Graffiti Studio Surface
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The day after the Dow Jones industrial average hit 10,000 this spring, a special report explaining the record-breaking news appeared on the Wall Street Journal's Web site: The headline was a panel of bold, 3-D letters layered one upon another, and a dollar-green bull leapt off the screen. The image bore a striking resemblance to the script that once covered the city's public transportation system. And that was no coincidence. The man The Journal had tapped to design its site -- Kel First Rodriguez -- was once a graffiti writer, slipping out of his South Bronx home under cover of night to emblazon his moniker on New York City subway cars. 'Some of that graffiti feeling, that energy, sort of crept in there,' Mr. Rodriguez, now 35, said of his work for The Journal, adding this caveat: 'I knew how far to go in that direction.' ' Kel First's rise from the underground, so to speak, mirrors the radical transformation of graffiti in the 20 years since its peak.
Once reviled by some as a visual scourge of the city, graffiti today -- or at least the astonishing esthetic it invented -- is everywhere. Only now, it is paid for. 'Graffiti was able to come along on the coattails of hip-hop and people are appreciating it for its style, which they couldn't back then, because they couldn't get beyond the vandalism thing,' said Martha Cooper, a photographer who, with Henry Chalfant, wrote the authoritative history of the movement, 'Subway Art' in 1984. 'It's been altered and embraced by the corporate world.' ' The graffiti trio TATS Cru has covered entire walls with ads for Coca-Cola, for instance, while Lady Pink, one of the rare women to paint trains in the late 1970's, now paints murals on commission.
Cey Adams designs album covers and Futura and Stash produce a graffiti-inspired clothing line. Full-time artists like Lee Quinones and Blade, contemporaries of graffiti-inspired artists like Keith Haring, whose work brought him fame and fortune nearly two decades ago, now sell their canvasses on the other side of the Atlantic, where graffiti and other accouterments of hip-hop culture are enjoying an exploding market. Building architecture sthapatya veda pdf full version free software download. In turn, young Europeans make the journey here -- some to paint a bona fide New York subway car -- though today it is less for the sake of seeing their work on a running train than it is for a snapshot to take home. A few writers still toss up a piece on a blank wall, as others throw them up in cyberspace; several sites, including Blade's, (bladekingofgraf.com) are devoted entirely to graffiti. Occasionally, something commemorates the world that was. The most recent event was a show at Exhibit A Gallery in Harlem memorializing one of the old kings of the genre: Dondi, who died last fall at 38. The show was organized by James T.O.P., a fellow graffiti writer, as a tribute to his childhood friend.
On the walls, he hung a couple of Dondi's own works as well as photos of the old painted subway cars. Lance and Vance Paul wandered into that gallery on 147th Street one Saturday afternoon recently, and it was like wandering into their childhood, they said. The 36-year-old twins, who grew up in Harlem watching trains, peered closely at the photos, reminiscing aloud. They rattled off the names of their favorite writers. They debated whether Zephyr did the No.1 train or the No. (Zephyr, in fact, covered the No.
1 out of Riverdale while it rested in a yard near his private school.) 'Long time,' mused Lance Paul, shaking his head at the memory. 'Those were the big years for graffiti,' added Vance. Advertisement Those big years were chronicled in the 1982 cult movie 'Wild Style.' ' In the film, made just as graffiti was being embraced by the art world, Mr. Quinones, then a rising star in the city's graffiti movement, summed up its audacious, rebellious spirit. 'Being a graffiti writer is about taking the chances,' he said. 'You got to go out and paint and be called an outlaw at the same time.'