
Graffiti: Where Art, Expression and VandalismCross Paths
PULLQUOTE “In Brooklyn having paint on youdoesn’t matter, because there are lots ofhipster artists walking around with paint ontheir clothes. It can be more dangerous inother boroughs.”—SAZ
By Chuck Marvin
On a mild evening recently, I was walkingdown Bedford Avenue in Williamsburg with alocal graffiti artist in his late teens whogoes by the street name “SAZ.”
"This is the epicenter of the New Yorkgraffiti scene," said SAZ with a smileas we walked south past North 5th Street.
"Are you serious?" I asked. Thebustling, well-lit Bedford Avenue is the lastplace I thought would be a big draw forgraffiti artists.
"Yeah, I'm serious," SAZ laughed."There are always graffiti artistsmixing it up with regular folk outhere."
SAZ is friendly, talkative, confident, andsmart. He seems to enjoy teaching me thebasics of graffiti art and society. I haddifficulty finding many graffiti artists whowould talk to me for this story, so he was arare commodity.
Graffiti can be found in all cities, but itthrives in Brooklyn, and in Williamsburg itadorns almost every man-made structure thatisn’t newly built. It is art to some, andvandalism to others. For its artists,graffiti is a unique community with its ownlanguage and mores. To the City of New York,graffiti is a felony offense that can reapmore than a year in jail time.
For the artists, graffiti is an addictivemelding of artistic exploration, socialnetworking, and the cat-and-mouse excitementof hiding from the police, neighbors, andeach other. The graffiti community issecretive and suspicious of outsiders. And itgoes without saying that graffiti artistsnever “tag” under their real names. Tags arerenderings of an artist’s street nametypically three or four letters in length.
It did not go down especially well when SAZtold his friends he was cooperating with thisarticle. SAZ talked to me anyways, and he wasthe only source willing to meet me in person.He believes that graffiti has social valueand is worth teaching outsiders about.
Graffiti art began to pop out from alldirections as we moved further down BedfordAvenue. Walls and fences bore smatterings ofsingle-color tags. Signposts and street lampswere covered in small stickers with printedgraffiti tags or artist logos. Tags andstickers can be applied in seconds, and arethe safest methods to use in areas wherethere are pedestrians or police.
Where congestion thins in an area, graffitigrows in complexity. Single-line tags aresupplanted by “throw-ups” that display anartist’s name in multi-colored bubblelettering. More involved “masterpieces,” or“pieces,” can look like fine-art murals, andusually still retain the artist’s street nameas their core component. Some graffiti iselaborate and requires some time to execute.But graffiti is illegal, speed is almostalways a priority, and speed is the essenceof the style and economy of the form. SAZ hasbeen improving on the time he needs for athrow-up. “I can do one now in less than twominutes,” he says proudly.
SAZ has been painting graffiti since he wasfifteen. His curiosity was sparked bybathroom and locker graffiti at his highschool. He engineered his first tag in apersonal notebook, a tool that most graffitiartists keep and harbor over the course oftheir careers. He was soon marking tagsaround his school, and he was eventuallycaught and suspended by school authorities.
SAZ stopped tagging the school during hissuspension, but he continued to tag anddoodle in his notebooks. An experiencedgraffiti artist eventually saw SAZ’s notebookand encouraged him to take his art to thenext level—the street. “He told me that I waswasting my talent in my notebook,” SAZ said.
Eventually, some experienced “writers” tookSAZ under their wing and helped him make thedifficult switch from magic-markers to spraypaint. “I was horrible at first, but myfriends made me keep at it.” SAZ startedleaving tags all around Brooklyn, and histechnique improved. He slowly built upcredibility in the neighborhood, and otherartists started recognizing him and his work.“It’s a pretty cool feeling when someone at aparty walks up and says ‘hey man, I’ve seenyour stuff.’ Younger kids who are new tograffiti look up to me now.”
SAZ leaves his house at night to paintgraffiti, wearing clothes that will blendinto the local environment. When painting inWilliamsburg he likes to wear a flannel shirtand hipster pants. In the Bronx, he wearsbaggy pants and a hoodie. He usually bringstwo cans of spray paint per outing, which isenough to paint a handful of quick tags or acouple of intricate throw-ups. And the cansare easily concealed beneath a baggy shirt orjacket. If he needs more paint he’ll carry acheap bag that he won’t mind discarding if hehas to run from the police.
No matter how secretive they try to be,paint can easily give graffiti artists away.After a night painting around Williamsburg,SAZ will sometimes return home covered in it.“In Brooklyn having paint on you doesn’tmatter, because there are lots of hipsterartists walking around with paint on theirclothes. It can be more dangerous in otherboroughs.” If he sees someone in public withpaint residue on a sleeve, SAZ will walk upand ask, “yo, what do you write?” If theperson looks confused, he’s probably not agraffiti artist. If the person reactsdefensively and says, “I don’t write,” thenyou know he is definitely a graffiti artist.
