Unveiling the hidden history of Graffiti artists on canvas

The text below is the excerpt of the book Street Art Evolution 1970 – 1990 (ISBN: 9781639197668), written by Cornelia Carl and Cie Carl, published by Parkstone International.

Embark upon an enthralling intellectual odyssey through the annals of a groundbreaking artistic movement that plunges deep into the vibrant realm of graffiti art. Immerse yourself in a mesmerizing assemblage of more than one hundred captivating paintings, meticulously birthed during the transformative decades of the 1980s and 1990s by the unequivocal trailblazers of graffiti on canvas. Brace yourself for an illuminating revelation, as these resplendent masterpieces lay bare the clandestine chronicles that have long been obscured, shedding light upon the unsung narrative of this remarkable movement. By dismantling the unjust association with mere tagging and fervently restoring its rightful place within the hallowed pages of art history, these exquisite works beckon us to embrace a transformative understanding of graffiti’s profound significance.

Amidst the resounding reverberations caused by the burgeoning presence of urban art within the gallery sphere, it is a well-guarded secret that graffiti artists have been engendering extraordinary masterpieces on canvas since the advent of the 1970s. Disentangled from the bustling streets and liberated from the customary realm of street art, these prodigious artists have meticulously crafted a prodigious corpus of artistic endeavours within the seclusion of their studios – an enigmatic realm that has remained uncharted by the masses.

Emerging from the depths of humble origins, youthful graffiti artists, such as the remarkable Coco and Phase 2, scarcely fifteen or sixteen years of age, converged under the unifying banner of the “United Graffiti Artists“ (UGA), under the guiding hand of the esteemed Hugo Martinez. Fearlessly defying conventional boundaries, they embarked upon a courageous venture, unfurling their vivid creations within the sacred halls of galleries. Their inaugural exhibition unfolded at the illustrious Razor Gallery nestled in the vibrant heart of Soho, casting an indelible mark upon the artistic landscape in 1973. Their audacious odyssey continued, reaching its crescendo in the seminal Post Graffiti exposition held at the prestigious Sidney Janis Gallery in 1983. This groundbreaking showcase served as a veritable tapestry, interweaving the artistic brilliance of luminaries such as A-One, Jean-Michel Basquiat, Crash, Daze, Futura 2000, Keith Haring, Koor, Lady Pink, Noc 167, Lee Quinnones, Rammellzee, Toxic, and Bear – illustrious figures whose canvases grace the pages of this present volume. It is incumbent upon the realm of art to embrace and acknowledge this profound phenomenon, dispelling the overshadowing veil cast by its social and ethnic dimensions, and wholeheartedly recognizing its inherent artistic prowess.

Andy Warhol himself recognized the brilliance of two graffiti artists, Keith Haring and Jean-Michel Basquiat, intertwining their stories with his own. This movement, with its rich history and extraordinary masters, has remained hidden from the mainstream art scene and has eluded the public eye for far too long. Finally, the time has come for the world to discover and admire these masterpieces.

Within the confines of France, this artistic movement sprang forth as a fiercely autonomous entity, operating outside the established boundaries of the traditional art world. In a moment of artistic brilliance, Bando, an illustrious luminary in this realm, ventured to transport this expressive practice to the esteemed private mansions nestled in the bosom of Saint-Germaindes- Prés in 1984, effectuating a metamorphosis of the locale into an enchanting haven for graffiti aficionados, where fervent disciples of the movement would congregate. With utmost zeal, Bando extended fervent invitations to the crème de la crème of American and European artists, including the likes of Mode 2, Shoe, A-One, and JonOne, thereby establishing what would come to be renowned as the “Stalingrad“ site, with certain artists even choosing to settle in the vibrant tapestry of Paris itself. It was here, within this fertile creative ground, that the genesis of the first French school of graffiti took root, heralding the emergence of a distinguished cadre of artists including Bando, Ash, Jay, Skki, and an array of others. These intrepid creatives, brimming with fierce determination, found themselves entwined in a spirited competition with their foreign counterparts, harbouring audacious dreams of conquering the global stage.

In the realm of French art, it was Agnès b. and Willem Speerstra who stood at the vanguard, unravelling the profound artistic tapestry woven by these visionary artists, and heralding their works through pioneering exhibitions during the transformative 1980s. A pivotal moment came in 1991 when Jack Lang, a stalwart advocate for the arts, extended a resplendent invitation, beckoning these artists to grace the hallowed halls of the “Musée des Monuments Français“. However, since that illustrious juncture, the collective gaze of the public has been deprived of the opportunity to traverse the threshold, relinquishing their chance to immerse themselves within the resplendent world of these unseen masters. Their vibrant and rebellious artistry, suffused with a kaleidoscope of hues, has been veiled from the glare of high-profile galas and museum showcases, cloistered away from the limelight that they so rightfully deserve.

