Years of poor city planning and a wave of economic stagnation had transformed the area into a shell of its former self. What's it like knowing that you and your friends were the first people to practice what has become a massive art form? I said “Sam-o” and he said “Same-o, meaning ‘same old shit.’”. I was not aware of many things; it’s just the way I am. Why don't I change the name if I'm writing about Japan and video games and guitars? Somewhere in the middle of that I became interested in graffiti and was eager to figure out how to photograph it. Chad (LSD OM) and I believe we saw an old lady writing PRAY once and she disappeared rather quickly. By 1977, I had developed a style of isolating the artwork on the train car, rather than taking pictures of the graffiti within the context of the city. In 1970, Gennari borrowed his father’s camera and began photographing New York’s graffiti scene, capturing a culture (destined to take over the world) in its infancy. The culture of Writer's Benches was a kind of critical forum. By the end of the decade, the number of felonies recorded each day in the New York City subway - including rapes and murders - made it the most dangerous mass transit … He likened the idea of writing his name on the walls to advertising. I had written FLINT in a pilot marker behind me, and he recognised it. The top two are from a book that I took out from the library when I was in college, and the rest are I believe from the excellent nycsubway.org. Photography for me was a tool. I ♥ the movie Style Wars. And you saw these new art forms shaping and chose to document it through photography? I felt that I couldn't write James Bond (even though another writer later wrote BOND 007). But the people in my pictures, the children of these families, chose instead to thrive in this neglect and to invent their own things to do — their own activities, their own art forms, their own music and dance. So it's natural that artists coming in from Europe etc., treat themselves to bombing the nyc subway line which is a bust nowadays, making it a real trophy if completed. I love those snappy phrases you used to write. We were all going on missions. . But like Clark Kent who no one recognized as Superman when he had his glasses on, the teachers didn't bust me. And the name FLINT—that couldn't be me. The pictures are not mine - I will change the post to make that clear. "Destroyed and abandoned buildings along Hoe Ave and the IRT line in the Bronx," 1981. Cleveland, Ohio," 1986. MTA scrubs Brooklyn subway station of 1970s-style graffiti, straphangers fear return of vandals. Flint Gennari: I enjoyed going to the Bronx. Right: "Mare and Pade in the New Lots trainyard, East New York, New York," 1981. My father was Furio, my brother Gino, grandfather Augusto, and me, Roberto. There was less money and the city was practically deferred maintenance. If anyone knows the actual photo credits, I'd be happy to add them. Art & Design is the quintessential graffiti high school. In this environment, among the rubble of burned-out apartment buildings and scrawled across the sides of subway cars, a new language was being formed through graffiti and hip-hop. The one I remember the most was in the locker room after gym class. Graffiti seems to downgrade a neighborhood real fast, a no tollerace rule is a great rule in this instance. Find out more on about Flint Gennari here. Caso não concorde com o uso cookies dessa forma, você deverá ajustar as configurações de seu navegador ou deixar de acessar o nosso site e serviços. 100th Street and Amsterdam Avenue," 1984. Within the graffiti community, there was a great deal of recognition of somebody who was truly talented. Malls of the 1970's - the future of retail! This was one of the badges of honor — that whoever this kid was, had created this work of art in spite of all the odds. I do still write about New York City. What is the legacy of this generation of artists? Left: "BLADE paints a Handball Court at Orchard Beach," 1986. Left: "Min paints a train in the Sutphin Boulevard layup," 1981. Doc Martens: England vs. Thailand vs. China, Doc Marten's "Made in England" UK Vintage boots - part II, Fender Jazzmaster Setup and Maintenance - or How I Learned to Love My Guitar, New MIM "Classic Player" Jaguars and Jazzmasters, Spontaneous Lung Collapse (Pneumothorax) - Part 3. These became places where people lived 25 floors above where their kids were playing in the street and they couldn’t be there with them to supervise. Projects such as Robert Moses' Cross Bronx Expressway and the Brooklyn-Queens Expressway devastated vast parts of the housing stock. Flint Gennari: I met Hugo Martinez, the founder of United Graffiti Artists, while I was working at B&H Photo. Inspired by the world around him, Gennari began writing cheeky phrases like For Those Who Dare, For Ladies Only, Bad but Not Evil, and The Time Will Come then signing them as “FLINT.” A decade later, his exploits would inspire his high-school classmate Al Diaz, who went on to create SAMO© with Jean-Michel Basquiat in 1977, after FLINT was out of the game. What years were you there? "Gman and Crew at the Park Jam 144th Street and 3rd Avenue, the Bronx," 1984. "Mattress Acrobat, Hoe Avenue, the Bronx," 1987. Regarding what you wrote