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By 1976, Lee was creating huge murals of graffiti art across the subway system. As a subway graffiti artist, Lee almost exclusively painted whole cars, all together about 125 cars. He was the major contributor to one of the first-ever whole-trains, along with DOC, MONO and SLAVE, the core members of The Fabulous Five crew, which also included ...
In September 1980, independent filmmaker Bill Brand installed a type of linear zoetrope he called the "Masstransiscope" in an unused subway platform at the former Myrtle Avenue station on the New York City Subway. It consists of a wall with 228 slits; behind each slit is a hand-painted panel, and riders of passing trains see a motion picture.
Subway Art is a collaborative book by Martha Cooper and Henry Chalfant, which documents the early history of the New York City graffiti movement. Originally published in 1984, the book has been described as a "landmark photographic history".
[2] [3] [19] [20] In 1974, Norman Mailer published an essay, The Faith of Graffiti, that explores the question of graffiti as art and includes interviews from early subway train graffitists, and then New York City mayor, John Lindsey. Since the 1980s, museums and art galleries started treating graffiti seriously. [2]
His art was the subject of a 1997 retrospective at the Whitney Museum of American Art in New York, curated by Elisabeth Sussman. [178] The Public Art Fund, in collaboration with the Estate of Keith Haring, organized a multi-site installation of his outdoor sculptures at Central Park's Doris C. Freedman Plaza and along the Park Avenue Malls. [179]
In the late 1980s he also undertook tattoo art, opening Tattoo Seen, a tattoo parlor [1] which became one of the most successful studios in New York City. [ citation needed ] His more recent work includes three-dimensional sculpture, mixed media work with reclaimed or discarded materials (often found in the street), and a series of hand-painted ...
A heavily tagged subway car in New York City in 1973. By the mid-1970s, most standards had been set in graffiti writing and culture. The heaviest "bombing" in U.S. history took place in this period, partially because of the economic restraints on New York City, which limited its ability to combat this art form with graffiti removal programs or transit maintenance.