Op-Ed: Paint Cans and Police Sirens: The Complexity of Graffiti Art
Graffiti is ubiquitous. Driving by abandoned homes, underneath bridges, or even through busy streets, I had passed by graffiti without giving it the time of day. I may have spared a few a glance, and been able to identify a few familiar ones on my everyday drive to and from school, but it wasn’t until I moved to D.C. that I truly started thinking about the graffiti I saw on the streets. I was on the metro subway with a friend looking at the passing scenery when we rode past an intricately done tag, a street artist’s signature, layered with greens, blues, and white. Something about it struck a thought within me; I thought about much time and effort must be put into this kind of expression, and how although it is considered an art form by some, it is considered a crime by all. The seemingly simplistic words spray-painted on buildings and landmarks have such a rich history with complex racial politics surrounding it and provide accessibility to create art for artists of all backgrounds. These factors combined are why instead of brushing graffiti off as vandalism and a crime, it should be recognized as a valid art form.