>> and Russell lost his hair in the process.
>>
>at least we know he has a conscience. he and his brother seem
>like dialectical opposites.

Who has a conscience? Russell or Joe? Or even Danny? I am sure, at the end of the day, all these guys do have a conscience.

>i've got a question for you though. i've seen your work on
>your website, your background in art, and your link to style
>wars. i figure that you have some interest in graffiti and i
>was going to post this to see what people think, but i was
>more interested in what you have to say because it goes along
>the lines of this post and your background.

Okay...but first I need to set up my answer.

I skimmed both of your articles but it needs a slower read. My connection to graffiti is pretty much the same as my connection to hip-hop: both personal as an observer and hands-on as an artist. When I was a high school freshman, Futura 2000 came to my school. We had an afterschool graffiti session and the class made a mural about transportation. I was in awe of Futura. I had already discovered hip-hop/rap and here was this guy from New York, with his Kangol hat and "fresh" gear. He gave me the ultimate compliment. He said I was pretty good and I had "potential". It did not occur to me that he might be considered by some to be a sell-out.

"Back then I don't think anyone ever thought much about the future of the movement and where it was going. Surely I didn't. It was a passing fancy, a fad, a sign of the times. Social unrest and war were at the forefront of our culture. There were gangs and there were causes, there was indecision and there was pressure. There was a feeling of helplessness and there were messages to be delivered. Modern day graffiti was that movement." - from http://www.graffiti.org/futura/futura.html

As you may know, Futura went on to become a hot commodity in the 80s, in the commercial art world that wanted to exploit graffiti. He was part of the East Village art scene along with Lee, Fab 5 Freddy and others, as well as becoming popular in Europe.

"Futura credits Europeans with embracing graffiti as an artform way before the American art establishment recognized it as valid folk art and fine art. Futura is known throughout the world as an abstract artist and has exhibited in cities such as Moscow, Seoul, Rome, Tokyo, Nairobi, Barcelona, Sydney, Berlin, London, Amsterdam, and Paris, just to name a few. In 1982, he put out a record with himself rhyming called "Futura 2000 and His Escapades" with music done by punk rock icons the Clash."

>As you probably know, Sprite, Nike, Reebok, ESPN, ABC, and
>many other MNC's use graff or graff-inspired imagery in their
>ads and they make tons of money off of images that continue to
>be considered illegal works of art. I believe that they owe
>the graff community something, and they can help to bridge the
>two sides of the graff argument - those who believe it should
>be considered legal, and those who fight to keep it illegal.

Futura 2000 is a great example in this regard. He still "paints canvases and does shows and hits a billboard or a wall here and there around the world". Futura was one of the first to leave the subway and enter the commercial art world. It was inevitable. About his entry into the fine art world he says:

"It was the platform I needed to showcase my talents. not just painting canvases but actually creating artistic compositions. I never went to ART school, and wasn't even sure who Warhol was, but I knew I had something. I had always known that. Right place right time, that's me...... I always go against popular opinions, like to blaze my own trails."

Sprite, Nike, Reebok, ESPN, ABC and more have all attempted to commodify the urban/street image because it gives an edge to their products or programs, not necessarily for people of color and definately not for the artists. However, artists like Futura have profited from exhibiting their work. Absolut Vodka comes to mind (Absolut Generations). Make some graffiti featuring their bottle and make some $$$, get some promotion. I see the commercial art world and these other companies part of the same system. Some of te graff artists have a relationship with these companies, as well, and it's all about capitalism, not community building or sustaining the culture.

The intro to Absolut Generation's site is a quote "I love the packaging, I love the feel of it...I want to do something." by Andy Warhol. You may or may not find graffiti on the site but it constantly changes. I guess what I am saying is that, in a way, companies like Absolut are promoting the artists via the Web. It's not promoting graffiti, not building walls to showcase the artists. These companies stay on the safe side, with the packaging, so to speak. Promote the packaging.

>they could go as far as having a tour of legendary
>graff artists that paint at select sites. such a project could
>benefit MNC's too. it's a logical and ethical step in the
>right direction that would go under the heading of community
>relations, becoming a valuable non-taxable donation write-off.

Perhaps Absolut would be willing to sponsor such a project, as long as it promotes their brand and product. I think many graff artists would take serious issue with that, just as some took issue with Futura. IMO I think the responsibility lies with artists like Futura who make an effort to give back and promote the next generation, minus the product or branding we see in commercials.

<--- Blame this lady for Nutty.