American Graffiti. Margo Thompson

portion of a subway car. They are further categorised by size: window-down, top-down, and end-to-end.

Примечания

1

Following the artists’ preference and for clarity’s sake, I will refer to artists who painted in the subways as writers, their practice as writing, piecing or tagging; their creations as pieces or tags. They are also graffiti artists, but not all graffiti artists were writers.

2

Nicolas A. Moufarrege, “Lightning Strikes (Not Once but Twice): An Interview with Graffiti Artists,” Arts 57, no. 3 (November 1982), 88.

3

Moufarrege, “Lightning Strikes,” 88.

4

Interview with DAZE, 26 July 2006.

5

Jack Stewart, “Subway Graffiti: An Aesthetic Study of Graffiti on the Subway System of New York City, 1970–1978” (Ph.D. diss., New York University, 1989). Tags are the names subway writers adopt, and a tag is that name written in a distinctive style on a wall. Pieces, short for masterpieces, are large, colourful compositions that may incorporate the writer’s tag, and cover a substantial portion of a subway car. They are further categorised by size: window-down, top-down, and end-to-end.

6

Quoted in Richard Goldstein, “This Thing Has Gotten Completely Out of Hand,” New York, 26 March 1973, 33.

7

Norman Mailer, The Faith of Graffiti (New York: Praeger, 1974), unpaged.

8

Peter Schjeldahl, “Graffiti Goes Legit – But the ‘Show-off’ Ebullience Remains,” New York Times, 16 September 1973, 27.

9

See Liza Kirwin, “It’s All True: Imagining New York’s East Village Art Scene of the 1980s” (Ph.D. dissertation, University of Maryland at College Park, 1999).

10

Kirwin, 19.

11

David Gonzalez, “Walls of Art for Everyone, But Made by Not Just Anyone,” New York Times, 4 June 2007.

12

Joe Austin, Taking the Train: How Graffiti Art Became and Urban Crisis in New York City (New York: Columbia University Press, 2001), 310n44.

13

Museum Boijmans Van Beuningen, Graffiti (Rotterdam: Museum Boijmans Van Beuningen, 1983), 15.

14

“‘TAKI 183’ Spawns Pen Pals,” New York Times, 21 July 1971, 37.

15

Richard Goldstein, “This Thing Has Gotten Completely Out of Hand,” New York, 26 March 1973, 39.

16

Froukje Hoekstra, ed., Coming from the Subway: New York Graffiti Art (Groningen: Groninger Museum and Benjamin and Partners, 1992), 134.

17

Interview with BLADE, 25 July 2006; Joe Austin, Taking the Train: How Graffiti Art Became an Urban Crisis in New York City (New York: Columbia University Press, 2001), 108–9.

18

Interview with DAZE, 26 July 2006.

19

Hoekstra, Coming from the Subway, 108.

20

Marilyn Mizrahi, “Graffiti Treated as Art by the Art World,” Art Workers News, September 1981, 11.

21

Martha Cooper, The Hip-Hop Files: Photographs 1979–1984 (Cologne: From Here to Fame, 2004), 66.

22

Martha Cooper and Henry Chalfant, Subway Art (New York: Henry Holt and Co., 1984), 34.

23

CRASH, lecture at the Brooklyn Museum, 1 July 2006. Podcast. Accessed 15 December 2006; Austin, Taking the Train, 171.

24

Andrew “ZEPHYR” Witten and Michael White, Dondi White Style Master General (New York: Regan Books, 2001), 11; Jack Stewart, “Subway Graffiti: An Aesthetic Study of Graffiti on the Subway System of New York City, 1970–1978” (Ph.D. Dissertation, New York University, 1989), 452.

25

Interview with DAZE, 26 July 2006.

26

Cooper and Chalfant, 50.

27

Witten and White, 19.

28

Ivor L. Miller, Aerosol Kingdom: Subway Painters in New York City (Jackson, MS: University Press of Mississippi, 2002), 125; Stewart, 470–2; Richard Goldstein, “The Fire Down Below: In Praise of Graffiti,” Village Voice, 24–30 December 1980, 55–8.

29

Interviews with LADY PINK, 28 July 2006 and ZEPHYR.

30

.

31

.

32

Interview with DAZE, 26 July 2006.

33

Miller, 107.

34

Miller, 13.

35

Graffiti Art. Artistes américains et français (Paris: Acte II, 1991), 71.

36

Miller, 87.

37

Mizrahi, 10.

38

Miller, 85.

39

.

40

Interview with DAZE by David Hirsh for American Graffiti Museum. DAZE clipping file, Museum of the City of New York. Austin, 56.

41

Austin, 56.

42

Stewart, 444, 455.

43

Peter Schjeldahl, “Graffiti Goes Legit – but the ‘Show-off’ Ebullience Remains,” New York Times, 16 September 1973, 27.

44

Cooper and Chalfant, 90–3.

45

Cooper and Chalfant, 28.

46

Austin, 47–55.

47

Austin, 183–5.

48

Miller, 189. Emphasis in original.

49

Austin, 111–13.

50

Cooper and Chalfant, 22.

51

Austin, 114.

52

Austin, 173.

53

Witten and White, 64–5.

54

Miller, 87.

55

Miller, 84.

56

Miller, 86.

57

Miller, 131.

58

Cooper and Chalfant, 32.

59

Witten and White, 111.

60

Stewart, 444, 455.

61

Stewart, 447.

62

David Villorente and Todd James, Mascots and Mugs: The Characters and Cartoons of Subway Graffiti (New York: Testify Books, 2007), 31.

63

Stewart, 448–50.

64

Grace Glueck, “Gallery View: On Canvas, Yes, But Still Eyesores,” The New York Times, 25 December 1983, H22.

65

Richard Goldstein, “The Fire Down Below,” 55.

66

Interview with BLADE, 25 July 2006.

67

All quotations

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