COPE 2 KD PART TDS SERVE FBA 5POINTZ RIP
Brooklyn, NYC, Circa 1994
CO N TE N TS »» PART TDS p. 16-19
»» SERVE FBA p. 22-27
»» NYC Graf p. 6-15
»» 5 Pointz RIP p. 12-13, 34
»» Hip Hop & Graf p. 4-5
»» Cope 2 p. 28-31
»» Throwbacks p. 32-33
tion by art dealer Claudio Bruni. The display took place in Rome, a historic city and a historic moment for graffiti. Quite simply, for many outside New York City, it was their first encounter with this form of art. With an increase in efforts to reduce “vandalism” coupled with the sharp economic downturn, people referred to the 1980s as the “die hard” era. Just as the communicative culture was making its way overseas, the enriching characteristic of graffiti in New York was said to be dwindling almost to the point of disappearance. Previously preferred sites for creative display were now guarded heavily, yards were patrolled regularly, and far more resolute fencing was introduced. Subways were far more difficult to access for an artist, so pioneers took to the streets, which, along with commuter trains and box cars, quickly became the most notable platform for displays. In May, 1989, The Clean Train Movement began. New York’s plan to forcibly remove all of the subway cars found with graffiti on them out of the transport system led to this revolutionary faction. Now, rather than bow down to the system, many graffiti artists found new ways to express themselves, primarily through gallery exhibitions and in their own private studios.
grew in eminence, thus clarifying hip hop as an overall philosophy, a way of life. Remarkably, many of these pioneers became renowned professionals. Through hip hop graffiti, thankfully, fantastic tales of street artists going on to design the artwork for RunDMC and Snoop Dogg album covers have been recorded. Through esteem and its partial legitimization, graffiti has come to a level of commercialization. Thirteen years ago, technological titans IBM launched an advertising campaign in Chicago and San Francisco. Nothing strange about that, right? Well, it came with a twist; it involved people spray painting peace symbols on sidewalks, people spreading positive messages, street artists being encouraged and supported by a global brand. All these decades on from the 1960s funky, psychedelic haze, oh how the culture of hip hop has evolved. The relationship between graffiti and hip hop mirrors that of a single piece to an entire jigsaw. You see, if you subtract graffiti from the equation, then, undoubtedly, hip hop can never be fully complete.
In the 90’s, graffiti truly evolved, as many artists created particularly intricate murals. Often these depictions paid homage to recently deceased idols, with Tupac and Biggie receiving particular respect. In essence, one could argue the following point: Pac and Biggie’s deaths spawned a new era for graffiti, as hip hop graffiti and gang graffiti became entities in their own right. The intricate relationship between graffiti and hip-hop culture arose from the manifestation of fresh and sophisticated forms of the practice in areas where other fundamentals of hip hop, like emceeing, were evolving as art forms. For the first time, there was a clear overlap between those who practiced graffiti and those who practiced other aspects of this culture. As DJ’ing and breakdancing grew in relevance and popularity, hip hop graffiti also evolved. Extremely elegant stencil depictions and multi-coloured spray paint murals became more prevalent. The link was pretty obvious, as numerous DJs, emcees and break-dancers were also highly capable graffiti artists. Additionally, as opposed to gang related artists, the hip-hop innovators were companions, people eager to share similar techniques, people eager to take the art form to exciting, new levels. Through a combination of vibrant music, expressive language, and even more expressive clothing, hip hop graffiti
5
BROOKLYN
10
5 POINTZ
Written by John Glynn
REST IN PIECE
S
ince the dawn of time, undoubtedly, people have imprinted their names on the walls of caves, on rocks, anywhere that presented them with a chance to leave a distinctive mark. In modern society, all these years later, this is referred to as ‘tagging’ and is often viewed as an act of destruction and vandalism, something thoroughly disapproved by the establishment. When some think about graffiti they picture a ‘gang’ member marking out their turf, however, 5 Pointz showed us that there was and always will be much more to the art than aggressively sprayed messages. In November of 2013, the all-embracing aerosol art on 5Pointz was replaced with nothing but white paint. Once celebrated as the ultimate refuge for urban artists, The Long Island City structure was demolished to make way for extravagant apartments. After receiving the green light from the City Council, the annihilation of a creative dynasty was managed by Jerry Wolkoff, the owner of the site. We bid farewell to a magnificent outburst of colour amidst nothing but dull brown industrialization. Once considered a modern day “graffiti Mecca,” 5Pointz attracted aerosol artists from across the globe, all arriving with one goal; to express themselves on the walls of a factory building, all 200,000-square-foot of it. The name itself was significant as it highlighted the desire to unite the five boroughs as one, however, because of its status as graffiti’s “Holy Grail,” the complex ended up uniting aerosol artists on an international scale. From Belgium to Brazil, Tracy 168 to Cope2, renowned writers have painted on the building walls. Additionally, since the early 00’s, 5Pointz attracted numerous hip-hop heavyweights who came and paid their respects, including Doug E. Fresh and Mobb Deep, to name just two. The inspirational depictions were as diverse as they were striking, from Asian concubines to Picasso inspired backdrops, perhaps an absorbing piece of art that seems to pay homage to Guillermo del Toro “Pan’s Labyrinth” is the most fascinatingly beautiful.
Initially named The Phun Factory, 5 Pointz was the brainchild of a New York assemblage known as the Graffiti Terminators. The goal was simple; to offer graffiti artists an opportunity to display their work in one unanimously capable vicinity, one that provided them with a space to operate and express themselves artistically without worrying about the ‘long arm’ of the law. Interestingly enough; in the early 00’s, The Phun Phactory’s came under scrutiny because the New York City Police argued that their artistic displays encouraged adolescent graffiti on a heightened level As the site evolved and grew in importance, Jonathan Cohen, a graffiti expert, quickly became its illustrious curator. A man often referred to as “Meres One,” his signature name tag, Cohen’s assumed the identity after entering the world of graffiti at the tender age of 13. Rather idealistically, the Flushing native’s inspiration came after witnessing an aerosol-based painted Smurf on a wall, an event that made him run home and start examining the entire culture of graffiti. Even at this young age, Cohen was entirely captivated; he knew this was his calling. Fast forward five years, and after rigorous scouting and preparation, The Deadly4Mula (TD4) crew was assembled. The 90s was a hectic decade for Meres, initially graduating from the Fashion Institute of Technology, all before evolving his trade from tagging and throw-ups to intricate piecing. Not content with this expansion, the legendary figure then produced countless aerosol art murals throughout New York City and other cities on the East Coast. Up until a year ago, Meres and other enthusiasts ran 5Pointz with competence and panache. If an artist possessed a burning desire to paint a mural on the building, then they requested a permit from the man himself. In addition to the application, a vocation sample and a blueprint of the potential mural were also required if approval was sought. Continued on Page 34
13
18