.iolrncd

-

...,iovo!!,

lOki ..... ,

~I dono

""-Ml alO'''''''' uk ,.........,...... til ,0:.

11 _ _

·. Ac.... dl"'C dia ........;... ttl the :'i.r'"" ta .._ tr. 'lor 1..1.... -.o.. i 01 1"apo'_ \hi..... tl_ I_I'. lI:i".,rI. 'M /\roh!, pu, .h.a. tto.......

o..c airt

'.po of ll4

~l

oric;"" In ,he ,dn"llonl.... 01 I""rlr ..ilh d,i_ or '(ul'Klcriooici

111ft ..;,." ~

'''pooln

tto,

l f dIftI .0 'f""'C"b'

me

'. -,'

..,.-

l......uo.., ..,.,. ...

10

111

....cir.,

_.

lilr -S-;Ih' ....,l i" ,he' Joitn 5Inich ..,II J..... ,,:..... 1II1""'a"," '"' 01,", ~ -eft I C' hf10t f-,;-I"'-' 'not, . lot 'l"'-"Ii'" '0 pt..., the' iftdi..ido&ah. lN' bar i. IpIf'lik .... ......n ....... prc;u, .horo.. i. "...,toably ~ Ii" LIM, .a w J . ,......... ill 1M U ..i.nI 5...," "a"'C .. n ..''' ncrpc __ _ ....... "'1 \hi"k of "",ff' ' - ru ...p om om.... 1.- a _

i-.: '.. _·or ·.or1·_

,~ •

"

«om""",;"

'1,10 51",",- ~ Tloc ..~ ,..,. it .... II10c ~. aT"

·w,lli._·

l"l

,'''I-,i

_,1>0

.'

,-~-

W•• ll ""'

,..l>Iil:

'C'J"'C'M'"

,

"

'''''''Ii} .,otl ."

. ~...."" 01 ...,ruin ,....... ~ uI .. 1 .. ,oh _h>
.

'n.--

puollkd d"'1· m'l ~~IC' c.ho... e~ 01 __ .10<1 d ..I.1.ul... Arlto.•• k>lou ...... &lid Ilol.orn ~ _ ......... bl

".uow..

l,·. nor. Iha, 'M ••• doer ••••

I",

,

"

n~I.".'-" Ioo-oiOn. _lor .."......., 11'0:.. " .-.oJ....

!..u,....... iN ,,,·.n,... ,I... ~. 'ho- ..·lo<>Ir ,hi... >-ill, .10<1 '''P'''' , •• n ......... Jut..o.>. J""" lL
,

a......w

"'"''ll''''''''' .,.il\>l . h'l'\tli"t

""non; lor IJOlIIC <_to .",1 1q;.111 ~ .. '0 Colr or Sda"'art.l '0 lI1oc\. H uy IlOl I..,...,lt1,."hurCI ... o.Ia " _ ho ~tT .aIa ...., uI ,I;..,. I.II,i11 II.'...... lo.., it 1"'01>.11011 ...... -.., hi. , 1"""1'1<' ...... ,tl .. ~ .., '0 ~, in _i.h ,be ....;o'i" 01 ~pk : be _i"'l ",.., .i"e up Ih i,"," 01 br~oi .., ...,..... ""'. tldl.. /'C""••...., tI........ \\'h.I, I........ltl"·' .., ~"tl ~.•• lb., hr-tIl-...r '''~ ill,..." ...."'lIl I. " .. I" ,I "n' ........ _;.,\. ~CI_. ,I }' ,C'd '0 tiid"..",i..", d"''''.,r!""" It i,. TI,",! Lo .. hio . 01 '''t.r br< ahr) <.....ill d ..... <00",., illq"l. To U tlt bIa •....,.. 11",

b.. could "nd........11<1 II...

lucir ..I

da,",,,,•

.~

•

,

,I""""

• ,1 4

"".iu. ,ton.

'.

I~.......,. 01 ~'I Su.~ C loLoc!. ~tlt .. a Ii.· , .,..""" 01 a1 AI'ICOII JScb 11 L - 1llL Abo U aftd ~ ..... ~ .. 'II <1i.c 1'CCI M.ia _ _ Atria

,1Itl,......... '_kf ."

01 ~

1elI

IIoc .. hoM

'

.sa.......

.'' ' 1 drou..,.

lou'J_

,

' •

,,-.1

i .... '

..

... •

--, . ""-·_,In

(>Ih,,"' IIi"",,!. Thc-p

,,-,,0' 1."II~

wilh -d111w! lu.-.l

... .. U. ....-. '"-Infw'd ....... _ .. ., wfto 1hr<J' .~ "..,. .... ,.... .. Ilw. _I,. di--...t _i,;i,,~.....h.........., .. .. ,.... ttl " , - 1 _ .. ~ tofu' n i l .. ROt til ; 1\«....1 n·

k.,,,i,.

...._,..... ., k,• ..o"'C ....... _ 1_ .. llI"ri", • _ - . ., ~,.. II .. _ h _ IiL..."" poht ••• _ .. ---.n"",o TM ..,. __ ~ .. _let ..00-.• ...,.. _Mrlo Uoct _ ~ to . . . . ....... 1lo:_ 1~· """ """'"" ~.ct _ ... 4111'........ ~:

_

"'' 1: .--<1 _

a"Hi_ flcooil'llli....

T.

'.... lIIdi....h ..1 ....'.....' ..iolt hiM f _ ~ui .. "._ M,"'-' _ _ io ... lot •• lintlMftl i_;I........ ., I!"",_ of .. 11l......,..lr _ _ - - . I

I'tC'IIi h_

-ia( _IIW"II ., bi"h, rIP tit.. (... .0.........0_ ,..,

-..-. n...

!:' _ _• •1

.

'" oli

_

·'"H ......a..

...

.......................... ,.i..... "'ri

_

"'"'"11'1'

phl ." _

~~ of • _ is '"'_ ef ...JtOdt all Incf .. II:\'UC ,....... He<

...

~

....

.....

I" W _

..

lC· I_it, _ . n-. _ .... dtiWfttt ill _, . .in! ~ _ tto-- 'e aU illq........ ~ _ _ - ' r "!"".... OIl _ idoo-ft.i.;e. ..... ,I.. e..... _ ef , .......... tht;, f.tJocn· If _ K"1"' dw ~ . .1Ml __ dotV _ ,;plio .1IId ~ ~ w..,. 1~1y. ~ _ _ _ INII • -'" ill tA,:'~ to> oc Ma; , . . . ._ " , to lO«<1"i... ,,,,,,",, __ ....1104.... Oft ,,,,, ..he M. ,,, ..., dliJllllftt 0. ". 1'. h aono'~ _ u... ...-. .. to ",I..., H'_~ Owir "'~ and to 1M _ ....... ,. ""'tvll-.h. iotM:r"', L T1'It .. -- II ~'I 1.- , .m Of ,II'I""",!". T"ht Iooll.nl io •• hild 01 Vet .. 10 IIlt!Jililll'M .~••11 1Il.'.ili_1( dlilol~ 11 0. _ . . ~ ... """p hil ""I1".. li,.,,,,,,, 01 tM .".l•..-r........ dclFo:q.... ncr. oIcr~ _ ..... i1 il.... iw...1( ltvl rht u.tvwnu"",, ef hM INrIIt .. ~ ... _Il.a~ of 1M 1(lo0oi. A"'" .11. ~~ _ ...... of _ IIIIl "lIIily lillt ill _ _ icol,.. 11 io _ .... . . . . .. \Iliolp. w,,1II

n_ ,.....

..-.. .......,....!"f'l I. IIw _Id.

';uo WI

AL"'if. ARu.,

-

ct.._

_

H!: £A1l1,.\' CH"IST'AN!I f'tfti.... _ .._..,... _ ","IT. ~ .. l .1 ra .. l ,",c. Tt.e. .._ _ •.,.

_

IN:

._her

__ of,", """'"" it!

a_i

~

...

""",L ,he po-It" f..- _lilit III rwrr . . . hi doc~"""" d.lh", i ~ 1_ i.ili• .., 1.,. ~ hio t..... I! ,ift.Ad ~ _ I .. _ .... _,,,,,. e..;.. 0., _ _ • "'...1.... _ . A.Ii _ .1•.....,. few .-. wn..n b " 1oRI'ptftl1lw cN.ftJe. T1w _ .'" _ ~ .!"'bob of ••" ".... bon fit-' • -.ell. T 1IIff ...... di.CI'C1I 1ft _ 1_ Illc ..... of .... a,. 1I1loc _ _ io.ho _ -* _.....'" Ito. ftlui. ~n. tlIt _ ,'II""",,,," ,toe ioodO 1 tr- I" _;.;', .1Id ...... •iloo llilll _ ..h. IflCrilic: .... T .. nf_ Ito rapwod _." <'MIl ....

t-dt» Mp'''') .....,

"'"Iu

01 ..

