Graffiti as a modern art form originated in the late 1960s, first appearing as an “underground” form of expression that was eventually recognized by the art community and migrated to art galleries and museums. It was considered to be vandalism and was rejected by dominant society until the art world embraced it and made it more acceptable (Belton 2001). In today’s society, the art world honours the artistic expression of graffiti artists, while society punishes those who deface property without permission. These opposing views of creative expression and destructive behaviour have been subject for debate for quite some time, yet has allowed for graffiti as an art form to develop more fully in relation to the culture and society in which it is found.
The term “graffiti” was originally used to refer to inscriptions and figure drawings on the walls of ancient cities such as Pompeii. Today, it refers to the pieces we photograph in alleyways, the tags we see on dumpsters, and the “wild style” lettering we associate with hip-hop and popular culture. The subculture of Hip-Hop for example, gained coverage in the New Yorker magazine, films, and movies in the late 1980s, and by the time it was accepted as part of mainstream culture and society, graffiti had been commercialized (Kan 2001). The shift in perception of graffiti since the 1960s has been obvious, yet undertones of resistance, illegal, and destructive activity still resonate in its characterization.
Despite the popularization of graffiti and its increasing association with mainstream popular culture and art, it is a social problem in many places that requires billions of dollars every year to be spent on cleaning it up. Schools are popular places for graffiti to present itself in, and it could very well be the rebellious attitude against society that many adolescents exhibit that lends justification to viewing graffiti as a problem in society, rather than something that should be embraced or used as an educational tool (Kan 2001). These attitudes are not all negative and linked to problems in society, however. Vancouver, BC is an area that has a fair concentration of graffiti, particularly in the downtown area where there are many styles and ways of integrating graffiti into the both public and private spaces in the urban environment. Although there is still risk of arrest and prosecution in employing graffiti as a medium for artistic expression without permission, it is accepted for what it is when it presents itself to those who pass by. It becomes a part of our surrounding environment and its seamless integration is necessitated by its connectivity with culture and society.
Although there are still mixed feelings towards graffiti as both creative expression and destructive behaviour, as a modern art form, it has gained more depth and has found itself more interwoven with society and culture. Looking back to the graffiti preserved at Pompeii, we are able to realize the degree of evolution of graffiti over the years, and understand its social and cultural implications as not static, but as continually adapting and re-conceptualizing its attempts at relating to the world that surrounds it and its creators.
Sources
Belton, V. 2001. Graffiti is part of us. Retrieved from
Kan, K. 2001. Adolescents and Graffiti. Art Education, 54(1).
Whitehead, J. 2004. Graffiti: The Use of the Familiar. Art Education, 57(6).
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