however, I think noone's trying to revive that golden era of nyc subway grafitti - it was compressed to the minimum level but it still exists all this time.Grafitti is global and it won't die out. I was the first writer to tag that school. Right: "Electric Boogie at the Park Jam, 144th Street and 3rd Avenue, the Bronx," 1984. Flint Gennari: So hard to believe that this is what I am known best for (laughs). It’s the real thing.” “Army. . It also features some great breakdancing when it was still a new thing. During a lesson about World War II, the teacher began talking about “Kilroy Was Here,” the doodle made famous by American soldiers that started popping up around the world for years. Ao continuar com a navegação em nosso site, você aceita o uso de cookies. Gennari, whose photographs span 1970–77, speaks with Dazed about growing up in the first generation of New York City’s graffiti scene. In the late 1970s, the Bronx borough of New York City was in a state of decay and neglect. We were trying to get girls! Chad introduced me to STAY HIGH 149 and all the 56 Boys. The end of the 1960’s saw the emergence of the graffiti scene in New York, when a number of graffiti writers started tagging their names, usually an alias combined with a street number, such as JULIO 204, CAY161 and the infamous TAKI183. "Pop Lesson. At that time I went to Intermediate school in Crown Heights. its addicting ill tell u tht..no one can probably start the subway bombing era again but we all know tht it was once alive..still is in some ppls hearts and who cares if your taxes and "fares" go into that if you understand graffiti the way all "US" writers in the world see it then youd actually see that graffiti itself is art yeah its illegal its always going to be but me and every1 who "bombs" wont stop i love graffiti its beautiful ugly or not!!! Graffiti was one of those crimes that added to the sense of disorder and anarchy that both encouraged other crimes and made New York kind of a scary place to be. Thank you.D. Flint Gennari: Very nice, the respect is there. "Smily, Ebony Dukes, BS119, Pod, and others at the Intervale station on the 2’s and 5’s, the Bronx," 1979. "Riding with pride between the cars on the IRT," circa 1980. This was a process in which the city and certain real estate interests had a hand in because it was clear that they wanted to evict these residents for new housing stock, so that they could take advantage of the tremendously advantageous position of the South Bronx in relation to Midtown Manhattan. I was very much a loner at that time. BuzzFeed News’ FinCEN Files investigation exposed massive financial corruption on a historic global scale. And you could recognize the talent. They called me “Flint” because that was my name. What were some of the risks that these graffiti artists were making for their art? Flint Gennari: I think it was 1971-75. HC: There are certain moments in history that can be dubbed extraordinary, where a combination of events comes together resulting in a tremendous outpouring of creativity. Vibrant splashes of color began popping up across the Bronx as crews of artists began joining forces and competing for exposure and clout. You lost touch with the graffiti scene for about 20 years. I started photographing The Etching Room in late 1977 and that was a full-time job. It's got such a classic 1960-70s vibe. I'm so involved in what I am doing that I miss a lot. May 29, 2020 - Explore Alfredo Estevez's board "1970's and 1980's Graffiti", followed by 244 people on Pinterest. I took everything from sayings in fortune cookies to lines from lyrics of a song and made them my own. I would have credited them at the time but I just had them lying on my hard drive so I am not sure who to even attribute them to, or whether they even really came from where I'm saying they came from or not. So people eventually left and their houses were left abandoned. By the late ‘60s, I was writing FLINT up and down Flatbush Avenue and in telephone booths like my idol PRAY. When I arrived, I was already famous. Since then, my photographs have been exhibited in shows such as in Born in the Streets at the Fondation Cartier in Paris. HC: Absolutely. I knew that by using a marker I could do the same thing. Be all you can be.” It’s like a song you can’t get out of your head or a brand that has so many impressions that it is instantly recognizable. And for these artists to make it out of nothing — an environment of neglect and decay. Picture it: Brooklyn, 1965. Washington Heights, Manhattan, NYC," 1986. That’s an impressive list of legends right there. But teenagers like to challenge themselves — and they were indeed challenging themselves. How did you recognize other graffiti writers of the time? Gennari, whose photographs span 1970–77, speaks with Dazed about growing up in the first generation of New York City’s graffiti scene. !...by; "Just Another Artist..... © Blogger templates He gained notoriety when The New York Times ran an article on him in 1971, resulting in tagging becoming a … A sensitive child, he began to withdraw into his own world, finding pleasure in photography. For the children of the Bronx, there was often little to deter them … I heard someone yell out “FLINT!” Instinctively I turned around even though I was