_

......, ..... ;.... _

io • , . . of _ ' .

-

,.bU. laue.

I.,"ilu_ ."" 1M .......... _ _II........b i••

f"''''''''"

no. Iud....." ''''f'ft9Ii.. I"'rtl~1 _.,..;0-.1 . . b......h! t...w. ,,"tl ~ , wwr-cl ill .....Ori, ." __!" 10 • p.n lIi... ,. hi..... _ _ "f-' • .....d.i I.' _ ~·.f lilt. ~ , ..M1 ""P."""'!."l! _~.Iw i.. i_II i, "'" _ ~ il- Or I","" ""J ,""r ,.....m,1y .""" ""_~ , _. ~ ..... pniot il- I" ri,~ ow.hot .1.........11 doc 'hot ..... ~ : 1. . .11 r_... ,he ioo-'
_

___

_."-

r-o--o'

,i,'"

n.

,....iw(

.1lC_ 1"0""

. . . . . . I" poi.... _ CII.. _ dttol ..-..." ... t1.. ~ ""'"', It • _ •••11 l"lt • -liI
.J..

it,.

loci......."""" "" • _ _

~ion

y....;,,,

"'I'd

1",.,."....

","'f.

dory _

lull"" _ ....

'tWtr

'0 .,. 'II' ,Iori. .. _ ...,. .,. """""'11: ...

T .s--. .. _ Ii_

k

_ , of 1IMw. --.. WI io

iI _

,.

.11

i,m. pl,

at"", •

Iu.

. .lilt • Mri
dliid i1

~ ""

i

~

,.trnoit,. ;. _ ... U,. ... w","", -irr!. 'lW J-. eM•• ~"'-a

""'"' .,... io """""' I.U ...h .... boon Tnoli

_""""Or

r,,11 ill -...on,. _ w.r. h io_ 10 ..,-.. t< hio i1....I...,.. 110 _ """"'-" ' - .. fa..itT. Mod ttio htilll dtII htW _ . Hio _ ' " - io Wa '""'" ...,..,._ 01 Ill""" • tta.cc ito _ d..-.itollr ~ _ _"

.... _.""'--It -...",...... ef_.puUdly .......... , , - - (Tki. _ " , '-

,a..z -

...... .,

"'-..iI,ou.c-......-_ ., _ ....,. h ' ,....... ~ IM

on rdwu 1M

. . . _~·;-...·

""'I0Io _i"

)

-n...,

_

pIo, 'M 1ft

~

·lI.·>.OIIII·IIl.·.

--.

100 .... doiWrCII ..............Uy _ oJ. . _ I I I "--.e --... oJ . . . ~ , _ _ -*we 1M --- _ ........ n4"'-' II ios.-u... .....; _ ........ ...... _ _ .I• • il~ . W. or. c.._ia ir .;"u· ""_ _ .. - . . ~ Old ~~" ~ n.h";"",y. £ _ ..... _ _. way

1lad,.....

rw ..... cIIi"',.."

of

1000

"'IJ."'bi,rvy: ~k1, .. ~'" ~""""~'" lndi II ...U 1""1....... -om

looIItI,. if """'-'111, tvll....l _ _ I-

;.. •

N-----,~:;--------;.:~:-----C.:_:::-"-'If)

~I""'"

-

..

~01_"'''''''C_' SdU. ~ ito • .....,..1.... to ..! -U'I . .." • . . - .- ..... lilt

J.-

Welf - t ? 1o.1t """,,,,". --. ....if...". pht" _ _. ' _ .~ .. Iti ..I, • ..., ... _ ..._ It... doc _ Ynft'l' ........... III ,.., Gel..... __ (po

,10,

~I

w. •

u.. diolcriwt.... w d ..,.,. " ' " ,It 1Ia ...... _ - - ' - f.1OCin Utli 1M \"' _ ..... lIM . - - .. 1110:'" _ _I....... '" II .. _ M'tNrnfY ..., • •1. - i l l. . bu•• ,"I .......trou....., ttitll ""i1C'li UN: ._ ill oudt • •'J dtto\ __ ric _, _ ..-.... ..,... ..... j_ I' th.-,h h.. "._ .. '""",,It lUi hai" h.. M.htl' ...~ial pa" of ItiI . . - . . .. I..... "i..i'i '!lPnk hia ..._ . . . . .ital port... III hiMwll .fIIll .., ~., i ·• ••11 .,.. no-. ,. 1M 1II .h "' I"" 1frI. h. " ' - ' _ _ .....l d;"'inn p.n of 1M ....-Ji.,. jIlOooI .... .. _ hio ~ ... hM 1ft'Itt. I~ w. -i-'! wilt . . ...11 ....... tr f.- ..... -.liriouo 1u 1 OIl hio _ II rI • _1IId .. lined III ...,,.,,. 011 .....

".i' ,

w •. '-' .... 0-1.... 'M iftj..- , - - . Thtn NT . - - .. _ 1.10 _'. _ ~

1Ir 1M -_liriIIooo Ito

.. ~

,110.. PdM I " ......... llliliolc: _ ' . -.N"C tlw _ Out _ _ .I't _ - _ 10...10- ... pa" .. _

d_IIn" "'"...,....."""..... ...u. _itll,. __ . . _1."_,,, tht

Koriolr'

idnodlit'll

oM - ' - if n

_ ill _ _...,. '- _ '"'

.b.

~

a" .tW,"" b " . .

1II.cc f• • --"dliW .. 011

.. _

'lilt ... UI! ........

hni-e' r-u, _ ....

11 1oMli.. ~ .,.;,.;.. til.. IUlli"'. II

........iIIa: • __ II lrinh 10 _

-

I'll"'"

_ .....

p'" ...iI'. FlntolaIL

-

-

,.

<;1

I

.\

., ; J.

,•

v

I·

clot _ _ I ~ "

"'.,-r- .........'.......I_-

"'" _.,

., ................1' .. _

," If"..... J'pa-l. t" .. _ in "'bic" ....u..1 oil

a,.

It. ~ood ...... 01

onloilWT .....1 ~b"""""

J . . - . . . . ......, 0U'Ud ..,. """ """-M ~ .r , _ ."....,....yly __ ioI cli&tntl. ~l c U c _ I ......... ~ y 1aII _ I ! I ., ........, II clot W..w.r. sa..l. • ,.....- pri_ ..:a..-.l in 1'1"," \'.n, COo" _1Mn ..., .."""'-'0 aad

1Pdo'" .....

ICKhIn

"'-ft" .. '"' _

wi,II ud:l ....... II toot.....nl - "

-.t .. Ill. r_ •.,D'

U'¥ •• U'nCloMllr. .' ......1 f"d"Iir ~ V" I ra.Ii.Ieol . . . lbor od.-l WU dclH.no~lr "_poi cha. ." . . uHilOoNol..ca1"'pOl ...lalioooollip WI dw .... of 1 ..... __ of ...... '" aU.-,&c;II ... .u-I deni,., _,., ..... K. Al_ • _ell I 'cI( illUOOlOlCiaJ caa.ar.:... '","",,",' MIll "p""'i.". _, ..... __ AI poOoM _, ......., ----.""" I . . _, .... jelt ~ ,..' ;·IMI, " - a.a. ,...... odoool ioo "' ,"' Tbf clar Ilriwc I . . I&Ildl.iIoc I ~ • ., ' n daa. '1lwy IuooI ..........w -..r ...... - . t bn_ UIOl il'4ill al. Tbc' dUldrm ,.ill "0 h« .... _lLOOl .., .. _ _"" _ ", _ _• Al_ • "'lUll' _....,. .... lip _ - . . ..... a . - up _.....a iaU'od......t 10....... \.ll ' "

_,..il ..

n.,.

..

an Polled 'HcrioOc'"

• Woo _ _ I""", . . .hOd\ _ _ _ ~....clN ..,. "" .. ..m-.. ntfI .....hift,. T ~ • wa.... 01 '~I' '" • fa- I,Wood -.A

.........,u.- .,

......

,,_,iooo ...

-I'.

r.

Hna.n. P"C ... W , - 1UChn.-Her. . . . . Ilq', H"lhic MK"' H... bm.He iuI>4'oJ •• _ 'lid ............. I LI-bN ...... Mo4ilc. I ...._ _ .od .., pIaq.

'_nd

_lorll

al." .....

"'r'

i

-U....obi 10 ,... , ILNvdoo --..t rrii.....-d _, uta" and _ ~ .. .... ia~ -.O' IM-W _ _ ., ..... .,. __ .Iwr ocMeL I 1.-. wUl Vu.L II ........ _ ""OIl( .. . - ; ,.. I ...-w.r wjUt daot. Wat .., _ • ..,..u aM afn.itI dis•• ~ I _ • -H""-n' .......

