The New York Times blog City Room, ran a story this week about a sociologist’s new book about graffiti…
Gregory J. Snyder, a Baruch College sociologist, spent years hanging out with graffiti writers, earning their trust and conducting scores of interviews. The new book based on his studies, “Graffiti Lives: Beyond the Tag in New York’s Urban Underground,” reveals that he became more than an observer in that decade and a half: On very few occasions he wrote graffiti himself, scrawling his tag perhaps seven times.
The books discusses the origin of graffiti culture as well as the diversity amongst those who engage in in…
Professor Snyder, 40, argues that while graffiti culture emerged around the same time as hip-hop, in the early 1970s, graffiti in fact comes from a variety of cultural sources:
Whatever their class, race, ethnicity, religion, or age, writers define themselves not by what they look like, or what language they speak, or what clothes they wear, but by what they do. Their identities are as writers first, and as members of ethnic, religious, and other subgroups second.
He adds, “In its purest form, graffiti is a democratic art form that revels in the American Dream.”
The book, just published by New York University Press, argues that graffiti culture has, in some ways, been uniquely democratic. “What is lost sometimes in the cacophony of the debate over whether graffiti is art or vandalism is that when it’s art, it is free art,” he writes. “You don’t need money, or special knowledge, or the right outfit, or a car, or an ID to see it. This is why the graffiti subculture has inspired such a diversity of young people.”
Snyder addresses the where and why…
A provocative map in the book points out that unlike other “quality of life” crimes, graffiti does not tend to be focused in poor neighborhoods with high rates of violent crime. Professor Snyder writes:
Graffiti writers write in order to get fame and respect for their deeds, and therefore they write in places where their work is more likely to be seen by their intended demographic. It is not the amount of disorder that determines a good spot to write graffiti, but the number of potential viewers and the unlikelihood that the graffiti will be painted over. These spots tends to be where young people from all over the city are likely to congregate, and thus the East Village, the Lower East Side, and SoHo are the places where most of the illegal New York City graffiti can be found. These are not poor, crime-ridden neighborhoods.
Indeed, he adds, “Despite all of the negativity associated with graffiti, it remains one of SoHo’s selling points, literally.”
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