Bronx, 1973: Here’s a new subculture that was soon to spread like wildfire across New York:
graffiti. In the first episode we meet the TATS CRU and Writer of the first hour like Lee and Futura2000 and Skeme. The three pioneers talk about the beginnings of style writing and the influence of the film “Wild Style!” on her artistic work. In ten episodes, the documentary series traces the rise of the graffiti movement: from New York in the 1970s to Amsterdam and Paris to Munich, where the graffiti virus infected Europe from the 1980s onwards.
While Urban-art enjoys a worldwide success, the idea is to focus on the tag, brutal, primitive, the most rejected and misunderstood discipline of graffiti. Practical of insiders, few know how to decode, to enjoy.
DrColors presents “Graffiti Machine” for the first time in the exhibition “A Nous York” (Lille, October 2014 / January 2015).
Created from recycled materials (wood, skateboard wheels, DIY meters), it reproduces a selection of famous New York tags such as False, Guns, Pear and Taki 183. An accumulation, until saturation. Pure Tag, without artifice. Signature. The essence of Graffiti. This artistic experience try to reproduce the mechanical movement, the repetition, the compulsive gesture of the tagger.
Last week the Museum Of The City Of New York open the exhibition City As A Canvas: Graffiti Art from the Martin Wong collection, a documentation of the New York graffiti movement in the 80’s. The exhibition includes over 150 works on canvas, paper and photo documentation. Martin Wong donated his collection to the Museum of the City of New York in 1994, five years before his death from AIDS-related complications. The exhibition includes artists like Dondi, Lady Pink, Blade, Lee Quiñones, Zephyr, Futura 2000 and Keith Haring. The exhibition last until the 24th of August 2014.
If you can’t visit the exhibition The New York Times wrote a review:
“The closest you get to graffiti’s living spirit here is in the artists’ black, hardcover sketchbooks. In them you see the writers Blade, Daze, Crash, Sharp and others developing their signature styles and practicing their graphic skills. There’s more freshness and joyful discovery in these books than almost any of the show’s finished works.” Ken Johnson, New York Times.
There is also a great preview of the exhibition available at StreetArtNews.net.
Four ex-graffiti writers talk about their early years as renegades decorating New York subways with stolen paint, while eluding arrest and putting their lives at risk. Now successful artists in their forties, they describe graffiti’s global reach and its embrace by advertising and fashion. Contains extensive never-before-seen footage of graffiti trains.
From April 16 to 19 (2013) Futura (NYC, USA), one of the fathers of graffiti in the 70s, intervened an iconic wall located on Insurgentes Avenue, one of the longest avenues in the world. This wall is now part of the circuit of the ALL CITY CANVAS 2012 Festival, which spans through downtown Mexico City.
At the age of 15, Futura was already obsessed with his visual identity. Motivated by the dream of becoming a famous artist, he created Futura 2000, based on a reference out of a Kubrik movie and a year that seemed so distant, he couldn’t understand how he would still be alive by then.
As a self-taught artist, Futura’s education began on Brodway’s line 1 of the New York City subway, working his way up as one of urban art’s most innovative artists. His solo show at the Fun Gallery in 1982 established him as one of contemporary art’s most happening artist at the time, on the same level as Jean-Michel Basquiat and Keith Haring, becoming a pioneer of the artistic movement of the 80s. He came to be known as “The Wateau of the Spraycan” and was even compared to Kandinsky.
He held art exhibits in the US and Europe for more than a decade before making commercial collaborations in the 90s that brought graffiti to the masses and inspired new generations of urban artists. Worshiped by artists like Swoon and Neate, Futura’s work is considered to be extremely influential, uniting contemporary pop art with street graffiti. Futura introduced urban art to society, which is now at its peak.
We’d like to add that ACCGS would not have been possible without the support of Hennessy Very Special and the government institutions such as the Government of the Federal District, the Ministry of Public Security, the Authority of the Public Space and the Graffiti Unit.