"- _Itl...,...,.., ..-

,.,

Ilwf.

a.&14ru ....w~ ttl liM ,....... 01 _ . . . .,. ''U\' ~ en. .. IoN _ Ilwf . - i 1._ tIwV ,..... ...a III Ik .-....... u.- .-.. "~" t. ...,. dtoot.,.. ' - ~l-. • l _ • ..,. . . .

. - - 10 call _ _ .f AlIorft of Ik

foUoowiotc ,......

e.a. . ."" who ...... aiNodl rint.

a.-: .....k

AI....... _

Crn. I.,,, [I...,..) II... (wltOfc)

--

""'"

u - . .,. ~<ed aM Hi wk~ ,.,...woct,. Aa Alla SUd. " loa" i. acl_......1tI .,. Ila lriaodo (to KUIOwl AI'" 01 llIM _I io ..... pI, .. _ h). 1M ..._ -.w ..1 1~ n Iw ..,. ~ 'rinolo c;1kr .. ...-. (IMaof.id.1 _ aa &Jl >-&I aI"lQ. ....... -J. 1 ..... e-U • ......-1 '" a.o-. ...

_Ill"....",h'" dM

r'- ..

,

-

.--... ,.. r- _ (.......

..... ....... aM Wacl - . . . . _ , . •

'.

.u- Irt.aMl H.aU P Ii-- ...... . - ... '_....m at Soa-a.,. wh'

_""-"

vst, .... vst,

e--:-- ... ....., .....

""'r ..

~

.~

I . . . ...,t,. . odf_~.

_,..,...1.:

,...,

p._

Ik balio4 ~

01: _.,. •

po- .. _

ll' •

,.....-1- "1"_' _ _

~

11

CUt ... laUa I I

Ilu. ia _ _ 10 _

'..Tlot101"". ........... -i"C .,. -

.,. _, _ ill • tdMtoI .._ _ • _01:

01

.pp'-o. ..

....ur

..........ty

'neft ...

'-rI ... i.-.It

Half P... ..aq ..... oILMl.a.-1a WM . ."... _101 .100 _ Ii- 10 _

ilI

. . . . aMn. 0.

w'lIt).

(aa - - . ;.....

'nac.' • SpMMIi

. .,..,....., ... ftoatt ....

. . - r--r ,...,..... ~ thoU of waU

A .... pIc

....,..qooo~

sr.au

01: .......ioI ..... w _,IM .... _ ilw ......... -no. _ 01: ,.... '"a I/,iAr IIw wi". _ _ a.-. drlatxicriotica, li.'ft..,h ......idtW. "-'1........ nat... wilA1lt ,.... '-"c _, 1M _ , j_fl ill • P"'C •

....... tMt _

.1 . , _

..-u .,

_

I M _ bIod..

P"I

~

...

r-,..

~

_ - . . ...... _

will Ilear

_

..

ton. _. ton._.-..-.....

n",. -..... ..

ok fan

w.

,_

. ; - ilia _ N• •U W ..... ..-nc '_ TlIen_ ... j _ ... Ik . . . - aM wi.lIi. ,. . if.'. H.-. he - r loa..... 'l... liI, ~ Ilno _ ......l.Ilr II. . . . wiill Itit .tkn.l. ..... ,......... lai-t, " ....... naI.....o willi .~ J...... tAio ..,_ "'" Mol IUlf M ..... M• •r .. Mjooi of llllr' .... -P.t- 01 .;- ,'""". . . . ., 1&1 w;o, .. '......,......... "Coualiu' ia 'J~ ....pJ. &lItI e-..Iu'. ~

-

'h,.

- _. ,_. ---:~~.

_..__

'

••

M

-.

•

F:,\ _ t1$.

.

N dl.iWrc.. PM" iAM _ tNT _ -....t i_pc d _ f..- iIMir t-ilir.. L ll.an ••" .. lola. _ --;"1 __ • life _ It.ot no'- " obIip.oo- dIOA 'bOM of la_il, We.. TIW 1'0"'" dIiI4rno _ ' . pla1 _ 1M _ ioWlc cia.. _na , ....

_pl,

....1

.l><

AI..... 11M: Cfal~

t..c

,i... ia ..Moira• • 01 IM -

0 - ... " . '

) _ • _., ' i _ (W:Go_ M

ilkaI 0Iw&i_}. Tkft arc .._ ""'" .. WI

._ cfIIi.W

·r.N~""'_~-

_.a... . -nw.

Iooto_ .. tJo< l"'"1 ~ _ M·•• MIl

t

ia.~

..... _

_!arw.

~.

• ... .e .... an

w.

W

.,~0I:

_~

daM

--ecn.

_ai...-..., ..............

. . . - -wlit1 1

skllO.,....a

_I'-:_._ . . . _·

-u,. ,a., _

"'--ur.,~

10 panici,. &Ity ill ~

.. 1Inf

.... ,....

1Mork w......

_

~

- .. ---..., ................. _ .... ·.w.ia-..-_ .... i&"" ilia

-n.cr-- t 1 .. it .. _ _ i1,.,. ........

.-.It, .... a.o.o --""' ....

..

-U pdiU. y

. . . tiM ,...... ..,.

~

·.9'

....

...

".!

-

.. .....

:-.

....... :

.~ .. :... ~

·

.<)

:;;- :

I!, '- ...e.:....'?f).. ,

.i,...... ....oh"C , . _ hi> Pftn. TIl.. t;n .f 1M lWirflbothood

Nift .ncI ... ill MI'ft"

..

'"~.

loll'

bot on 11"-'; •• I. malo, II ilapouiloM ."" _ ~ pIc•• r-p .. '-"IJ'I'" In .....

a....."dr. 1_

...

01 "'....

\".n. CilT"lf_u. Ill«idrd 10 u\c ~ _ _ Il'wr ~llc"d f_ 'M ....1\ 01 • f,'""d .. .-..... T1'w a«Wl'd ........... , . - ............ -'JhborlMlod •• I"," othoon. fIN lti...,. Wl'lm I .......... of u.r ,-Iht _two"," 'hC'! i"WftOhd ""~..... rqtlit'Ci 1M, il .,. .i 11 ,~ hM 10 do i, ,_ IIw u'rvKd I. ~''''",. No _ . M >.aid, f....... ",,"i. nl:i.hbo1'''-l

..,......w.-

_'ll

-

5oroc1i..- I U"';IO"! dllnoed 10, _ 1"'" 10 optOr.c.l1, ....."'. . 10 I~. Thll.. 1_ """"'...... _ "... -m iRKnpt__ .., 0-.;"0'" "'01 AI...... N• .$Nru" Y... 0ia ou.... "_PO p"""'..... Mn~ "';d! ~ I _ 1IiIrf_ lei"" 10 tor IwW ~""Ic kor lheir _ doc "'"'.., . . 1""1 _ lL 710.... in 00.0. ""'" " l d _ a.._ II...... - - . . tIw lu, y .. mt_ ,hc;, _ c.,dc 01 _10..... _ urr- .... ""ft'I thtir \I"", .nd ,...,. ..... ""i!olln l _ i ..

1I0y ....,..

TM bou ..d....... or • Milhb
"'Marin"" .....

n..

Uw ... nol

dlllG

.1U1.ted ,"",po of ~..

JIM!

•

~

,Fr:........

I! .ppl!

,i,!'.. 0 ....

olll'h

.~ _.

'_paial. Turl _ W.l. Cool \'... ""' 1'11_ tA'Cfn.lI: 0.:0,-, Terri...., _ 10:. J..... On AII.-rcI

Y...",

1.~.1

...."'Ift"I

...,. oN ",,,

~

Ilfq~

n.....

~In

d.a"! '" 01

'-tIll ........ by l'wTto

~

__ IJ

o. Spitk'r

n,.

'i.;"

a.in"..

Polloi\,

hi,....

p' briOOT _

"III .lP:"'"1 uporo. ~" In"..i.... , ...,. if, Irw , COl' lhe' pa" _,.nllo~ ,...W;r ~ ". The: r'utno a.ig," I'ol;u. ,...... po ...." ,!wiT to<>q,",n loy ;" ih~ P"Co blod. I ~.I NtlOrI. hippie ""'".~ wi'h "con ,he'i, _ h."" ....,.inl&. !w.rt&. Ind ,"'" ....., ,....... (TM hippOn 10 _ ,../fiti. M."! of u.e... .'" .", nd •...,. ,eood .. tll_IK lhe';" ,"frI'l. Ind 10 u"C" ,rw .....1.rtI!I IMy olio<:....... ;" i"II"""'- WIt'- Trwi. "."Ii il ud\ ck-a' 10 I CONciowo 1 _ of .,u~ anli_ w" ,he ....I_II ti.) IrVn'

.....

n.c

_

""'td ." ."_"" ..........

....

..

.r

...

, I

,

C· , . ,., "-

....

.-'

.'

'.

.. ~l

.Y..-,..~\

I

. ... -

I

I

,

i·, ::>

'.

