Graffiti and the Art World
Anna Waclawek
Early Forays Into Gallery Spaces
When outlining graffitis transposition from subway trains to city walls in Chapter Two, it was noted that some attempts were made by the arts community to de-criminalize graffiti by framing it as art. This involved the efforts of graffiti writers and alternative gallery curators as well as upscale art dealers and gallery owners who worked to validate graffiti writing as an art form. While for some writers the motivation to create work for galleries was primarily a method to reverse the negative status writing had garnered on subway trains, for commercial gallery owners, bringing graffiti inside was predominantly an exercise in capitalizing on a new art trend. Graffiti first found its way into galleries on a small scale during the early 1970s. During the 1980s, however, and specifically between 1980 and 1983, the work of graffiti writers was 'heralded as the next big art find' in the art world of New York.
In graffitis earliest days, writers did not consider themselves artists and had no aspirations to exhibit their work in galleries. As FUTURA 2000 explained: 'Id be afraid to be in a big gallery where they would be trying to make money off me - those people dont even ride subways! My arts not for exclusive buyers.' While transit officials denounced graffiti as a crime and graffiti writers themselves were happily anonymous to subculture outsiders, New Yorks visual arts community was determined to bring graffiti into the fold of the art world. Thus, over a short period of time graffiti was transfigured as a canvassed commodity responding to the demand of commercial galleries. This process of commodification began with the advent of an organization called United Graffiti Artists (UGA).
In 1972, Hugo Martinez, a City College sociology student, formed an organization of graffiti writers, which he named UGA. The mandate behind this organization was both to aid writers in developing their creativity in a de-criminalized setting and to redirect graffiti writing as a legal and profitable enterprise. Martinezs primary goal was for the mass media to re-interpret graffiti as art. He encouraged writers to produce graffiti on canvases so that he could popularize a new art movement by bringing graffiti into galleries. Martinezs rationale was that 'if people see graffiti on the walls inside of buildings instead of on walls outside of buildings, they will think it is art.' His efforts did not go unnoticed. Although initially Martinezs endeavours were not well received by graffiti writers, since they already had a strong sense of collective worth and were not necessarily looking for mainstream acceptance, writers came to respect UGA.
The first graffiti exhibition Martinez organized took place at City College and consisted of a graffiti writing demonstration by some of New Yorks most respected writers. Subsequently, Martinez arranged a few small-scale exhibitions that 'accumulated a cultural capital of favorable reviews from powerful critics lending their support to writing as an art form' and made an impression on graffitis new audiences. By transplanting graffiti from the cityscape to the confines of a gallery, Martinez managed, to some degree, to re-construct graffiti as an art form. As described by Austin, when graffiti was 'removed to a studio or gallery and performed on canvas, its apprehension as an art object was assured, since the frame of art - that is, the context of the (literal) frame, the white walls of the gallery, and the exhibition space - more or less guaranteed its status.' Still, the organization of UGA lasted a mere three years, mostly because of Martinezs controlling and exclusionary policies.
Martinez limited UGAs membership to expert writers (kings). The fact that he emphasized aesthetic quality over quantity disrupted the philosophy of getting up and alienated a number of writers who prioritized bombing. Moreover, he controlled the ethnic composition of the organization, turning away African-American and Caucasian writers in favour of Latino-Americans. This sort of manipulation, which was meant to benefit his scholarly study of disadvantaged Puerto Rican teens, eventually led to UGAs disbandment in 1975. It seemed that not only did the UGA organization suffer from 'a tremendous amount of racial tension,' but it was also, in effect, anything but united, given that it never included more than twenty members and only twelve writers maintained the organizations core membership. Furthermore, the group did not succeed in its mission to re-channel graffiti writing from walls to canvases, as only two writers renounced their illegal practices after joining. However, UGA was valuable in that, as writer COCO 144 recalls, 'when we got organized at UGA, this awareness developed about who we were, what we were about, and how to value ourselves. Because to a certain extent we were labeled as those ghetto kids. When you value yourself, you begin to value the things you do.' Therefore, while not revolutionary or wholly inclusive as an organization, UGA supplied some writers with room to reflect on the power of their practice and consider themselves artists.
