3/30/2023 0 Comments Chaka tagger![]() ![]() This reassessment finally allowed for the artworks of graffitists, and of GRL, to be incorporated into major art institutions without compromise to their visual or contextual values. It was these connections between GRL and these other, more accepted art genres-like performance art, light art and projection art-that also caused a reevaluation of traditional graffiti. The work of the Graffiti Research Lab avoided inheritance of the public’s negative reception of graffiti by fostering aesthetic and thematic associations, whether intentionally or unintentionally, between GRL pieces and canonical public artworks. Inadvertently, in the process of creating tools for graffiti artists, GRL’s designs evolved into works of art in their own right and the members of GRL transitioned from “graffiti engineers” to artists. GRL did so by perpetuating graffiti’s proliferation- assisting graffitists in “getting up” and avoiding arrest-and by developing alternative forms of graffiti that encouraged greater public participation and understanding. From the outset, GRL’s mission was to combat the many negative opinions and misinterpretations of graffiti. Graffiti-which began appearing in its modern-day form in major cities across the United States in the late 1960s-was, and still is, viewed as vandalism by the public and the art world and disregarded as an art form. ![]() Both men, whose backgrounds are not in art-making at all, joined forces with two specific goals in mind: to create tools for traditional graffitists- tools that would lead to new graffiti forms and methods-and to initiate the reconsideration of graffiti amongst urban populations. Evan Roth and James Powderly created the Graffiti Research Lab, or GRL, in New York City in 2005. ![]()
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