·"'~

..I-Cd

'. ;:f-oro

..,.~

_,: r·

..

."

")

•

r';

... J..... ; ;.7 I

!

~ .. , .: \r ' \

., . ::'.'

t"l,

'F".,,~ "',.

~\~

~

,,.,

."'''''~'l.

u A....l

oh ..... , IIw 01. ~I>lft.fttd cllim. 10 .,.u IJwT bov. . Of, _ _ III _ u." lOft rieo 01 hW"... ~. . h...... Dnpo\o wiD tor cr-d _I ~ lor $h1'U ....idl win _ CI'-.l _I uoI "l'1M't'd ~ "" """' b"lft .1Id ........ Dnp.. s.-r .ml.., • d~h 10 ca.•. T1wrf UI' ,..,.... , p .... ....ldl bonlcr "" ~. dll'"'"'''' ,uri...... ,rw poo.-; 01 'hnol ;1 -'''""''~ C'OIIIr
u, t\- .....

'.

--

u. - . . ~ c - ' liP'"' 'lldl J>"OC'Ia.

. . . . . aa:

•

.-

:£,

·4

.

_

'.' rI~

\. .'~ ".~'

.. '-:-...1, ,j •

...-

Tlw _II...... Oftlr _ ,..... k 1 ....n•.., lily;.M ...... ..illl;" the conlexl of ........ 'n P"' bu _ n I _ .. toIllmu"i.o,io" lor Ih_ r-J- .fIIl ind;";"u.l.. 0..... _ . " . . . . .. ;",,;'11 .... -an "ne;", t..- DTt(. DTX.LAW'. T1..f. '1"LA 10 ·d..... _ . Ind •.... Ik .-1· 'Iu..... -.I , . _t.i.,. poW.. ~

IHom _ LM ...1I1s. . DTIC. __.. ' ~ IG lill·.no! DTXLANr I"" _ ~. . . . . . . 'd_ to lill Ii.., I -Jwr ,"'Ct.".. Tlww _ • Wlid. uor ' - " """"" .11" r .....lMI OJ/' indi.. Od ...1 _ .nod .... ,..... _

~:·1?p'r:· .. . .. . . .. .. ..

.i_" '0 "hI.

·Sha.... OTJi,' mUM 011 • wall---';.. _ben 0( Ik Jalali . . . IrDdr 10 liI"t .1Id DTlU..A"tr _lIIia ~ tunaa-. a.lUftc I• . . oUM. Wlwn "'" l"IIftIlr to ",,""'rod _ . . ~ AarU tJn ... poria. - """' • Sku" "lid ... I_prrial . . . ndl .

........

""'t

1IId~1

lriendo 1 _ whal

.nc1 OTK tht'y 60 _

....

,.~

~

le eM... __ ~;.,.... ., -euor MIl . . tor if IIWr lad _ .--. .. _

0:-"

.....u.

_~:; .~.~

Thn"I' " .f! IIOCtMooc-e . . ...,. ..............

ltc .. ~.....,...... .... " ' - . . . . . . . .

'

~

T1.A ..... TLn ..... d«lanl;- 01 ' - ;.. • doc ~ .... ........ """,1;- 01 _ . Tl-" _ ....~ "'"" II......,.· ., . • 1....,,· .noI nIL . _ ""'" r...-..n·. ~ • ...,. • pi , . . . .

_n

.. ...... ! ... :r!:...; .;':'. . . i:

f:'I unra4.

• ohdo..........

.-"':': '

~

..;

...., . ; ..

•• ;

.

• •'

--,.

r

e

1

,ion.

P"~ and Dt"" mnnbrt. 01 .he , J!'''''P' OIL", Iud> d«l ... • ill he: 0lo-0o;.... p"h1itl~' .....a"''' ,1 IIw tolloo<'''I: _in of ('0<00",,,.. ,. nO'" all bt ..... l.-n ,tor II:

H«to. n ~"'l" ...., A A~l

"1..'"

_ A... All. it • Iou H""" ... DTIO. "...,1

, ...... ,..l .. _ :

Hcc'ot. \_ ... "'"

1

A Ioto....

'co

TlIno: ' " _,

1ft hil lrit'nob .. Spiokr. """"

w.....

H«,,,,: tIM " ..,.... ,hi".. ~' IIi'" .fOCI _""'""

...1lI U.. , . "...... l.,r~ d platc'IJ b! 0

~ A~l

"'n.

ito

...... , H . '-'0.

C ... ";,j i 1»4- , .., n~. I'll........'" _wei OUt Inn- 01 en'hi "",,lop and • h", I, i. h..d ,,, .... \e 'u, wu 0fI('t' boldl! pl'flClaitnl'd on ••• 11. I" .he: "tn-tl lIIe il.. n i. _0 du •• hlt. T'hc1't' In '00 """.., ~;n. ..... m.1I' """........ 1."'''1 ,."" ."d dub< ,. I>rn\ "p. fOrd"l prop'" ... moo.. "tom OM bind ,......,Mr. ~"' ,,,",all"' ltf'o- I• ..tu"· hood I~;r ~.ltin ch • ....,. If "OCT ... 1>..\,- l~ In'"f tlwi. old 1CTT1lOO'!. (",....,r"l ",..h 1M" app n ..n ,tid ta
."tI

......

lile ill "" .., .... p ... II io 01.1"",,,, , rich ~"ll ,...-n,,1 """'" nptno lhrir" ,~,Oti.1 clai M! 'OId.1 llunhlr ........ At.... a. ,.i,,, ill _ ,.........1.. 01 iu " ..,....., ,...., ;. _hiltt ~,."", 10 • ftIr ill f'l"hlMn _ in .... ildi,.. • • rioh ........ dub Ill., ntIbot.1in j" , , _ ill .b.... '0 p""""" ."'" "'pot"I'~ TIM .._ ... tIl, a.....o _10 , 01 1M :-"'" Y.' y.dllt C .. b·1 .ilOoi"f: ~_ ,...... _ f ;.".. •• , ......._ ' u " , " , ' lQ1I .. ...., .....-

",,,i,"" ... "''''"'

'M' >I,"',..

'toO,

• .oIL o..l~ ~ ~d", d .. b '"'1,.... ~ .. ~ d.. nWc. .. thor pocIl, dOlb praUIMI i.-II '0 "' " eM ,,,!Ct;pt""' ~nan' ,"'" thor ..... i•• II. "'1 OIi,,1' ~ ~ 1_ aft -.ifts. bolock1"

"C."'" _..

,

•

,..jK'.

_~_o(

"'"" 10,...

~.

.fttl ~ .-ni..... h." po", ."'" blot1 iftocrip" Hi"" paIid.1t caa"'pk. S.OI.-. ......,.........,. ,...joo:u ~~ III . . . ..,.._ ......."1 w.rthotr ..itl> ,.-c ""'"' f ... publie ~ I.. _ ooodI ~ COlt. , ... -1ft' 4cd.ft'C! , - - - 0( _ ,..lolie ... u. ,..0-'" _ ..... TIM tl .. t ' - -.110_ _ ..

_

01""'''

htniwdT Inri-" tMdon ....

I" ...

oaitI ~ _ ....U.tJIc .... u- "'~ Ia. .. '- • • lite _w.. 01 ~ f . - '111 "~",,, a _ _ ... do'-.d ....... "_Ok poi.... ';11> boWtr ... w, 1M lik 01 tJIc ......... ...., ... 1"" ,I'd tNl IN odull . " h , ......Id ..hidl cartd _ It> i' _Iof _ "" ...... II- II

rn-"

.....,..i"

..., .......

... Ilft,i,.,....nr ,...j«u

,~

j....

p..., - ,..ojoo:u. ~ ;. ........

oniLfM:ia1 .bout bri"';"J ,"""c 'GC"Mr lO Iqi,i",i. IftIkl _ • tJIc i .....", '" 10 lq[j'i"'o.c thor In.. III ,hot ~~ .. _II. YelI_ thor ida 01 ,hc H, ilt _', " " " i _ I . "'11,' _ tMoll. io ( ' ,w4. it ;. _ lil.d! to • . , Ja ~ I I"O"P 01 Wad ..wu .M ,....~ pmtap _ .. - ' w n .. u.: Ibcu-w -.a,,1"' _ .. -.LlI ..... .....Il&i..... ill . . . . . ftd ,1>_ _ hip\. ....... ....... tJwr "......, I... iot i. lwt .-., - . _. • It ;. ' _ t i f t 01 , ,....... tMc --...IT .., e t - -C. A~ t"-, W-k ..... _ . . _lb wl.- hi. . HCf'C U ~ _., ~ .... '" . . .;.. of ..... poor. ~ lICIo . I. _ ..I>ido. ~ , chal~ .

"""'' 1

"CO""'

,0

..

