tag:blogger.com,1999:blog-8166607126149686285.post8509694738031019868..comments2023-10-12T04:39:14.927-07:00Comments on Band of Wild Petticoats: Literary Delinquents Anonymoushttp://www.blogger.com/profile/07850956866087645857noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8166607126149686285.post-56587947464211219512013-01-07T15:03:24.472-08:002013-01-07T15:03:24.472-08:00Lindsay- thank you for your great comment! And you...Lindsay- thank you for your great comment! And you bring of a heckuva good point.... <br /><br />The reason I remark on how different graffiti culture is today from 20 years ago is because, as an art form, it has secured a much higher degree of "legitimacy" in the mainstream commercial art scene over the past two decades (including a retrospective of graffiti artists from the 80s held in 2006 at the Brooklyn Museum), changing the way we as viewers feel when we look at it (and where we look at-- now available in the 1994-initiated Juxtapoz magazine!). <br /><br />I think that these changes in the way the public views graffiti murals (which can be both script and figural) have affected the entire culture of graffiti, including the possibilities of its content. The examples of the figural graffiti murals above represent graffiti artists working, still in an illegal way, but now without needing to, say, subvert symbolic representations of the "ivory tower." Instead, the art reflects a mutual appreciation for things that have not been traditionally classified as "urban subculture" but certainly share a similar rebellious spirit (in particular, I look at the piece of Sartre and think of how he refused his Nobel Prize in 1964). <br /><br />When I think of murals --that is, not a graffiti mural but state-sanctioned public art-- I think of something that has historically represented the mainstream ideals of the state (think Mexican mural movement during the revolution). Though murals and graffiti murals share many similarities, and are perhaps now have more in common than ever, I think that the above images reflect an evolution of the graffiti mural and its shifting sensibilities. <br /><br />In any case- I like your idea of seeing them as kindred spirits, because they totally are! By the way, wonderful portrait of Neruda- I will always love that poem! Thank you for sharing... AND, stay tuned because tomorrow's post is about literary graffiti in Brazil! :) <br />xoxo<br />Anonymoushttps://www.blogger.com/profile/07850956866087645857noreply@blogger.comtag:blogger.com,1999:blog-8166607126149686285.post-9615727515800576852013-01-07T11:56:22.462-08:002013-01-07T11:56:22.462-08:00As I was reading this and reviewing the photos I p...As I was reading this and reviewing the photos I paused at the suggestion that 20 years ago graffiti was considered peripheral to a visual canon. I realized later on when you used the word "mural" why I the timeframe of acceptance seemed off- the graffiti shown of literary greats is more like mural than the graffiti of New York in the late 70s, at least in these examples. And that suggests to me that these portraits exemplify how graffiti and public murals are kindred spirits, which I had never considered before! Thanks for the post! I also like this portrait of Neruda from the Bellavista Feria de Artesania http://ciee.typepad.com/.a/6a010536fa9ded970b017615c96dd9970c-pi Lindsayhttps://www.blogger.com/profile/14672511906645162390noreply@blogger.com