Marcus Chen
Graffiti in subway tunnels is an intriguing and controversial aspect of urban art and culture. It emerged in the 1960s, with Philadelphia and New York City as its epicentres, and soon spread worldwide. Spray paint is the most common tool for painting train graffiti, especially on the outside of trains, while marker pens and etching tools are popular for the inside of carriages. Artists often work within a short time frame, planning their escape routes and studying train schedules to avoid getting caught. Despite the risks and legal consequences, painting trains remains a pinnacle achievement for graffiti writers, driven by the desire to display their names and art to the world.
| Characteristics | Values |
|---|---|
| Locations | Outside of a train, inside a carriage, train yards, tunnels, stations, fences |
| Tools | Spray paint, marker pens, etching tools, stencils, masking, blending |
| Planning | Scouting the location, identifying escape routes, checking cameras and number of people |
| Time | Usually 3-4 minutes |
| Artists | Cornbread, Martha Cooper, Henry Chalfant, Andrea von Bujdoss (“Queen Andrea”), Fernando Carlo, Jr. (“Cope 2”), Nick Kuszyk, Nelson Rivas (“Cekis”), Jessie Unterhalter, Katey Truhn, Raúl Colón |
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What You'll Learn
- Planning: scouting locations, escape routes, cameras, and people
- Tools: spray paint, marker pens, stencils, etching tools
- History: graffiti started in NYC in the 1960s and spread globally
- Artists' motivations: recognition, respect, thrills, self-expression
- Legality: fines, jail time, and anti-graffiti units
Planning: scouting locations, escape routes, cameras, and people
Planning is a crucial aspect of painting graffiti in subway tunnels, and it involves several key considerations:
Scouting Locations
Firstly, artists need to scout suitable locations for their graffiti. This involves exploring the subterranean maze of subway tunnels to find areas that are untouched, providing a blank canvas for their artwork. Some tunnels may be easier to access than others, and some may be more hidden and less likely to be discovered. Knowing the terrain and its challenges is essential for artists to prepare for the task ahead.
Escape Routes
As graffiti in subway tunnels is often unauthorized, artists need to plan their entry and exit points carefully. They must consider how to access the tunnels discreetly and have backup escape routes in case of emergencies or if they are spotted by authorities. Working in pairs or groups can be beneficial, as a buddy can help navigate and assist in case of accidents.
Cameras
The presence of security cameras is a significant concern for graffiti artists, as being caught on camera can lead to legal repercussions. Artists must study the locations of cameras and plan their movements to avoid being captured on video or photographed. Working during low-visibility hours, such as late at night or early in the morning, can also reduce the risk of being spotted by cameras.
People
In addition to cameras, the presence of people can also pose a risk. Artists must be cautious of witnesses, including passersby, commuters, or authorities such as police officers or transit employees. Stealth and speed are essential to avoid detection by people who might report them to the police. Additionally, artists should avoid tagging close to home or in familiar areas to reduce the chances of being recognized and identified.
Overall, planning for graffiti in subway tunnels requires a careful balance between finding the right location to showcase their artwork and minimizing the risks of being caught. Artists must be discreet, quick, and adaptable to navigate the challenges of painting in these underground environments.
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Tools: spray paint, marker pens, stencils, etching tools
Spray paint is the most common tool for painting graffiti on trains, especially for painting the outside of a train. Spray paint was used by the Philadelphia high school student who went by the pseudonym of Cornbread, who is credited with starting the art form in 1967. Spray paint is also used inside subway carriages, with artists bringing sophisticated techniques such as stencilling, masking, and blending to their work.
Marker pens are also used inside carriages. In the 1970s, graffiti writers began to use the NYC subway system as a moving canvas for their art, painting their crudely written pseudonyms on the sides and interiors of subway cars.
Stencils are another tool used by graffiti artists. They can be used in conjunction with spray paint to create more complex designs.
Etching tools are also used inside carriages. Etching is a form of marking that creates grooves in a surface, and can be used to create more permanent designs than spray paint or marker pens.
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History: graffiti started in NYC in the 1960s and spread globally
Graffiti in NYC's subway system began in the 1960s, with the first instances of serial tagging by writers such as Cornbread, TITY, PEACE SIGN, and COOL EARL. These writers gained attention by writing their names all over Philadelphia, with Cornbread's actions in 1967 often being cited as the birth of the graffiti movement. The movement soon spread to New York, where early tags by Julio 204 in 1968 inspired TAKI 183, who went on to gain notoriety for his frequent vandalism of subway trains in the early 1970s.
By 1970, residents of New York's five boroughs could see the work of their local graffiti writers on the sides and interiors of subway cars. The early tags and crudely written pseudonyms evolved into complex, colourful scripts, and the first masterpiece on a subway train was created by Super Kool 223 in 1971. The birth of the Writers Corner 188, the first graffiti crew, also occurred in 1971, with a corner in Audubon and 188th Street becoming a popular meeting point for writers.