.e-

,"-It

w-

,..b1ic __

J'"

_ h I ' ' ' - . JI....... ....,1 _ ..__ II. AMi. '0 pan lolita. ~ aft . . cMw .... 1& .... it: • ..ut • _ . ,

. - Iorl_

;-

• '.

-

eII'-" if_,..

_lho "laod _ f . - _.~ J..... _ _ _IM... tho a.... 01 01 tIw-Uo h _ _u. ........

f'lOl'Ic .. ill

... ~

It> . . . .

uw-.

-... .. ...--.,.---_ 10_. __...._...... _ ..__ ...,_.-. ....... .. -...._-.-.... """-~-""';' ...., J - _ .........: •.. """" TooI\ , , _ . ,.... , _ , , _ . no. e:-_

ao- ....,.

--

'lIT

"' ..... «.A"......

5........... ...

Ilcund lhI JoIowing rransc:tlpl at The Graffiti Writers ~ 132 Union tIal. At 6r5t.lrs size and torma1 made me lhink i1was a religious ~.Upon do$8'r nspec:· lion I r.aued irs purposewu to lns1l'\ld on another !eYe!. I submit 1110 you without any edill, 10 read c:arelully ,you saps.

SO YOU WANNA WRITE ON WAllS?! "Thete are a lew lhings you must do before in order 10 make your presence a weloome one. First; Know N history. Sec;oncI:Know!he rules of tt'Ht game. Third;wort!; tlan:I at being good, or alleast competent. Fo.u1Il: Snitd1es, and shit lalkerl getstildlel and need walll.ers. Fifth; You're good, bul you.... not thalgoocf. Keep your tat head lD a reasonable swell and 98\ back lDwot1l.. These are1tle ftvil fingers 01 yOU" IBn hand. sludy lhem wen. Soort. you'U be able to Qel a grip on your self 1151gem and we1l aU be better lor it FlRST1iISTORY ~ did It, so did ROlT\8n5 and Egypliarm. The Incas clld it. so did G1wks and Nalive~. There was gra1titl on 1he New York subway a year attar it 1"3$ bUIlt Thefft'5 gn.ffitI on !he moon. It graffiti is Yandalism, and vandabm is graffiti, lhen man has lett hil marX wi1h garbage at 1he larthht raad'le$ of the univer$e. So you with your pa1helic desire 10 be remembered are in good ClClfno pany.l eQuid spend a ream of paper telling you about 1he deveiopmenl of modem graffiti, but_ve got other ground 10 COYer. Irs Importan1 \tIal you know it, so ask you local expert (or OJ Deadly Buda inPinsburgh if you don' have one) and he'l leU you his vefSion. SECONO:THE RULES (1) You suck undllul1hef noTice. (2) It's goma lake a long dme before we even ~ your exisleflCe, even longer before we earl bear 10 Ioc* at that 10Ul Sl;1ibble you cal your name. To speed the process of ac:c:eplanc:e you can (A) Choose a clevef name trlat defies the norm olsimpltlmn;red slang. An e.lample 01 a good name is 'ARGUE" .ltloolts fly when written, 50unds cool when :r;poken, and conveys a combative anil\lde. On !he o\tler hand, 'ENEMA' (acl\lal name) l00k5. sounds, and cgnveys a shiny alii· ~. BE CHOOSY. (B) Use paint. gain knowledg..." "ollloUles, be bold. learn a sfYle of writing for 8\Iilf)' occasion, f\JdI,~ission walls, write your name bigger fNef'/1i'ne you go out. don' use slidlers, and resisllhe urge 10 wrile., dust (3) Jealousy i5 a diesea:se lor me weak. (4) Your heart ts yOUl grealft( poses.slon, cloo' MIl il get laken trom you. (5) Don' write on houses 01 WW5hip, people's houses n general, Olhel" wriler'S names andlombsrooes. Wriling 00 memorial walls and cars is death. ThMe are me five fingefs 01 your righ1 hand. Sl\ldy lIl9m well. Give soul daps, firm hlll'ldshakes, al1cl t1vow smooth bolo punches. THIRD: DEVELOPING STYLE Although being a lOy seems undesir~, you s~ enjoy II while you QIn. AI this sU98 you can bile at you wanl with no temors&. AI your eIderI will 58Y is' Aw isn, lha1 sweet. kook:hie koold'lie koo.· So $leal lhal dope c:ornection, rob ItIaI color scheme, and Iootwllole Ienertorms. Oon'WOff't aboutgM'lg any credit._11 pal 0U1S8NeS on the bad\, and brag how we're innuencing Ih8 nett generation. How8llef, sl)'le isn' a crulch Of a schfick. II is understanding wny ttw conection ~ou 1111 /IOwli:. Of.,.;,y ll'I8 color scheme you boosted bumps. Style is the process to an appeal1ing end. Once you got 11 down ro a science you can leinventlenef10fms to suit )'OUISeU. nils creative growtl1 wiD amaze tn8 old and young alike. Pretty soon somebody will sleal your s.ec:tlll sauce ancI the cyde wil be renewed. II !his happens 10 you, don' bitch abOUl nol getting your due. Gral IIIl is !he tanguit98 of li'le igl'lOled.llyour slyte iI slOlen, someone heard you speaking. You got what you wanted !rom D"8 beginning, some att9nDon, you big baby. FOURTH: TliE LAW II must be nol8d ttlallne vandal squad loves graf lili. Their iob requires tnem to r..nd fOf grail as much as you 00. 'Nhen you Wfock enough walls, !hey". want to meal you. JuS! Rile Jock swinge,s. they'l recile eV8'Y Spol you hit. ttle dil ference being you'll also hear the Miranda warning. To postpOne this, solo as much as possible. Don'wnte with anyblXfy ¥I1lowouldn' fighl for you. Don' be paranoid. 11 you avoid wrilng on pristne propelies,youll stay in misClemeal'lOl territory and you divert II'Ill cops' attention from c:atdling and beating speedlog molOrisTs. (COf'to sull: Iocaf laws 10 be swe) Remember, it !hey didn' see you con. irs almost impossible tor them 10 win a conviction without your own damning teslimony. Shut Up. Shut Up, SHUT UPI Giving a cop info on anolherwrll81 will doom you 10 a tife 01 ridicule. from cops and kids alike, with no parole. FIFTH: EGO TRIPPIN' . Theta's nothing wrong with knowing you'!e the shil as long as you are. BuI onc:e you readllhal CCI'ldusion you're on !he verge 01 faling 011. Don' look doWn,latheilid. !l'Ia1 swollen ego wjl ttip you OYer the 80glt. T.KlO is a wliter who's been aeaDng dope mu~ lor 20 years, and he keeps getting betlet. Yow posing and lrontng looks lellVded nett 10 !he likes 0' him. Gel back 10 work. you tiled Slouch. In conclusion, gralfiti is tree,lmpresses ctllcks. appears heroic 10 anytlOdywho leadS a dul Iile, wid provide you with a mI_.:1n sto"es 10 Ie~ your dun 'riends. is immonaJ. larger than life. and a sure cure to the inner CIty blues. So gel 904"'9. fame awaits: !he ny among you.- Mark Surface

W'Ol'l'

It has come to my attention that a lot more girls have been picking up cans and going for theirs. I donY mean just scribbling their names up on a wall I mean they are bombing; trains, tunnels, rooftops the wnole 9. I got a chance to speak with two female writers, (JEN KRT FROM NYC AND REMINISCE TMF FROM SAN FRANCISCO) to find out wflat its like to be a fema Ie writer in the male domina ted world of graffiti .. SKILLS: HOW 010 YOU GET INTO GRAFF? JEN: Me ~nd a friend of mine (SPESH BTRJ wete hanging Ollt one night, he was Coodting In a black book
SfQt.LS: WHY 00 YOU STILL 00 IT OR WHAT IS IT THAT .YOU UKE ABOUT GRAF.F? JEN: It's a way lor me to e.lpress mYlelf and gel out my :~~r. Irs like Plltting my mal1f on New Yol1f. saying I was

SMlt.1..S: 00 YOU THINK THERE SHOULD BE MORE FEMAI...E WRITERS OR 00 YOU UKE THE FACT THAT TlfEIR ARE ONLY A FEW GIRLS OUT THERE? ..lEN' I do , th' , . . . n ,n it's a gender Ihing, anyone Who wants 10 lWIe should Wrlle male or female. SKILLs: WHAT DO YOU THINK ARE THE MAJOR DIFFERENCES BETWEEN MALE AND FEMALE WRITERS? .EH·G· . Il'Is don' gel up as much as guys.

