Graffiti Art Worlds in Eugene | Art in Society AAD 450/550

Jacob Ochs

Professor Flood

Art in Society

8 February 2017

Graffiti Art Worlds of Eugene

The graffiti “art world” of Eugene is the focus of my transmedia field guide. This art world consists of illegal/outsider artists creating non-commissioned or illegal art in alleyways, on streets, on walls, on buildings (public and private), on train cars, on mailboxes, or on any available surface. The Eugene graffiti art world has a large number of artists (~40) with minimal levels of interaction and collaboration, unless they are part of a “crew” that sometimes operates as a team. Still, crews (or “krews”) are little more than convenient arrangements between separate artists that may have similar styles or similar visions for their work. Typically, collaboration is the result of the time-intensive nature of graffiti art along with the illegality. This forces artists who wish to create larger, more elaborate pieces to work together to finish them within a time-window to avoid arrest or suspicion. These artists rely less on collective activity and more on the ideas present in the mavericks and folk artists category due to the individual nature of their art and the illegality of the practice. Because of the reclusive and individualistic aspects of graffiti art it is difficult to discuss or report on the training and background of the individuals involved. However, the general consensus is that most graffiti artists are self-taught. This could be analogous to Becker’s discussion of rock musicians in Colorado learning through imitation and repetition. Similarly to young rock musicians, graffiti artists tend to fall within an age range of 15-25 (although there are notable exceptions and many continue throughout their lives), and they also tend to be male. Some may be part-time employees, homeless, full-time employees, or students but with the statistics available they tend to be students or part-time employees.

Given the location of Eugene in the continental U.S. one would think that conventions of graffiti would be less prevalent here than in higher-density population centers. But increasingly ubiquitous access to the internet leads to conventions being followed, even in more remote areas. Some of the conventions of graffiti include different graffiti styles, fonts, letter-as-shape abstraction, color choice, location, self-naming, nicknames, types of graffiti, etc. Graffiti styles are numerous and constantly shifting, but well-known styles include: wild-style, bubble, old school, 3-D, hardcore, stencil, and fat-cap. During the “golden-age” of graffiti (1970-1990) working knowledge of these styles and approaches to graffiti required an active artist engaged in these styles in your area, but with the advent of the internet all of these styles and more are available twenty-four hours a day for anyone to peruse and mimic. Before the internet a place such as Eugene would be woefully out of touch with the larger graffiti art community that was centered in places like New York or Los Angeles, but, with the access provided by the internet, styles from all over the world and these large population centers can disperse quickly and easily.

Along with the artistic conventions of graffiti there are also conventions of materials and resources. The resources that are part of graffiti, both human and material, include spray paint, ink, leather dye, stickers, markers, paper, blackbooks, wheat paste, applicators, brushes, rollers, etc. and the people who sell these items to the artists or those who make the items for the artist. While there are legal avenues to acquire graffiti tools and materials, it is common for artists to advocate stealing if money is an issue. Following Becker, the tools and materials needed for graffiti art are created for other purposes amongst the general populace. This leads to a proliferation of brands, quality (good and bad), and access to these products. Yet, this creates an art world that relies on non-specialist materials and tools, unless the artist creates them. Many D.I.Y. approaches are well documented in the graffiti art world including the creation of new inks (such as KRINK), different caps for aerosol cans, applicators for inks or paints, and homemade markers and nibs. Increasing regulation of the materials and tools needed to create graffiti art has led artists into D.I.Y. spaces, or pushed them towards the internet where they can order specialist materials and tools. The retailers and employees of places that stock “graffiti materials” such as spray paint or large markers have some tacit awareness that the products they sell can be used in illegal art, but age-restrictions and proof of I.D. requirements for these items has pushed graffiti artists away from traditional retailers. Moving to the internet, and the anonymity it provides, was a natural evolution for an art form and art world that values anonymity and absolute freedom.

When graffiti artists moved towards the internet their support personnel, while truly different from other art worlds support personnel, followed suit. The support personnel of the graffiti art world vary widely. They include other artists, D.I.Y. makers, manufacturers, collectors, aficionados, marketers, and recently art galleries and museums. Through sites such as http://www.fatcap.com/ , http://www.bombingscience.com/ , and https://www.12ozprophet.com/ , people interested in or part of graffiti art worlds can congregate, discuss, critique, or share. Along with the community that evolved with access to the internet, many retailers also began to move their sales of graffiti materials and tools online. This was a positive move for both the retailers and the artists because it provides the anonymity that both desire in these exchanges. The companies involved do not wish to lose their market, but they also do not want to outright promote or condone the graffiti. On the other hand, graffiti artists want access to better, specialized materials and tools while also not wanting to divulge personal information or details. This situation, where both groups interact through the internet, provides a new vigor to the art world of graffiti. For a more in depth introduction to graffiti art worlds, I recommend Fat Cap’s website for its journalism, photo galleries, and history pieces.

Related Media=>

Websites to Visit:

– http://www.fatcap.com/

– http://www.bombingscience.com/

– https://www.graffiti.org/index.html

– https://www.12ozprophet.com/

– http://www.banksy.co.uk/

– https://www.spraydaily.com/

– http://globalstreetart.com/

Photos:

-Trueyeordie Instagram (Eugene and Bay Area Graffiti): https://www.instagram.com/trueyeordie/

-#eugenegraffiti Instagram: https://www.instagram.com/explore/tags/eugenegraffiti/