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Darryl McCray (born 1953), better known by his tagging name Cornbread, is an American graffiti writer from Philadelphia. He is widely considered one of the world's first modern graffiti artist. [1] [2] [3] McCray was raised in Brewerytown, a neighborhood of North Philadelphia.
Dondi pioneered many of the styles and techniques still used by modern graffiti artists. [ citation needed ] Though he often created wildstyle pieces for the benefit of other writers (like the famous 2MANY piece), he wanted the public to be able to read and enjoy his work, so he focused on readable letters with intricate fills and characters.
[4] and in 1980, Crash curated the now iconic exhibition:"Graffiti Art Success for America" at Fashion Moda, launching the graffiti movement that has remained very active through today. In 1983, Crash was given his first gallery showing by Sidney Janis at the Sidney Janis Gallery.
A heavily tagged subway car in New York City in 1973. By the mid-1970s, most standards had been set in graffiti writing and culture. The heaviest "bombing" in U.S. history took place in this period, partially because of the economic restraints on New York City, which limited its ability to combat this art form with graffiti removal programs or transit maintenance.
Dare (graffiti artist) (1968-2010) real name Sigi (Siegfried) von Koeding, was a Swiss graffiti artist and curator Harald Naegeli (born December 4, 1939) – known as the "Sprayer of Zurich" after the graffiti he sprayed in the late 1970s
Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners. [98] Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris. [99] [100]
In 1971, Diaz was first introduced to the burgeoning graffiti culture by his older cousin Gilberto "SIETE" Diaz when he was just 12 years old. [4] His cousin lived in Washington Heights, which was a locus of graffiti production at the time, and taught Diaz about the traditional style of writing graffiti: combining a moniker, or nickname, with a number. [6]
In it, Glowaski outlined a history of New York graffiti beginning with Kilroy Was Here and Taki 183, ending with graffiti's apparent death in 1974. He argued that the crack-down on graffiti adversely effected the aspirations of the working-class graffiti artists. [26] Various graffiti artists have noted Caine 1 as an influence on their work ...