~: BUT

00 YOU THINK THAT IS JUST BECAUSE

~~~~ SO

MANY MORE GUYS THAN GIRLS? ... ~ • gins tnat bomb don' bomb hardcore. They're nol •·...Ict WTrlers ,... -. a,~ , u,elr wnllng doesn't gel notice as much as ....'.do II' ~k ..... . s e when someOne goes bombing and they can ~rt:llly wen but have no impact. but someone el$e can lilt. and he like ten siore gates and people wtlI be like oh

......·00

ClFtu . YOU THINK GUYS GET UP MORE THAN .. __ BECAUSE GIRLS ARE AFRAID TO GO CERTAIN . WlIl;ES? .lEN: No nOI re a lIy , I think

It.

glfls have Ihe same soul 011 :iluyS

SKlU-$: ARE THERE ANY DISADVANTAGES BEING A GIRL WRITER? JE.N: I think that, say a girf and a guy have beel and trley wrtIe over her they would be mote apl to write bilch or Wl'\ore over a girl. With guys i1.. not as personal it's JUlt war. GUYI look tor a way to olJend gin5, they think if you write slut over a giris tag that she win llo home crying or stop goinll over you. II makes me wanl to go over them even more and iI ma~es me mad becaule no one knows me enough to c.aUme a bitch. Guys try to take advantage of girts In that lenle. SKILLS: WEll. THAT LEADS TO MY NEXT QUESTION HOW 00 OTHER WRITERS TREAT YOU? ' JEN: II d.ependS on Ine writer, some guys wilt"""e me respeCl ana be ~ke yeah. I saw your t~lns ana others will be like oh please bitch. ' SKlu..s: WE ALREADY TAl.KEO ABOUT SOME OF THE DISADVANTAGES, WHAT ARE SOME OF THE ADVANTAGES OR SHOULD I SAY WHAT ABOUT RACKING? JEN; Racking is very easy because people usually woulGn.t ex~ect a girl 10 go into a hard wale SIOle to rack Iat caps or paint SKIlLS: 00 YOU SEe MORE GIRLS WRITING IN THE FUTURE? JEN: Yeah. I see more girls genln~ into it you know lhey see guys gening up and they're like t can Co that 100 .. SKILLS: IS THERE ANYONE YOU WOULD UKE TO SHOUT OUT TO? JEN: Yeah, I would ~ke to say wtIal lip 10 COST and REVS and the whole KRT crew ..

- ..

_

_.. _.-

._- -_

-_

.

REM: A friend of mine (MR. ELEMENn used to write and sli~ does- t was hanging 01,11 with him a 101. He used to go 01,11 bombing a 101 and I would go wllh him. I would see people like TWIST and the TMF crew gel up a 101. so I was kind of interested in trying it out myself. SKILLS: 010 ANYONE ELSE INFLUENCE YOU? REM: No not really. SKtUS: WHEN 010 YOU START WRInNG? REM: About a year and a hair ago. SKlUS: WHY 00 YOU STlLL DO IT OR WHAT IS IT THAT YOU UKE ABOUT GRAFF? REM: I like the frndom of it. its son or like i1nyone can do it. l like 10 get up a5 mUch as possible. SKILLS: DO YOU THINK THERE SHOULD BE MORE FEM.A1.E WRITERS OR DO YOU UKE THE FACT THAT 'mEIR ARE ONLY A FEW GIRLS OUT THERE? REM: It would be nice. I wo!J1d like 10 see it more. but it wouldn't change my ~!e dramatically. There are a lot of female writers out here in San Francisco. There is a serious competition among the gIrt write~ out here and that can get kind of tiring. Its like if there's any bee! its usually amongst ourselves ( The female writers).

SKlLl..S: ARE THERE ANY DISADVANTAGES BEING A GIRL WRITER? REM: No. no if anything l think it's more of an advanlage because we can get away with more. SKlLLS;WHAT ABOUT RACKING THEN? REM: Yeah it's easier ror girls. I can rack a 101. I also have a car which helps. SKILLS; HOW 00 OTHER WRITERS TREAT YOU? REM: I guen respect because I'm a girl and I get up a lot: I've also done a lot of roonops. SKILLS; 00 YOU SeE MORE GIRLS WRITING IN THE FUnJRE? REM: Yeah, I do. Ithmk there always has been bul recently there have been a 101 more girls writing. 1 hope girls keep writirlg...fuck yeah. it's always been male influenced and it's nice to see a 101 of girls 01,11 there doing it cause there's no relllOn why they shouldn't be . SKILLS: IS 'mERE ANYONE YOU WOULD UKE TO SHOUT OUT TO? REM: Yeah. what UP 10 KR. SHOK. TWIST, OUG. OEEN. CYPHER. and the lest 01 Ihe TMF MOB and also my mom

··················

-G NICE.

ANSWER KEY: PACE 4: BIO NYC, COPU NYC, SIEMS NYC, DUEl'( N'(C, KAWS NJ,IN CONN. WI EMIT, BOSS BY KAVES, BROOKLYN. COAX, CAll. .... PACE s: JEW BROMX, DREW CAll, LAPSE CALI, KINGIS1 UN HOSE, CYCLE IN NYC, LIES BY SNO AND RANGE. RqCHESTER, NY, EASE, HORIDA, COPE'Z BRONX, RACHEtLE BY PER BRONX, BARON I NEV NYC, TRACYI61 NYC. PACE 1: WOLF I TEAM NY'C, DUC SAN fRANCiSCO, TWIST SAN FRANCISCO, Milk AMSTERDAM?, SHAZY 8Y SHARP WI SMITH NYC, EMIT IN VERMONT, CLARK 10 NY'C, DUELIST NYC. PACE I: MEU NYC, ARAB BY DOC NYC. WEST I MORE I BRUE NY'C, CHARACTER BY SERla NYC, FACE BY CYCLE IfYC, KR I TWIST SAN FRANCISCO, KINClS1 SAN HOSE, SMITH QUEENS. PACE9: TORE I YES: NYC. TEN PAK BY SANE NYC. cn Nye. DUHA NYC, HaTCH NYC, SlUE fLORIDA, DREAM CAU. EMIT CONH, TWIST SAN fRANCISCO, WYU BY KINCIS1 IN SAN NOSE. PACES lvn: CAY HYC, WANE I WIPS NYC, MIKER BY IUN. B BRONX, DASHt67 I ABOMB flORIDA, MYTE CAU, III SAl NYC, TI(ID NYC, REMS I SEI( COPENHACEN, DEEN SAN fRANCISCO, DERO I JEt NYC, CIRCUS CAll. PACE 14: DUELO NYC, SWATCH NYC, SIN NYC, EAD NYC, DESA NYC, DUC I SHOK SAN HlANCISCO, VEHER Nl'C, CAP UONX, JEN NYC. PACE t6: OLD SCHOOL BY SHOK ENGLAND. HIY I POE I US HELSINI(I, MILK AMSTERDAM, EGS HELSINKI, HIV HEunllt, STONE CERMANY, MINE CERMANY, RENS COPENH,l'EH, PA9E 17: XPRESS CAll, SNO IfJ, 'WI; RASTA I JUNGLE GREEN 8Y kiNG 1S"1 SAN HOSE. SP.ROC BOStON CHARAClE' BY KURU BOSTON, PENGO CHICAGO, LEAR I M(!tIC MR, CHI BROOKLYN, OIL By ERNI IN CAll, SLICK CAll. PAGEtl: REAS NYC, SR ns NYC, MIRAGE NYC. EA NYC, SOl I SET BROOKlN, SP.ONE BOSTON, GHOST NYC, OLD (N'LISII I PH BROOKLYN, II QUEENS, DEAD QUEENS, DElII" MYe, DE BROOKLYN. PAGES 'Z0/'Z1: GAlE MYC, DASER BY REM'Z TORONlO, TWISTER BY OUC /TWIST SAN FRANCISCO, NOMAD BROI.,· BUGM BY SLAM QUEENS, BISARO, DEEM, Due sA" FRANCISCO, TMF BY KR SAN FRAMCISCO. CO$$T IIEyJ NYC. REtM MASS, SLY BOSTON, JECKLE? CMICACO, TWin SolN nolttClscO. DEE'Z BY WOMBolT BOSTON, SEttTO ,ROIfJ. CHARACTER BY SNOW NJ, DOLE I JH MYC.

KEEP THE FLICKS COMIN...

•

L-A

.

T'Y>Je3 Nov, 18, 1'1'13

Tag Lines Two Graffiti Practitioners Profess Their Craft to a Class of UCLA Undergraduates By SIIAWN IIUBLER TIMES STAFf WRITtR Th~ 1111 &0 .shorl, thl! crall So long to lnne. Chaucer knew the dilemma well. Six hundred years, and art has nol goUcn olle speck easier. BUl hark! The voice of hope! OK, U's actually the voice or a lagger named "Nuke," Bul his advice on Tuesday was good enough to confer on a room full of UCLA undergraduates, "Hook up, calm

down. know what you're gonna do-and then bust" Don't laugh. They look

VIHCl:OOMPACNON£ I I.... 4l11flunm..

Elick (Duke) Montenegro. len. and Joseph (Nuke) Montalvo speak to art class at

UCLA. They were Invited on campus by muralist and vIsiting professor Judith Baca.

nolea. Say what you will about graffiti, no one ever said the lUe of a spray painter was a cushy one. Some look at the Los Angeles River bed and see a pox of tangled ganglia. a lurid mess of bulbous leUers and oversized chicken scratches. But to the connoisseur, Is"ues abound, The fluid New York style versus the more linear Los Angeles approach, the challenge of can control, the Issue of tips. The shallow derivativeness of the po!It-Chaka era. Not to mention the fael