Paint residue on a person isn’t enough forcops to prosecute, but a can of spray-paintor a magic marker is a legal smoking gun.Paint is also a touchy subject at SAZ’s home.At times, SAZ will have upwards of 1000 cansof spray paint stashed around the apartmentin shoeboxes. He steals most of his paintfrom Home Depot using a technique called“rack and return.” Home Depot and otherhardware stores keep their spray paint behindlock and key, but that isn’t enough to keepSAZ from getting the paint he needs.
SAZ does his best to keep his paint out ofsight at home, but his Mom and Dad are nofools. “My Mom thinks graffiti looks cool,but she warns me not to shit where I eat,” hesays. “My Dad once told me he hopes theycatch me and cut my fingers off.”
SAZ and I migrated to the WilliamsburgBridge overpass, and we sat down on a loadingdock next to a large white wall that he hadtagged with the artist RAMBO. “I want to be afamous graffiti artist, but I never want thepublic to know my real name, and I don’t wantto be a sellout,” SAZ told me.
Since the 1970’s hundreds of “writers” haveemerged from the graffiti world. Some, likeBrooklyn locals Ewok and Futura 2000, wereable to transition into fine-art galleriesand lucrative licensing and design careers.Their successes have drawn envy from theirpeers in graffiti, as well as resentment fromart world people. At best, the art world hasmixed feelings about graffiti artists and thecritics who dole out praise for theirartistic prowess.
Said Ewok in an email: “It is interestinghow the people who show up at a gallery andpraise your art are the same people who callthe cops in the middle of the night when theysee you painting.”
Street Art Versus Graffiti
The term “street art” is increasingly usedto describe publicly accessible art that isbeyond the scope of traditional “graffiti.”Artists and art connoisseurs all seem to usethe terms differently, and the distinctionbetween graffiti and street art is somewhatof a semantic battleground. Some argue thatgraffiti is illegal while street art tends tobe sanctioned by public arts commissions andprivate store owners. Others say graffiti artis limited to the act of rendering anartist’s name or initials, while street artassumes other stylistic forms such asposters, murals, mosaics, and sculpture.
Famous contemporary street artists includeElbowtoe, Banksy, and Shepard Fairey, thedesigner of the Barack Obama “Hope” poster.
Steven P. Harrington, who co-authored“Brooklyn Street Art” with Jaime Rojo, toldme he believes there are stylisticdifferences between graffiti art and streetart, but the two art forms share anhistorical relationship that was integral totheir development.
“The current street art crop is definitelyan evolution from the tradition of NYCgraffiti writers as well as a number of morepublic artists in New York dating back to theearly 1980’s, like Keith Haring, RichardHambleton, Jenny Holzer, and Jean-MichelBasquiat,” says Harrington. “Despite thesimilarities [with graffiti art] this newmovement has a wider scope and a greaternumber and variety of participants, probablydue to the ‘do it yourself’ movement thatcontinues to take root.”
While Ewok says that his roots will alwaysbe in graffiti, he has recently been devotingmore of his time to “fine art on canvas.”Next month his work will be showcased at theArt Basel gallery in Miami. He admits thatage has been a factor in this transition—theolder one gets, the more a graffiti arrestand the threat of jail time will wear downmotivation.
The “broken windows” theory of crimeprevention says that if you repair a brokenwindow within a short time, say, within a dayor a week, the tendency is that vandals aremuch less likely to break more windows or dofurther damage. For New Yorkers it hasperhaps had mixed results. But few wouldargue that the city is not a safer place tolive today than when the theory was put intopractice against graffiti by Mayor Ed Koch inthe 1980’s. However, it has also left askewed system of justice that sometimestreats graffiti artists more harshly thanviolent crime offenders.
Ewok knows this first-hand. He was oncearrested for graffiti at his high school onthe same day another student was caught witha loaded .357 magnum pistol. “They treated mygraffiti charge more seriously than the kidwith the hand-gun.” The city booked Ewok inthree different precincts that day. While hewas being fingerprinted at the first policestation, Ewok saw the gun violator walk outthe door with his parents. Ewok received along school suspension; the other kid “wasback in school the following Monday.”
Given the potential consequences of gettingcaught by the NYPD anti-graffiti task force,it isn’t surprising that artists like Ewokeventually prefer painting murals andcanvases instead of construction sites.
While walking back toward the Bedford Lsubway stop, SAZ said to me, “You’d besurprised how many graffiti artists are over40 years old.” But he admitted that he hasslowed down his graffiti painting lately tostay on the right side of the law. “Ifsomeone would buy a canvas from me, I’d paintcanvas too,” he said. Clearly, graffiti ismostly a young person’s game.
The immense artistic and expressive spiritthat attracts so many artists and creativetypes to Brooklyn is a blessing and a cursefor graffiti artists. Real estatedevelopment, a more lucrative form ofcreative expression than graffiti, has wipedout many of the legendary graffiti spots. Andlegal street art can keep only a handful ofgraffiti artists busy at one time. The othersmust constantly scope out new territories tofeed their “writing” addictions.
“That said, there is a great amount ofunderground talent living in this borough,”Ewok said of Brooklyn where he resides. “Ilike it for the most part—a lot of artiststrying to live down-low lives.”

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