August 21, 2024
Contextualizing Graffiti: An Analysis of Urban Expression
Graffiti is common in many locations worldwide and is frequently regarded as a contentious form of urban expression. The specific graffiti in question offers a fascinating topic for examination because it is depicted in a vivid, disorganized mixture of colors and symbols on a concrete wall in a metropolitan underpass. It begs the question: were the graffiti artists, gang members, or just random people vandalizing property responsible for this? We can try to identify the origin of the graffiti by looking at its features and comparing them with information on gang and tagger activity that is currently known.
Characteristics of the Graffiti
A huge, stylized signature or “tag,” a string of numerals, and a variety of abstract designs are some of the standout elements of the graffiti that is the subject of this analysis. The tag, which is the most noticeable element, is composed of large, connected letters with angular edges and pronounced curves. The tag stands out from the background thanks to the vivid color scheme and the use of contrasting hues. Smaller, less readable marks and symbols that appear to be randomly distributed surround the tag.
Gang Graffiti or Tagging?
It’s critical to comprehend the differences between gang members and taggers in order to evaluate whether this graffiti is their own. Gang graffiti, sometimes referred to as “gangbanging,” is frequently used to demarcate areas, communicate with other gangs, or show support for a particular gang (Phillips, 1999). This kind of graffiti usually contains the name of the gang, numerals, or other symbols linked to the group, and occasionally taunts or threats aimed at competitors. Since communication rather than artistic expression is its primary goal, it is typically simple and devoid of artistic decoration (Ley & Cybriwsky, 1974). However, the main goals of tagging are self-expression and gaining notoriety among other graffiti artists. Taggers, sometimes called “writers,” frequently look for extremely visible spots in an effort to get as many people to view their tags as possible. The employment of a distinctive pseudonym, or “tag,” that is styled and used repeatedly in different contexts, is what defines tagging. The aforementioned graffiti appears to have more in common with the traits of tagging than with gang activities. The concentration on a big, stylised tag implies that the artist was trying to make a name for themselves and make a statement in the city. In contrast to typical gang graffiti, which often serves a utilitarian purpose, the abstract designs and vivid colors suggest an artistic aim (Phillips, 1999). Furthermore, it is less likely that gang members created this graffiti because it lacks obvious gang emblems, numbers, or threatening statements.
Defacing Property or Artistic Expression?
Even though some could contend that all graffiti is a type of property defacement, it’s important to distinguish between intentional, artistic expression and mindless vandalism. As evidenced by this graffiti, tagging can be considered an urban art form, even though it doesn’t follow the rules of legality (Ferrell, 1996). Taggers frequently take tremendous pride in what they do, devoting a lot of time to honing their tags and creating a distinctive look that makes them stand out from the competition.It is also true, though, that this kind of expression takes place without the owners’ permission, which is why it is considered vandalism. This conflict between property rights and art is typically at the center of the ethical discussion around graffiti. In this instance, although some may view the graffiti as defacing property, it also exemplifies a subcultural art form that questions accepted ideas of public space and ownership (Macdonald, 2002).
Conclusion
The analysis of the graffiti indicates that the creator of this piece was probably a tagger rather than a member of a gang or someone who was just vandalizing property. The focus on aesthetic flair, the unique tag, and the lack of symbols associated with gangs imply that the graffiti is an instance of tagging, or self-expression within the graffiti subculture. While the controversy over graffiti’s legitimacy as art continues, it is evident that this specific piece is more than just an act of vandalism; it is a statement of identity and presence in the urban environment.
References
Ferrell, J. (1996).
Crimes of style: Urban graffiti and the politics of criminality. Northeastern University Press.
Ley, D., & Cybriwsky, R. (1974). Urban graffiti as territorial markers.
Annals of the Association of American Geographers, 64(4), 491-505.
Macdonald, N. (2002).
The graffiti subculture: Youth, masculinity, and identity in London and New York. Palgrave Macmillan.
Phillips, S. A. (1999).
Wallbangin’: Graffiti and gangs in L.A. University of Chicago Press.