For far too long, these audacious creators, with their flamboyant spirit that exudes an “insolent exuberance,“ as aptly coined by Pieter Schjeldahl of the New York Times back in 1972, have languished in the shadows of underrated appreciation. Consigned to the confines of being perceived as primitive and underground, they have been all too often reduced to simplistic ethnic and social identities. This reductionist approach, born out of apprehension toward their unclassifiable artistry and elusive personas, has unjustly obscured the depth and complexity of their work.

Have you ever pondered upon the captivating artistry that blossoms forth from a humble spray can? This extraordinary art form, which brims with technical brilliance, profound figurative expression, and audacious splashes of vibrant colour, beckons the curious observer into its enigmatic realm. It radiates an unparalleled energy, fearlessly taking risks, while simultaneously exuding a warm sense of generosity that stands defiantly apart from the monotony of the capitalist-driven mainstream art world.

In the midst of a flourishing art market, where galleries multiply and prices reach unprecedented heights, it is disheartening to witness the ongoing disregard for the pioneering canvas works of graffiti art. The need to urgently showcase the genesis of this transformative movement, its groundbreaking creations, and its resplendent masterpieces to the world, as well as the burgeoning community of art enthusiasts and collectors, has never been more pressing.

The advent of the aerosol can in the early 1970s proved to be a seminal moment that forever revolutionized the world of graffiti. It breathed new life into the artistic process, expanding the canvas and unleashing a riot of vibrant colours that transformed simple tagging into intricate graffiti paintings adorning the walls of hidden spaces. This pivotal evolution birthed a myriad of styles that continue to inspire young artists even to this day. The mastery of the spray can, the artists’ very own “space brush,“ demanded five arduous years of intense practice. It was through this painstaking dedication that a distinct form of art emerged, driven by the necessity to juxtapose touches of primary colours – the sole hues available in the aerosol cans of that era.

While it is true that modern graffiti artists now employ traditional tools such as acrylics, oils, and gouache, it is essential to acknowledge that the majority of the exhibited works proudly embody the wonders achieved with the spray can. These creations stand as testaments to the graffiti artists’ remarkable mastery of this medium, their boundless innovative spirit, and their innate ability to create masterful compositions with a tool they have truly made their own.

The artistic creations at hand serve as poignant reflections of an enduring journey, an unwavering quest to unravel the intricacies of letter composition – its captivating form, seamless sequencing, and the chromatic symphonies that breathe life into its very essence. These artworks stand as testaments to an ever-evolving exploration, meticulously preserved within the sacred confines of artists’ sketchbooks – relics that bear witness to the remarkable evolution of their individual styles.

Within the realm of graffiti art, a captivating battle unfolds – an elegant joust where creativity and distinctive styles reign supreme, wielding their might as the sole arsenal in the pursuit of the illustrious title of “King.“ Adorned with the coveted threepointed crown, the artwork of the King stands resplendent, a bold proclamation of their eminence. In this organized and hierarchical calligraphic movement, complete with its masters and schools, intriguing parallels emerge with the realm of traditional illumination, where luminaries such as Rammellzee pay homage to the illustrious heritage of medieval writing.

Delving into the pages of this book, one embarks upon an immersive exploration of the diverse currents that have propelled this rapidly maturing movement forward. From the intricate tapestry of lettering to the genesis of abstraction, and even the evolution of figuration, a vast panorama unfurls before the eyes of the beholder. The showcased artworks traverse an expansive spectrum, ranging from the raw metal canvases of inaugural train wagons to the unyielding embrace of wood, cardboard, paper, and even the unexpected allure of carpet. Predominantly displayed on canvas – a material that once epitomized luxury for many artists – these creations stand as a testament to their boundless ingenuity and adaptability, seamlessly adapting to any surface that beckons their expressive prowess. Techniques employed by these artists extend far beyond the humble spray can, encompassing a rich tapestry of mixed methods, collage, resin, and even the integration of weighty, heterogeneous objects, as exemplified in the awe-inspiring works of Rammellzee.

Embrace this beckoning invitation and bear witness to the profound aesthetic evolution that has befallen the graffiti movement. Traverse the journey from its humble and naive beginnings, all the way to the heights of sophistication that are now synonymous with its resplendent styles.

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