Jack Pelsinger was another unlikely graffiti aficionado, who after frequenting UGAs exhibitions and realizing Martinezs 'bigoted attitude toward non-Hispanic members' decided to start an alternative graffiti organization. The Nation of Graffiti Artists or NOGA was founded in 1974 and functioned as a type of community arts workshop for all those interested in writing graffiti. Not a graffiti writer himself, Pelsinger acted as a facilitator for youth who lacked exposure to NYCs cultural diversity. As Pelsinger explains, 'I wanted to get the kids involved in everything. I took them to museums, readings, free concerts, meetings, demonstrations [...] they were getting into the life of the community.' W
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涂鸦与艺术世界
Anna Waclawek
早期进军画廊空间
在第二章概述涂鸦从地铁到城墙的转变时，我们注意到艺术界曾试图将涂鸦定义为艺术，从而将其定为犯罪。这涉及到涂鸦作家和另类美术馆馆长以及高档艺术品经销商和美术馆老板的努力，他们致力于验证涂鸦写作是一种艺术形式。对于一些作家来说，为画廊创作作品的动机主要是一种方法来扭转在地铁列车上写作所获得的负面地位，对于商业画廊业主来说，把涂鸦带到里面主要是利用一种新的艺术趋势。涂鸦最早是在20世纪70年代初进入画廊的。然而，在20世纪80年代，特别是在1980年至1983年间，涂鸦作家的作品在纽约艺术界被宣告为“下一个重大的艺术发现”。
在涂鸦最早的时代，作家们并不认为自己是艺术家，也不想在画廊里展出自己的作品。正如Futura 2000所解释的：“我害怕在一个大画廊里，他们会试图从我身上赚钱——那些人甚至不坐地铁！“我的艺术不是专为买家设计的。”虽然运输官员谴责涂鸦是一种犯罪行为，涂鸦作家们自己也很乐意对亚文化圈的局外人保持匿名，但纽约的视觉艺术界决心将涂鸦带入艺术界。因此，在很短的一段时间内，涂鸦被改造成一种可以满足商业画廊需求的商品。这种商品化的过程始于一个叫联合涂鸦艺术家组织（UGA）的出现。
1972年，城市学院社会学学生雨果·马丁内斯成立了一个涂鸦作家组织，他将这个组织命名为UGA。该组织的任务是帮助作家在非犯罪环境中发展他们的创造力，并将涂鸦写作重新定位为合法和盈利的企业。马丁内斯的主要目标是让大众媒体把涂鸦重新解读为艺术。他鼓励作家在画布上创作涂鸦，这样他就可以把涂鸦带进画廊，从而使一个新的艺术运动普及开来。马丁内斯的理论是，“如果人们看到建筑物内的墙壁涂鸦，而不是建筑物外的墙壁涂鸦，他们会认为这是艺术。”他的努力并没有被忽视。因为当时的涂鸦作家已经有了强烈的集体价值感，不一定要寻求主流的接受，所以最初马丁内斯的努力并没有受到涂鸦作家的欢迎，但后来作家们也渐渐开始尊重UGA。
