Graffiti Wall Art Quotes

Graffiti is one of the few tools you have if you have almost nothing. And even if you don't come up with a picture to cure world poverty you can make someone smile while they're having a piss.

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

I like that about art, that what you see is sometimes more about who you are than what’s on the wall. I look at this painting and think about how everyone has some secret inside, something sleeping like that yellow bird.

I like that about art, that what you see is sometimes more about who you are than what's on the wall.

Graffiti ultimately wins out over proper art because it becomes part of your city, it' s a tool; "I'll meet you in that pub, you know, the one opposite that wall with a picture of a monkey holding a chainsaw". I mean, how much more useful can a painting be than that?

Blank walls are a shared canvas and we're all artists.

Most times I look at Shadow and Poet's work, I see something different from what the words are telling me. I like that about art, that what you see is sometimes more about who you are than what's on the wall. I look at this painting and think about how everyone has some secret inside, something sleeping like that yellow bird.

Oh, Williamsburg. There was a point when you seemed like a scary, tough neighborhood, but now it's obvious that the graffiti on your walls gets put there by art students.

She went out in the city with its lights like a radioactive phosphorescence, wandered through galleries where the high-priced art on the walls was the same as the graffiti scrawled outside by taggers who were arrested or killed for it, went to parties in hotel rooms where white-skinned, lingerie-clad rock stars had been staying the night their husbands shot themselves in the head, listened to music in nightclubs where stunning boyish actors had OD'd on the pavement.

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.

Our children will be told what Israel has done.’ graffiti on the Wall in Bethlehem, opposite Aida refugee camp, 2008

Graffiti is the art of the people. It is a language without clear official status, but whose instinctive quality testifies to the honesty of human experience and the true nobility of art. Often marked with a sense of eroticism and violence, the wall conserves something pure and sacred about the human story.

Putting It into Practice: Neutralizing Negativity Use the techniques below anytime you’d like to lessen the effects of persistent negative thoughts. As you try each technique, pay attention to which ones work best for you and keep practicing them until they become instinctive. You may also discover some of your own that work just as well. ♦ Don’t assume your thoughts are accurate. Just because your mind comes up with something doesn’t necessarily mean it has any validity. Assume you’re missing a lot of elements, many of which could be positive. ♦ See your thoughts as graffiti on a wall or as little electrical impulses flickering around your brain. ♦ Assign a label to your negative experience: self-criticism, anger, anxiety, etc. Just naming what you are thinking and feeling can help you neutralize it. ♦ Depersonalize the experience. Rather than saying “I’m feeling ashamed,” try “There is shame being felt.” Imagine that you’re a scientist observing a phenomenon: “How interesting, there are self-critical thoughts arising.” ♦ Imagine seeing yourself from afar. Zoom out so far, you can see planet Earth hanging in space. Then zoom in to see your continent, then your country, your city, and finally the room you’re in. See your little self, electrical impulses whizzing across your brain. One little being having a particular experience at this particular moment. ♦ Imagine your mental chatter as coming from a radio; see if you can turn down the volume, or even just put the radio to the side and let it chatter away. ♦ Consider the worst-case outcome for your situation. Realize that whatever it is, you’ll survive. ♦ Think of all the previous times when you felt just like this—that you wouldn’t make it through—and yet clearly you did. We’re learning here to neutralize unhelpful thoughts. We want to avoid falling into the trap of arguing with them or trying to suppress them. This would only make matters worse. Consider this: if I ask you not to think of a white elephant—don’t picture a white elephant at all, please!—what’s the first thing your brain serves up? Right. Saying “No white elephants” leads to troops of white pachyderms marching through your mind. Steven Hayes and his colleagues studied our tendency to dwell on the forbidden by asking participants in controlled research studies to spend just a few minutes not thinking of a yellow jeep. For many people, the forbidden thought arose immediately, and with increasing frequency. For others, even if they were able to suppress the thought for a short period of time, at some point they broke down and yellow-jeep thoughts rose dramatically. Participants reported thinking about yellow jeeps with some frequency for days and sometimes weeks afterward. Because trying to suppress a self-critical thought only makes it more central to your thinking, it’s a far better strategy to simply aim to neutralize it. You’ve taken the first two steps in handling internal negativity: destigmatizing discomfort and neutralizing negativity. The third and final step will help you not just to lessen internal negativity but to actually replace it with a different internal reality.

True to a unique tradition of Rome, all the nearby walls had been slathered with that unique institution of the Latin race: graffiti. Daubed in paint of every color were slogans such as Death to the aristocrats! and The shade of Tribune Ateius calls out for blood! and May the curse of Ateius fall on Crassus and all his friends! All of this was scrawled wretchedly and spelled worse. Rome has an extremely high rate of literacy, mostly so that the citizens can practice this particular art form.

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

You pick your way past young men and girls sitting on the steps, you wander bewildered among those austere walls which students’ hands have arabesqued with outsize capital writing and detailed graffiti, just as the cavemen felt the need to decorate the cold walls of their caves to become masters of the tormenting mineral alienness, to make them familiar, empty them into their own inner space, annex them to the physical reality of living.

Graffiti is not the lowest form of art. Despite having to creep about at night and lie to your mum it’s actually the most honest artform available.

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

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