The accessibility and interconnectedness of NYC's subway system enabled the growth of the graffiti movement, allowing writers from neighbouring boroughs to see works from across the city. The aim of getting one's tag seen by as many people as possible drove writers to use subway trains as their preferred medium. As the movement grew, writers began to add illustrations, scenery, and cartoon characters to their tags, with the late 1970s and early 1980s seeing the emergence of new styles and ideas.
Despite resistance and anti-graffiti measures, the movement continued to spread globally, with the 1984 book "Subway Art", featuring images of painted NYC subway trains, inspiring a generation of graffiti artists worldwide.
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Artists' motivations: recognition, respect, thrills, self-expression
Graffiti is a predominantly public and urban art form that is often associated with rebellion against authority. Artists who practice this form of expression are usually anonymous, and their work is usually short-lived as other artists may tag over it, or it may be removed or painted over.
Recognition
Graffiti is a way for artists to make their name and message visible. It is a form of self-expression that allows them to display their names and identities to the world. The very nature of this art form, being public and often illegal, means that the artist's work can be seen by many people. The more visible and daring the location, the more recognition the artist will receive.
Respect
In marginalized communities, where youth feel ostracized and invisible, graffiti can be a way to gain respect from peers. Putting their names up in public spaces is a way to assert their dignity and achieve recognition, which may not be easily accessible through other institutions in society.
Thrills
Painting in subway tunnels is a thrilling endeavour for graffiti writers due to the heightened danger and precision required. The artists must work quickly, usually within a few minutes, to avoid being caught by the police. The planning stage is crucial, involving scouting the location, identifying escape routes, and studying train schedules. The thrill of successfully executing a piece without getting caught is a significant motivation for these artists.
Self-expression
Graffiti provides a means of self-expression for individuals who may not have access to traditional platforms. It allows them to communicate their thoughts, feelings, and messages to the world. In socially, ethnically, or racially divided communities, it can serve as a tool for social emancipation and political expression. Graffiti artists often do not seek public acceptance; instead, they create art primarily for other artists in the community to appreciate and understand.
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Legality: fines, jail time, and anti-graffiti units
Graffiti is a form of vandalism and a crime in most places. All states in the US, as well as many municipalities, have laws that criminalize graffiti on public or private property that does not belong to the perpetrator or where they do not have permission to paint. Graffiti is considered unauthorized writing, markings, or drawings, and the consequences can be severe.
The consequences for graffiti vary depending on the jurisdiction and the specifics of the incident. In some cases, graffiti may be charged as a misdemeanor, while in other cases, it may be considered a felony, especially if the damage exceeds a certain monetary amount. For example, in Delaware, it is a felony to graffiti state byways, and in Utah, causing more than $1,000 worth of graffiti damage is punishable by up to 15 years in prison and a maximum fine of $1,000 if traffic diversion is required for removal.
In addition to fines and jail time, other penalties for graffiti may include restitution, community service, probation, curfews, and counseling. In some cases, judges may order the defendant to remove the graffiti or pay for its removal. Juvenile offenders may have their parents ordered to pay restitution or supervise their community service.
To combat graffiti, some cities have implemented anti-graffiti programs and coatings. Anti-graffiti coatings are designed to prevent graffiti paint from bonding to surfaces, making removal easier and less costly. There are two main types of anti-graffiti coatings: sacrificial coatings and permanent coatings. Sacrificial coatings are removed along with the graffiti, while permanent coatings create a protective surface that spray paint cannot adhere to. However, the use of anti-graffiti coatings is controversial, as they can cause physical or aesthetic damage to historic buildings and substrates.
The act of painting graffiti in subway tunnels is often a risky and secretive operation. Graffiti writers must carefully plan their ventures, scouting locations, studying train plans, and mapping out escape routes to avoid getting caught by authorities. They also have to consider the presence of cameras, passengers, and other variables that could complicate their task. Despite the risks, some graffiti writers are driven by the desire to display their names and art in these underground spaces.
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Frequently asked questions
Graffiti artists will often work in groups, quickly painting subway trains and tunnels using spray paint. They usually plan their work in advance, taking into account factors such as the location of cameras and the availability of escape routes.
Graffiti writers are driven to display their names and identities to the world, and a moving subway train or tunnel provides the perfect canvas for this. Graffiti artists paint trains for a range of reasons, including respect, recognition, and thrills.
Graffiti first emerged in the early 1960s, with the first subway graffiti appearing in New York City in the 1970s. By the early 1980s, graffiti was a widespread problem in NYC subways, and authorities attempted to combat it by painting trains with graffiti-resistant paint and erecting fences around train yards. However, these measures were largely ineffective, and graffiti persisted for decades.
Subway tunnel graffiti can be found in many major cities, including New York, Berlin, and Philadelphia. In New York, the 191st Street tunnel in Washington Heights is known for its graffiti and murals. However, due to the risks of jail time and fines, it may be easier to find subway graffiti through social media platforms such as Instagram.
No, painting graffiti in subway tunnels is illegal. Graffiti artists who are caught can be arrested and face fines or jail time. Despite this, some people view graffiti as a form of art and a symbol of the cultural identity of a neighborhood.