that It is, ahem, against the law. These and other fine poin13 of the craft were up for grabs Wednesday, when veteran graffiti arllsts Joseph (Nuke) Montalvo and Erick (Duke) Montenegro. ages 23 and 2~, respectively, were the guesl lecturers at World Arts and Cultures 130, a course In the role of public art being taught by visiting professor and well-known muralist Judith Baca. . Baca, an arts activist, said her aim was to explore the "fine line between community sensitivity and censorship"-the subject of a video pre<:.eding the Nuke and Duke le<:.ture. "I do not believe that we can In any way condone aerosol art as a medium," Hannah Dyke of GrafnU Buslers of : Sylmar lold the camera, complaining I that uggen In her neighborhood have' : become 80 arrogant that one local group I was calling ll!elf JMU. for "Just MIssed Ie Us:' A spokeswo!J1 an for the city's anti- graffiti Operation Clun Sweep said tagging creates blight, not 1ft Pie... It. GRA.FFITI. B4

I

I

GRAFFITI: TaggerS Talkto ,UCLA Students ,

ContiDued from Bl But in this setting Nuke and

: Duke got in the last word, with a wide-ranging look at graffiti and

the oullet for self-expression they say it oreer'S for the poor. Although they did not detail it for the class, both young men were raised in the leSs privileged quarters of Los Angeles. and-inspired by the very

murals Baca helped paint-say they found in graffiti an alternative to gang life.

Over time, they said In an interview afterward. each honed a style. gradually taking his work more seriously. Eventually, they joined Earth Crew, a group of environmentally concerned artists (they use spray paint that is devOid of CFCs) that ~has -done murals throughout the United States and

Me,gco. ~'We have a creative impulse that never stops, no matter what you do," Baca told the class. "Like a river. it will now, and if you block it, it will find many ways to now around the obstacle." AU right, one smarty-pants in the back row conceded. but "3 latta peOple say tagging's already dead in New York." Clad from head to toe in blackblack sweat shirt. black baseball cap, little black beard and ponytail,

'

and big black shoes-DUke fixed him with a long-suffering glare while the gentler Nuke, sporting an American Indian medicine wheel. patiently explained that tagging has simply gone underground in the Big Apple. and anywaY,lt is different there. ''In New York. they had to bust things qUickly because they were working on subways. Here we have more time," Nuke pointed ouL "We're more into the line, getling that can control." He paused. giving the class time to realize how tough it actually is to master a spray paint cal!- Simply de<;idina w,hi~h type-of nozzle to "affuc to your canister is an issue. not to mention a hallmark of Los Angeles graffiti, where, according to NUke. taggers are renowned "children of the can." The nozzle determines the line, he says. and offers vast options for the resourceful artist, ranging from the delicate script afforded by Lysol can tips to the broader strokes that come with a so-called "basketball tip" - 3 nozzle (Nuke and Duke won't say from which aerosol product) that is a sort of poor man's airbrush. creating 3 swath of paint as broad as a basketball. Then there is the maller of the

'

notorious lagger Chaka, who wu arrested a few years ago for spray painting his name on thousands of lampposts, road signs, underpasset. curbsides and other virgin camera of the land. Nuke and Duke look sad when the Chaka thing comes up, since they view his notoriety as a sort of low point for the medium. Before Chaka. they say, taggers-or "writers," as they refer to lhem_ took ti~e to practice and develop their marks. A tag would evolve from a set of mere letters fa, say" stylized squiggle or a fat, colorful blurb, and from there. the work would broaden to encompass see. tions of concrete. and eventually. entire walls. But after Chaka. they said. tal· gers began to value "quantity over quality," and the true visionaries of the medium were overshadowed by the knockoff lypes. Still. they say. they have their heroes. known if not to the avenge Angeleno, ;'-at least to each other1 Angst. Hex. Mear. Slick, Anla'. Risky" Power. Skill. Toan!, Teck. The list goes on. And these, Duke told his students. are the LaQel'I who will leave the legacy. "The ones that have heart.·' he advised the class. "will stick In the game. Entitn.t:k3?"

I

=

Artistic Freedom News &Updates , - (/1')1 r e.> Nov. 2. r; L • ..,. J

"M efro'

,

1'\'13

p. B"

Silence is the Fool ~r

iqUIt( block in th( coUrlIry.Mlrry

~Ic newt

learn to ~pcak English, ~ry few Ad Ilifhn ec!\KItion. and grMl"ltioru .emain in powny.1 doooiy ~ I ~ of my nrilhbo:hood. I n:rmd ukir.C mysdf I \01 of qUe:$tiotu whm ImnS in downtown Ind I ~tm _reb for th~ Ifl.lwcn. PIlblic art ir.1 ~ wopon 1;1' pablc of pinpointinJ corroptiotL. mliriz;nS abuta of pow't'r.lnd '"ning ~'I ....... ~n(SS of opprmiw rondi.loru. Th( VQ~ of 1O(ia! p~ tu"" llistoricaUy mack thnnKIva hurd lhroush the- a.rtl. Tbc powtI of public Ir. is UlI.,,..:chtd by curi paintin,.and hal In iJnponant rok in MKiny b«a~ of :he- 1a!Je .ud;(rla it

!-etters to The Time5 . . Graffiti Lesson 'at UCLA Class • In response to "Tag Lines: Two Graffiti Practitioners Profess Their Craft to a Class of UCLA Undergraduates," Nov. 18:

Unbelievable! Onee again The Times goes oul of its way l? pUbl.icize graffiti

practitionerz. Your article tries to define

.this illegal practice to the "connoisseur" and the post-Chaka era? Exc.use me! This is illegal Of course. Judith Daca. the visil!ng profeSsor, wants to "explore the fine Ime

between community sensitivity and censorship." Ms. Baca. bere.is l)le line-it is illegal! We are Ced'\Jpwilh this and: y~s. we are' ~live Co this! And no. UllS 15 not , censorship! 1 suggest Baca should take her community sensitivity and censorship Ideas to the people who have to pay hundreds and thousands of dollan to remove this "cralt" from their homes and businesses. I believe then she might find that {ine line! Thank goodness these "artists" use "environmentally correct" spray paint as they ruin private property. Please. KURT KNIPPER Los Angeles

Ulegible by childish scrawls are eon~ cemed? Is she aware or the tremendous costs. public and private. or removing the stuff? rd say I'd like to see her home gel covered with the puerile spray-paint scribbles or these inranUle ego strutters• but she'd probably find it a "vital and Iire.arfirmlng slatement." And besides. her blighted neighbors would then be rorced to either struggle with that fine line betWeal community sensitivity and censorship themselves, or just throw in the towel yel. again and become just a little bit more demoralized. ...DAVID PATRICK PABIAN Los Angeles

