The Subway Art History Project - Revision history

Grlucas: Grlucas moved page Crossfit Mural to The Subway Art History Project: Author request.

2019-10-19T12:41:15Z

Grlucas moved page Crossfit Mural to The Subway Art History Project: Author request.

← Older revision		Revision as of 08:41, 19 October 2019
(No difference)

Grlucas: Changed first lines.

2019-10-19T12:40:57Z

Changed first lines.

← Older revision		Revision as of 08:40, 19 October 2019
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	Graffiti is play, it’s Hip and it’s full of imagination. }}		Graffiti is play, it’s Hip and it’s full of imagination. }}
	[[File:Birzin-Graffiti.jpg\|thumb\|The Crossfit Mural; see [https://www.youtube.com/watch?v=C07YyyKScKY drone footage on YouTube].]]		[[File:Birzin-Graffiti.jpg\|thumb\|The Crossfit Mural; see [https://www.youtube.com/watch?v=C07YyyKScKY drone footage on YouTube].]]
	In June 2019, the ~~owners of Crossfit 718 commissioned an original work of art on the side of~~ their ~~building~~. ~~The mural was painted by~~ the Slavery Collective ~~and is~~ part of their ongoing Subway Art History Project. That project re-imagines the names of famous graffiti writers from the bible of graffiti, ''Subway Art'' (1984), and repaints the greatest graffiti pieces with names and phrases that elicit new meaning and new questions.		In June 2019, excited about the upcoming opportunity to share their Ph.D. research with the [[NMS\|Mailer Society]], the Slavery Collective painted this mural as part of their ongoing Subway Art History Project. The Subway Art History Project led to a written Ph.D. thesis about the growth of graffiti from child’s play to an original art in the 1970s.

	The Subway Art History Project led to a written Ph.D. thesis about the growth of graffiti from child’s play to an original art in the 1970s.

	This mural connects with a very important part of the story uncovered in the thesis, the influence that [[Norman Mailer]]’s 1974 coffee table book ''[[The Faith of Graffiti]]'' had on elevating the meaning of graffiti. In his essay, Mailer connected the young graffiti writers of the 1970s with the Hipsters of the 1950s. Briefly, Hipsters are always-already set up against the Squares; Hipsters are cool and do not support the totalitarian state where Squares are conformists who prop up the totalitarian state.		This mural connects with a very important part of the story uncovered in the thesis, the influence that [[Norman Mailer]]’s 1974 coffee table book ''[[The Faith of Graffiti]]'' had on elevating the meaning of graffiti. In his essay, Mailer connected the young graffiti writers of the 1970s with the Hipsters of the 1950s. Briefly, Hipsters are always-already set up against the Squares; Hipsters are cool and do not support the totalitarian state where Squares are conformists who prop up the totalitarian state.

Grlucas: Added link.

2019-10-17T14:30:05Z

Added link.

← Older revision		Revision as of 10:30, 17 October 2019
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	{{byline\|last=Birzin\|first=Edward\|abstract=The mural is about the growth of graffiti in the 1970s and focuses on three participants who helped create graffiti as it has been understood since the publication of Subway Art (1984): Norman Mailer- an investigator of graffiti, Martha ~~Cooper- a~~ photographer of graffiti and JSON and Richie (Seen) ~~- the~~ graffiti writers.		{{byline\|last=Birzin\|first=Edward\|abstract=The mural is about the growth of graffiti in the 1970s and focuses on three participants who helped create graffiti as it has been understood since the publication of Subway Art (1984): Norman Mailer- an investigator of graffiti, Martha Cooper—a photographer of graffiti and JSON and Richie (Seen)—the graffiti writers.
	Graffiti is play, it’s Hip and it’s full of imagination. }}		Graffiti is play, it’s Hip and it’s full of imagination. }}
	[[File:Birzin-Graffiti.jpg\|thumb]]		[[File:Birzin-Graffiti.jpg\|thumb\|The Crossfit Mural; see [https://www.youtube.com/watch?v=C07YyyKScKY drone footage on YouTube].]]
	In June 2019, the owners of Crossfit 718 commissioned an original work of art on the side of their building. The mural was painted by the Slavery Collective and is part of their ongoing Subway Art History Project. That project re-imagines the names of famous graffiti writers from the bible of graffiti, ''Subway Art'' (1984), and repaints the greatest graffiti pieces with names and phrases that elicit new meaning and new questions.		In June 2019, the owners of Crossfit 718 commissioned an original work of art on the side of their building. The mural was painted by the Slavery Collective and is part of their ongoing Subway Art History Project. That project re-imagines the names of famous graffiti writers from the bible of graffiti, ''Subway Art'' (1984), and repaints the greatest graffiti pieces with names and phrases that elicit new meaning and new questions.

Grlucas: Created page.

2019-10-17T14:26:55Z

Created page.

New page

{{byline|last=Birzin|first=Edward|abstract=The mural is about the growth of graffiti in the 1970s and focuses on three participants who helped create graffiti as it has been understood since the publication of Subway Art (1984): Norman Mailer- an investigator of graffiti, Martha Cooper- a photographer of graffiti and JSON and Richie (Seen) - the graffiti writers.
Graffiti is play, it’s Hip and it’s full of imagination. }}
[[File:Birzin-Graffiti.jpg|thumb]]
In June 2019, the owners of Crossfit 718 commissioned an original work of art on the side of their building. The mural was painted by the Slavery Collective and is part of their ongoing Subway Art History Project. That project re-imagines the names of famous graffiti writers from the bible of graffiti, ''Subway Art'' (1984), and repaints the greatest graffiti pieces with names and phrases that elicit new meaning and new questions.

The Subway Art History Project led to a written Ph.D. thesis about the growth of graffiti from child’s play to an original art in the 1970s.

This mural connects with a very important part of the story uncovered in the thesis, the influence that [[Norman Mailer]]’s 1974 coffee table book ''[[The Faith of Graffiti]]'' had on elevating the meaning of graffiti. In his essay, Mailer connected the young graffiti writers of the 1970s with the Hipsters of the 1950s. Briefly, Hipsters are always-already set up against the Squares; Hipsters are cool and do not support the totalitarian state where Squares are conformists who prop up the totalitarian state.

Norman Mailer connected the young graffiti writers of the 1970s with his grounding philosophy, Hip, and by doing so elevated graffiti from a child’s game to something more revolutionary, subversive and artistic.

This painting can also be viewed as an homage to Martha Cooper, whose photographs in ''Subway Art'' captured the painted subways in context, and by doing so opened the imagination of how graffiti was interpreted, a vision which would become the fixed way graffiti would come to be understood. Thus the mural picks up not only on the graffiti of JSON and Richie (Seen) and the importance of Norman Mailer to the story of graffiti but also to the context that Cooper photographed.

JSON and Richie were changed to read NRMN Mailer. The caricature of Santa Claus was changed to a caricature of Norman Mailer. Santa’s green bag of presents changed to Mailer’s green book, and the phrase in the middle “Happy Holiday” changed to “The Hip Have Faith”. For Mailer, “faith” was a grounding principle of Hipsterism. To truly be Hip, or a Hipster, one had to have “faith”. Graffiti writers became faithful and therefore Hip. Martha Cooper’s image captured a whole car masterpiece, created by some Hip cats, making its way through a cold South Bronx morning about to the light up the line.