马丁内斯组织的第一个涂鸦展览在城市学院举行，由一些纽约最受尊敬的作家进行涂鸦创作示范。随后，马丁内斯举办了几次小型展览，这些展览“积累了一笔文化资本，获得了来自有影响力的评论家的好评，使他们支持以艺术形式写作”，并给涂鸦的新观众留下了深刻印象。通过将涂鸦从城市景观移植到画廊内，马丁内斯在某种程度上设法将涂鸦重新构建为一种艺术形式。正如奥斯汀所描述的，当涂鸦被“移到工作室或画廊并在画布上lsquo;表演rsquo;时，它作为一个艺术对象的忧虑得到了保证，因为艺术的lsquo;框架rsquo;，即（文字）框架的上下文，画廊的白墙和展览空间，或多或少地保证了它的地位。”尽管如此，UGA的组织只持续了三年，主要是因为马丁内斯的控制和排他性政策。
马丁内斯将UGA的成员限制为专家作家（国王）。他强调审美质量而非数量，这一事实疏远了许多优先考虑参与的作家。此外，他控制了该组织的民族构成，拒绝了非裔美国人和高加索作家，转而支持拉美裔美国人。这种操纵，旨在使他在波多黎各弱势青少年的学术研究中受益，最终导致了UGA在1975年解散。看来，UGA组织不仅遭受了“巨大的种族紧张”，而且实际上，它也不团结，因为它从来没有超过20名成员，只有12名作家保持了该组织的核心成员资格。此外，因为只有两位作家在加入后放弃了他们的非法行为，该组织没有成功地将涂鸦作品从墙壁重新传播到画布上。然而，正如作家COCO 144回忆的那样，UGA很有价值，“当我们被UGA组织起来时，这种意识形成了我们是谁，我们是什么，以及如何评价自己。因为在某种程度上，我们被称为lsquo;那些贫民区的孩子rsquo;。当你看重自己的时候，你开始看重你所做的事情。”因此，作为一个组织，UGA不具有革命性或完全包容性，但为一些作家提供了反思他们实践能力的空间，并将自己视为艺术家。
杰克·佩辛格是另一个不太可能成为涂鸦爱好者的人，他在频繁参加UGA的展览后，意识到马丁内斯对非西班牙裔成员的偏执态度，决定成立另一个涂鸦组织。“涂鸦艺术家之国”成立于1974年，是一个为所有有兴趣创作涂鸦的人举办的社区艺术研讨会。佩辛格本人不是涂鸦作家，而是为缺乏纽约文化多样性的年轻人担任一个推动者。正如佩辛格解释的，“我想让孩子们参与到每件事中，我带他们去了博物馆，阅读资料，免费音乐会，会议，示威hellip;hellip;他们正在进入社区生活。”虽然佩辛格在为作家们提供一个与年轻一代交流和分享知识的场所方面发挥了重要作用，但该组织并没有举办任何重要的展览。尽管如此，UGA和NOGA都是为了将涂鸦作家的工作重新指向“被认为具有建设性的项目，并充当公共关系联络人并为文化获得财政支持”。这些组织的意图可以说比高档艺术品经销商更高尚。通过马丁内斯和佩尔辛格的努力，涂鸦作家的作品在媒体上获得了曝光。
1973年，UGA成员在Soho Razor画廊（西百老汇565号）举办了第一次画廊展览，随着地铁列车上涂鸦制作的增加，还组织了一系列小型涂鸦展览。早期的涂鸦表演是作家们见面、合作、了解他们工作潜力和社区力量的重要平台。在法律空间中一起绘画的经历对于社区来说至关重要，因为“它为这一时期的一大批最优秀作家开辟了道路，让自己成为画廊艺术家。”此外，这些展览还抵消了人们普遍认为的涂鸦是纯粹蓄意破坏的观念。尽管关注这些早期涂鸦表演的艺术媒体更多地关注它们的新颖性，而不是文化和艺术价值，但这种关注是将涂鸦作为艺术欣赏的宝贵催化剂。
在1973年春天，纽约杂志发表的两篇文章将涂鸦写作定义为一种新的艺术运动。1974年，诺曼·梅勒出版了备受赞誉的咖啡桌书《涂鸦的信仰》。在他的主要由照片组成的书中，梅勒将作家的作品与“伟大的艺术传统”联系起来，并将写作视为最令人兴奋的当代艺术运动。出版的文本作为一个中介或调解人极有影响力，这有助于将涂鸦定义为艺术。
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