Spray paint and graffiti. The two are inescapable. The percentage of spray paint used for graffiti as opposed to legitimate uses must be significant. After some consideration, that is, vandalism as opposed to artistic expression, the Krylon spray paint line will be featured this spring and summer in most of the popular colors. The Liquitex display for their graffiti paint comes is a sort of cage under lock and key which gives an idea of the theft risk of spray paint. In the end there is a fine line between street art and blight on culture….
In the addendum is part of a story on Lady Pink and the aspect of rebellion with the forces of high and low culture.
(see link at end)…Being told she couldn’t write intensified her resolve to excel at aerosol. Graffiti further gave Lady Pink a platform for rebelling against the intellectualism and abstraction that was all the rage in the art establishment at that time. “It’s boring, it’s dull, it’s above most people’s heads; they don’t understand it and they don’t like it,” she observed back then. “It’s being imposed on them just as offensively as graffiti is imposed on them down the street.”
Her buttons duly pushed, Lady Pink’s artistic ability progressed rapidly, earning respect and admiration from within the graffiti community. Within just one year, Lady Pink was included in the 1980 landmark New York show GAS: Graffiti Art Success at Fashion Moda, which traveled in a modified form downtown to The New Museum of Contemporary Art. Young, approachable, quick-witted and the only female graffiti writer in the exhibition, Lady Pink became the most photographed and interviewed graffiti artist of her time.
Her celeb landed her a starring role in Charlie Ahearn’s 1983 cult classic graffiti film, Wild Style. That same year, she worked on a series of large scale paintings with artist Jenny Holzer, with whom she has collaborated several times since. By age 21, she mounted her first solo show, Femmes-Fatales, at Philadelphia’s Moore College of Art & Design.
But Lady Pink’s move to more mainstream venues paralleled a growing public outcry against bombing, tagging and graffiti writing. In spite of Mayor Lindsay’s declaration of war on graffiti in 1972, aerosol writing continued to grow in popularity, and for writers, the ’70s and early ’80s were a golden age, when the most prolific could become known as “kings” by going “all-city”—writing their names in all five boroughs.
But as graffiti grew in popularity underground, above ground, New Yorkers deplored graffiti, regarding it as vandalism or, worse, an alarming symbol of urban decay.
Local precincts reacted by mobilizing task forces.Read More:http://www.examiner.com/article/the-first-lady-of-graffiti-lady-pink-will-also-be-represented-at-art-naples-1