not officially writing it yet (just in my sketchbook). This enormous body of work is currently on view at the Bronx Museum of the Arts in Henry Chalfant: Art vs. I was the black sheep of the family and tried to get away from them whenever possible. Around 1970–71, the centre of graffiti innovation moved to New York City, where graffitists following in the wake of TAKI 183, Tracy 168 and PHASE 2 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it "all city"—along with their fame, if it was impressive or simply pervasive enough. I used to walk with a pocket size notebook and go up and down the list [laughs]. I don't know about the years before, maybe they just painted it for the new school year, but when I put my name up, everyone else replied: TRACY 168, PISTOL 1, STEVE 61, SHASTA, FUZZ 1, SHADOW, BOMB 1, etc. Photographer Henry Chalfant was witness to this explosion of artistic creativity. What made you decide to start a crew and create the Rebels? As many of its residents began to leave the neighborhood for safer streets, crime and gang activities began to take hold. As many of its residents began to leave the neighborhood for safer streets, crime and gang activities began to take hold. One day, we were walking through the nearby Catholic schoolyard; they were carrying guitars and I had an empty guitar case. In the end, it’s a tremendously optimistic story given the creativity of young people. I was toying with the idea of writing messages on walls to make people stop and wonder. In the case of the Bronx, it isolated parts of the South Bronx from their neighbors for years. Transit, 1977–1987, chronicling the foundational years of hip-hop and street art as we know it today.Here, Chalfant speaks with BuzzFeed News about his work and shares with us a selection of his pictures from this incredible moment in history. Esses Cookies nos permitem coletar alguns dados pessoais sobre você, como sua ID exclusiva atribuída ao seu dispositivo, endereço de IP, tipo de dispositivo e navegador, conteúdos visualizados ou outras ações realizadas usando nossos serviços, país e idioma selecionados, entre outros. You read it fast but it has impact. See more ideas about Graffiti, Street art, Art. Nice concise article.Doing a little home research for the School Edition of "Rent. romanticized. Henry Chalfant / Artists Rights Society / Eric Firestone Gallery, Henry Chalfant: Art vs. At that time, I was mostly writing on bathroom walls and carving my name on picnic tables and on trees with a knife. I went to Stanford University and majored in classical Greek literature — it was a great pleasure at the time, but not something I wanted to dedicate my life to. What was it about? It was a bad idea. The Professional Template by Ourblogtemplates.com 2008, This is increasingly not a blog about Alphabet City, New York. It really got my attention when the teacher talked about this guy Kilroy and the way he got his name known all around the world. I wasn’t too familiar with the outer boroughs at the time, but I soon realized that those elevated lines allowed great access to photograph the trains in good daylight. I remember no air conditioning, just awful. Break displays his jacket. Contact Gabriel H. Sanchez at gabriel.sanchez@buzzfeed.com. I help my friends out; many have lived in my house for a time. ", Posted on October 15, 2019, at 4:42 p.m. "Wall by Rize and Lil Man, Ven. Looks like your browser doesn't support JavaScript. I would stand on one side of the station, say the uptown side, and wait for the downtown trains to come by. In 1998, he gave me the second exhibition (after COCO 144) at his brand new gallery in Chelsea. I stopped writing graffiti in 1976. In turn, money was scarce and the infrastructure was falling apart. There were neighborhoods that were badly hit by urban renewal as well. Flint Gennari: Life moves on. Amongst the odds were arrest and being chased by the police, to the actual dangers of running around in train tunnels. Because New Yorkers are well-rounded people with varied interests, and mine have gone increasingly off the rails over the years. In 1970, Gennari borrowed his father’s camera and began photographing New York’s graffiti scene, capturing a culture (destined to take over the world) in its infancy. "Im In Love With Graffiti!!!". I find it hilarious that there are still people on the internet that don't see the irony in reading through an entire blog post, then taking the time to type a comment like "yawn", go through the captcha and hit the submit button.Your actions betray your sentiment, anonymous. Flint Gennari: I was nine years old when I decided I wanted a secret identity. Transit, 1977–1987. We dressed a certain way, had a bag or knapsack to hold paint, ink on our hands, etc. This big fellow challenged me and I just wanted it to over fast so I jumped up, grabbed a pipe overhead, lifted both feet, and kicked him squarely in the chest. Flint Gennari: Catchy phrases always stood out. “In the ‘70s, someone in the culture could spot another writer easily... We dressed a certain way, had a bag or knapsack to hold paint, ink on our hands, etc.” – Flint Gennari. HC: Part of the process of making this art was the cat and mouse game with the police.

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