• It appears that the administration at UCLA just doesn't get it. As if it wasn't bad enough that Michael Milken is educatinc their students, they now include COUl'St$ on how to damage individual and govemrnen· tal property taught by admitted criminals. Do the people we have entrusted our educational s}'stem to have such iii lack of basic common sense that they would encourage training in how to commit these illegal acts? Is there anybody in the chain of command at our universities who win speak out againstlhese atrocities? If the state university educational sys. tern continues to offer courses such as • Who are the stupid people that want to these, we will all end up paying more LUes 'honor taggers? U you honor them, ho.nor for police protection and new jails. Only ir the ciliuns of this state speak out will any me ror rumishing th~ taggers my bUilding walls ror them to practice on and ror positive changes be made. Let's move which I have paid hundreds of dollars to Califomia back up to lhe top or the education list. have painted over. MICHAEL L SHAW When you honor these jerks, all you do is .• West Hills encourage the others to keep up the good work and improve their artistic ability on our walls, our buses, our telephone booths; our world. A. STANTON Los Angeles

,

• It's inVigorating to see that irresponsible .3OCial sentimentality is alive and well at UCLA in the person or visiting instructor Judith Baca. whose stated aim In having two grarnU vandals lecture her class was to explore the "fine line bet~~~ community sensitivity and censorshtp. 1 sugg~t the only "fine line" to be drawn where Baea iI concemed b the one across her name on the UCLA payroll. , What side is she on, sensitivity's or censorship's, where rreeway siJ;!:ns made

""chnu",,,U lIS th~ vall1lbl<. KKilI crili·

/Ir llicMrd TlI)'lor ....'hydo I ocatt public ~ I am a while mak and 22 )'QtI old. I ~ up in a coasWIDWn near -.ll.os AnS¢L.s Ind atTrndrd Ioc:ai public KhooU.. SIn mllcis<:o Statt Uniwrsiry, and the: Art Center CoUty of ~ in Puadma. 1ll19931nd 1994lliYrd ~ \of'Ofkd in a ~ iD dcrwnlOWn LA. UtlliR tho: Maican-~ r.ci~borl>oodo that dominat(!his IIU, min( "'"lIS I sq~ m.ilo: of run-down ter>(rnmt bIlildin&, IlooISid<: t/I( nIi:u of old Il'WUIoIll that ilK now honx to SaJva.cIonn rdl:p who !lee! wa: in tbcir<:oUllrry. The Mip.bor. bood h.acl Of\<' of t/I( ~ munkr' rata

But publK .. iI Wo utilized by c:orpontiona b billbc:-..06 and mlD'&ll, D1:Itinc Q)DSWnC" ~ " C2IbJn.I tnt'ttu.. E~ whm. dw public iI bombardtd with Pant ctlr'I\rnCf'cia mu'" Ind biIIbouds !'at Ia~ aM ITICl« offenIM !han lht mural I'm fishtins lOr. "lhesot ~ cyaom do I10l ~ in:rp'Ilo: auo dw I&ndIc:aptbut inlaltionaDyond out JO ~ notio: than. TI\( idcu, ~1leI, and monIity hiddm in tlIc:K ltCM:rliIanmu often ~ puIso: ~ but ICO 0l:I with rrryday aM Ila~ a IInXlF" ICDW of who My an is rrry a;lnm"bution ItlIoOCiotty

'un.

and ~ who iI mti!in, and ouccns-

te::lIoOrW Itf£"" of New 'tork mayot iIldolf Gui1iani1 a;tmsM cit)'"rmcwal"

=:

-

'I.av1inl\llll

the main cdu.}itins an:aJ,_ _

s-u. M '*'- otlotil!l_ '" -..

-.n thai ~ lI'IIJ tIO: llrIIUllItlIt!llt ~ book doc:ummtin& I."~ pho!ocraplo.... fai:blOlha oI!nro Unglq IpKC in • corridor L'w M ....d ~ lIS an ahibition &Ja for iol:aI up-and_inS an.isu. UnckY u>d Fai:bror.hn wolUd ~th~ ggmpilinl wh.t, ICCOrdinS to 4:1;.ky....... 'WT\(" ld«Iion oflwT ;>bocopapftl that conWned IImou no 'l\lcliry--·anlythrft brasa iD60 im. aga.." The atu"bit _ aho 10 incIudc

photov.phlw had Wen ofhcr ~kkrly lunu.Lanckr pre-partd wall ten on"t/w hwnaniry of women asnsiOerct «UlluK by 1OCir.'r: 1'llis WOI'k _.~ by :nwn:rn d,«, )..Ii",' GI!a.

Un(ortun.tdy, no on( will s« 1M: image if th~ comrnissioncn of t/w Board

of R«rcatioo Ind Pub baYE thdr way• 'l'lqo want:o I<etp TDl' liknl unksIl paint smiling. ham people boldin, han
'

Aupllll997 ~t:ia.1Iy criticized Ibwes of power .nd revulcd Ill. ilnpon:an: vi",point Clp.bk of cut'tlilil>C"ioImot. ~ imace WU inu:rprdrd by W rmdiI u ban.&an l..A..P.D. officn- butin, I )'OIllh of colo" althOllgh nothing 'J'«ilially indica:rd tm Pcopk couJd inlClpl't'! dl.iI mural how""" IMywantcd.!Nt:he faa rm'IIinI thaI there II'C dcfinile IblllG of powa' in aocktythat need to be ct>ccIttd Wittl OGCI· -.ionIl airiciun.

Bdic'rinS that silll.l&£ WU unworbbk Jiv'rn the natut( of UK corridor, flirt>rolher and Gala CIDOIIkd tlw Wlw.

What IliII pW2la "'" is how DO mcelia Cll""eragc WU V- 10 tlw otbu b.I1f of ClUl"tnm'. murU 11 ckp;ctcd 'l'OlllI.I marr rcadinz. book. 11M: Board of Recreation and Pa,ka ;. tramplinc upon tho: frtt .pccc:h rizhll of the Amnic:an peopk. lIS wcII tI my 0WT'l. In • juIl poIiliaJ aocicry, pcopk ~ t!I( rich: lO hear opinio!u of othn1. .nd dceipiad. lhir. potiticaJIycharpd mllral...., ma~ in 1932 bytbe: ladu of t/w Ml:Xia...., mural I1'IOVCmcrll, Da¥id A1Wo Siq~ and datrored by fcdn'al shortly aha ito ~ Now thai Siqt>eizw iI dcad.an: ~ arc tryirr, to ........ &( Ihc: Il".utnpicu.

"Ea<;h month. K'tCr.I! tboUAJld 1Cbool-

"'*

'" """"'.....

~ lor J>"1"C"u with dilldn:n.

dUldrm tOllr !h( mwnlm, u do o!h(r

w

lUI'C$lurk, ~ for a Ilary. AD who Ww

1M imaJt; brins wi!h tbo:m thaT ~ Iik crpnicnca and an in:crpm thr conlenl

,.ume

tt1tTY-)' lO

.In.ytt with New Yorkal for ftft ExP'p !ormaI. IQ p_1bo p!u>. told NCFE that the IOOi:rlC ' foma _ .dull bwmltUel inlO indusui&l1t(U or compktdr'Ollf of ciry Iimiu. "It turns 98 pm:M! of th( dry into. ~ p '100.(, The: ' - rqnacnuo - . ~ cmoorJbip ksilbtion in I ~"n-... Scwnd Cimsn l"Clotd iD r:lid·Mardt apirut Kparau: dairn.I byCozy Cal>in, a ub&rc: dllb, that !h( toninClrw iI uncorutilUtionaUy discrimi. CllOry bcauw it r~teI Uw: GpO$W( offr::lalc,a:lCI GO! r:W~. brUIlI. -G~ s...YOl'kcny. objoectiYe, w!Udl1s DOllO ~cithn &mckr" lCllualiry bullO ~:ral drcus that flow from public me. tlllIllO tho: COOndllCl inYOhlcd. _ mUit ~ !ha: ew, public reaaiolll to tbt . • of the: fnmle b,CIIl and thebfnst arc hishJr ciif!"(rc:nt,. thc c:oun

luI in ~r warm,cW.an homa m.ay not fcd :idded with ddilht by tbt ima&a I o;rn:~. Tl>r imaCCI I t t not fuU of mom grand(ur but It( influ«! with t1w $lIffa· ins-. tll~ Slr(ngthl,.nd tM upiratiortJ of OPl'raied Pft)pleI!hrovchout w world. ....'by am Tl>r izr..,. thar I dcsiped for tbt ~ p2ffiti pi!. that _ onuored ~ u my own view of aociny, I>Ol mmmen:ial into:r.sIS, and reOO on w poww of A~ and 'mbieuiry, My pi iI no! aoIdy co offmd poopk, but rathft to 'fI&rlc _ inu::rcsl in tbt- motioN of puwc lhat 10 ~ The mural will contain no rwastikas, American f1a&'o or LAP,D. badSG. It simptrdcpicu. pant pie: pzinguound tbt c:omn ofl run-down buiJdi:'c.llItho: fo:qrognd I =an r>.mI ~ frocn abc bc:uI and puDs his Qd, alcq with him. On lopoft/l(:~ linn tbt- mtdia v\ll-

divcnc STOUP" To ahibit 1.Inpy'. work in IIW/way, ~ ~ wuuId not hi.., I ~ about ..wwin& it. -..Id be We. ~ of thoK .1H6mcr:·1 rish:s." wn;Itt Gat«:o .!>Other pho:OVlphn who protesttd !h( r.J:-..at Ibow to be an ~t~ l~' pbumm:. Thil a:hibit _ timed to tIK ~ of hn- book a::d oM docI noc k"ow ifL'!is wotk will interes! hct in 1999. "l'
Wt$Consil ~Pom TaX- Repeal Proposed WLS<:OlIIin s:at( re-preKlltlltM: Dan Kau£m propoHd I TCpQ! of the: a:at~ tu. orr ~ I:~ ...mas dftmtd "'!:lnnf:l11O mir...., "t""! ~wmr~ Ind inlm
"""'1$

.....( nft'd lO It'! invoMd in the srruwc Ind Ium from th~ mistalta of W. ~L Tb" ¥iliomof ..."t!stoluch lIS myK!f do 001 bcc:o"'" positi~ :!".rt>u&h tlCplit'r :odnfo1ummt md cnuonhIp. So mmy kinch of people cciII and nobody'l ..won iI coctly 1M um~, /kfot( I die in tM wUl: of I jadf