| Art. It's a tricky subject and it can elicit some passionate discussions, particularly when it comes to newer forms of pop and urban expressions such as graffiti. As the city evolves and becomes increasingly cosmopolitan, different art forms are emerging, and not all of them are universally popular. Some say the essence of graffiti is vandalism, and therefore invasive, while supporters say it's a legitimate art form that needs time to evolve on its own terms.
Taking its cues from the urban jungles of North America and Europe, graffiti is a diverse medium that permeates all forms of popular culture. It seems to be everywhere, emblazoned on T-shirts, CD covers and buildings.
Tags, the hastily scrawled identities found on traffic boxes and underpasses, have little credibility in the street art community. The kudos are reserved for those who create highly detailed works that can range from cityscapes to nightclub vignettes, to basketball games, to cocktail parties. Dubbed "masterpieces," they can take hours spent on scaffolding and hundreds of cans of paint to create.
Self-professed urban activist and former graffiti writer and radio host Ewan Mill says it's up to the community to decide what constitutes art. And he is openly resentful of the city's zero-tolerance approach to graffiti.
"They're using an outdated term to describe a new art form. When a reputable art gallery displays works from graff artists, that says something," he says, referring to an upcoming exhibition at the Art Gallery of Calgary, Painting Under Pressure: A Look at Graffiti, scheduled for December 9 and featuring eight top graffiti writers from across Canada. "I think they're in a better position than the city to decide what is art and what isn't."
Mill says graffiti is here to stay and, like other art forms, will evolve on its own terms.
"It's a staple of urban culture. It's an art form with no boundaries," he says, adding it can act as a bridge for people of differing socio-economic backgrounds. "It goes beyond all racial and ethnic boundaries. There is a real sense of community among the artists."
While the various forms may be gaining credibility at the street level, art schools are more measured in their perceptions. Artist Chris Cran, who teaches at the Alberta College of Art and Design, says graffiti has its own identity, but it may not appeal to a broader audience.
"It works well on the back stairwell of ACAD, but I'm not so sure it works well on the front of a building downtown," he says. However, he admits some pieces have their merits.
"I've seen graffiti that looks spectacular," he says, referring to the Wooster Collective, an online community of graffiti artists from around the world. Taking its name from a vibrant New York street, the collective creates works that are as engaging and diverse as the people who create them. Cran also says he's seeing more graffiti art referenced in paintings as students express their influences, but he's quick to point out he isn't aware of students actively painting walls off-campus.
As the co-ordinator of the Urban Youth Worx project, Kim Morrison understands the need for artistic licence. Working with the city to find a solution has led to the creation of Murals Under Pressure, in which local businesses donate wall space for local artists to paint. After a consultation process involving the Calgary Police Service, an alderman and a representative from the community, the artist submits a sketch for approval.
"Artistic expression comes from the core of your being. These guys are good kids. They just need a voice," says Morrison, adding awareness is key to understanding.
"It's not a traditional art form, so they're up against that, too. I call them graff artists to elevate their credibility. These guys really have talent."
Soda co-owner Shane Elliot is an enthusiastic supporter of urban art and insists artists of all types need a place to express themselves. The west wall of his 12th Avenue S.W. lounge is currently being painted by Alex Eremko, a young artist who won a competition with Urban Youth Worx in order to display his work. In addition to having 500 square feet to work with, the cost of his materials is covered and he will be paid a stipend.
"This could be his opus," says Elliot, who has a zealous approach to supporting local artists, from musicians, to poets, to painters. "I think it's a tragedy for people not to use their God-given talents."
Even though dealing with the city has been a bumpy ride for Elliot, he's optimistic about graffiti and says the public will eventually accept it as a legitimate form of visual art. "I think it's an idea that's time has come." |
Copyright ©2005 FFWD. All rights reserved.