Graffiti Street Art Quotes

People say graffiti is ugly, irresponsible and childish... but that's only if it's done properly.

Art is an evolutionary act. The shape of art and its role in society is constantly changing. At no point is art static. There are no rules.

I laugh at the way some people think graffiti is all selfish tagging and vandalism. Thoughtful street art is like good fiction – it speaks out on behalf of everyone, for us all to see.

Poetic Terrorism WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. ... Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc. Go naked for a sign. Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty. Graffiti-art loaned some grace to ugly subways & rigid public monuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, Xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement... The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails. PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now. An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE. Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you. Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.

Few people go to art exhibitions nowadays, the art comes to them!

The first time I picked up James Baldwin, I finally saw myself. It occurred to me that I could be an activist from my own source of power—words. It can only make our journey toward justice more robust, more beautiful, when we offer a diversity of paths, a more expansive vision of action. This is not new. This is Detour and Hiero Veiga's graffiti art resurrecting Black faces slain by the police. This is Tricia Hersey and The Nap Ministry creating collective sleeping experiences to reclaim the justice and liberation in rest. This is even, to some degree, some of the words you'll find in this book. Written in holy defiance of what is, and in imagination of what should be. If writing is a calling, I have a responsibility to demand justice in my writing as much as in the streets. When we expand our imaginations for activism, we enter into practices of lament and rage with more particularity, and we begin to realize more nuanced paths to justice.

There are many reasons why girls should not travel alone, and I won’t list them, because none of them are original reasons. Besides, there are more reasons why girls should. I have the utmost respect for girls who travel alone, because it’s hard work sometimes. But girls, we just want adventures. We want international best friends and hold-your-breath vistas out of crappy hostel windows. We want to discover moving works of art, sometimes in museums and sometimes in side-street graffiti. We want to hear soul-restoring jam sessions at beach bonfires and to watch celestial dawns spill over villages that haven’t changed since the Middle Ages. We want to fall in love with boys with say-that-again accents. We want sore feet from stay-up-all-night dance parties at just-one-more-drink bars. We want to be on our own even as we sketch and photograph the Piazza San Marco covered in pigeons and beautiful Italian lovers intertwined so that we’ll never forget what it feels like to be twenty-three and absolutely purposeless and single, but in love with every city we visit next. We want to be struck dumb by the baritone echoes of church bells in Vatican City and the rich, heaven-bound calls to prayer in Istanbul and to know that no matter what, there just has to be some greater power or holy magic responsible for all this bursting, delirious, overwhelming beauty in the great, wide, sprawling world. I tucked my passport into my bag. Girls, we don’t just want to have fun; we want a whole lot more out of life than that.

Longtemps, un bâtiment a symbolisé la face underground arty du Queens : le 5 Pointz Aerosol Art Center. Un immense entrepôt accueillant plus de 200 ateliers d'artiste et recouvert de graffitis, devenu la Mecque des amateurs de street art. 5 Pointz, nommé ainsi pour symboliser l'épicentre des cinq quartiers de New York, a pour voisin célèbre l'annexe du MoMA, le PS1, qui propose des expositions souvent plus audacieuses que le grand frère de Manhattan.

There's no way you're going to get a quote from us to use on your book cover." Metropolitan Police spokesperson

When Michael died, Basquiat went to Haring’s Houston Street studio. The two had known each other since meeting years earlier at the School of Visual Arts. Haring, a student there, helped Basquiat get past a troublesome security guard. Later that day, Haring saw SAMO tags all over the SVA walls and realized he’d hung out with the elusive artist. At the time, the two ran in different circles. Haring, skinny and ebullient, was drawn to graffiti, a form from which Basquiat, a more pensive personality, was starting to distance himself. All the same, there were vital commonalities. Patrick Fox, who knew both men, likened Basquiat

X was active in the 1960s before disappearing. They started with street art, graffiti, and murals that defied convention by expressing criticism of the government and depicting gay and lesbian relationships. While Taiwan is progressive now—being the first Asian country to legalize same-sex marriages in 2019—back in the ’60s, it wasn’t as accepting. X’s art varied in medium and subject, but the centralizing, defining characteristic of their work was the letter x over people’s faces—sometimes a giant one instead of any features, and other times replacing the mouth and/or eyes, depending on the message.

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