Rex Thomas, a writer out of Florida, has an excellent piece out on the relationship between street art and civic spaces, arguing that failure to bring graffiti into the mainstream postpones "treatment of the urban malaise." I was particularly taken by Thomas' discussion of "permission walls" and his analysis placing graffiti in context with more traditional, accepted art forms:
In Orlando, the trend of giving street artists “permission walls,” or walls where they have permission to paint their work, has tamed some of the sabotage. By allowing graffiti artists to work with permission, they are free to develop their craft without fear of getting caught before completion, and the artwork becomes a colorful, mural-sized effort to which the artists can point with pride. These permission walls encourage friendly competition between teams, or crews, and there is a sense of pride among them for having created something with great exposure.
Two permission walls exist to the east of downtown, but it is the cluster of warehouses at 630 E. Central that showcase graffitiartwork at its best. Artist Robin Van Arsdol owns part of this cluster and has been sponsoring an international graffiti conference for several years, bringing in artists from Europe, the Caribbean, and North America for a weekend of painting at his studios. Driving by his property is a study in converting urban form into art, and perhaps suggests the urban future of more than one city.
For the graffiti artists have offered a philosophical change-up that should not be overlooked. The conversation about postmodern art seemed to have reached a dead end some time ago; artists first threw out figure, then form, then color, then the frame, and then wandered into their process itself as an art form. Graffiti artists begin with the end: their signature, or tag, becomes the art, and by using this as the starting point, and the city as their canvas, they unconsciously offer a new beginning to think about the relationship between art and the city.
We must accept the challenge that graffiti artists offer us; we must confront this takeover of the physical urban form and push back. While street art is a fresh, interesting language, it should not be mistaken for the language of knowledge or power. Instead it is the language of a city that is weak and divided. We must hear what graffiti says to us as a society, and retake our physical urban character as a common, broad place that offers security, sacred, and special places for all citizens, not just the privileged few who, by choice, enter the physical realm. By ignoring graffiti art, we postpone our treatment of the urban malaise. By confronting it and bringing it into the mainstream, we can better treat our urban condition and improve the city as a dwelling place for the benefit of all.
