‘I might not know art, but I know what I like’ is so old that it has fallen into mainstream art appreciation folklore.
BUT, this is not what we are talking about. The ‘artist’ has to trespass in order to perform his ‘art’. Secondly, he does not own the medium onto which he applies his ‘art’, so a second crime of criminal damage occurs. (I also know from years in law enforcement that most graffitists shoplift the spray cans, another level of crime.) As Andrew points out, one was recently hit and killed by a passing train as he trespassed and vandalised property. That collision becomes a crime scene and trains are halted in that section for many hours, inconveniencing the public further.
In this country, most railway property and rolling stock is government owned. So my taxes and fares are increased to pay for the removal of this rubbish. And most of it is removed as soon as it is detected, to remove the joy of seeing their work in motion, so suburban electric trains are withdrawn from service for cleaning, making one less set available for the next day or so.
‘Poor Moral Choice’? Are you kidding? This is the sort of nanny state gibberish that has led us to this discussion. They are vandals with too much time on their hands and no effective parental control. If I broke into your home and did hundreds of thousands of dollars of damage, you would expect me to go to gaol, (jail in your land). Yet you think these vandals should be lauded and their work displayed as modern masterpiece?
The fact that manufacturers produce models of this abomination, and supposedly reputable magazines advertise their damage as ‘art’ shows how american society has lost its moral compass.
When they start buying the spray cans and painting their own car or home I might take a different view.
O.K. let’s throw a little more wood on this fire - Can there be anything more annoying, gaudy, and pervasive than roadside advertising ? How annoying is a 20 foot tall billboard shaped like a mouse extolling the virtues of a certain brand of cheese or a group of half dressed young people swilling beer and inviting you to join them, etc, etc. We’re inundated with this crappola everyday and everywhere we look but that’s O.K. - it’s corporate and it’s legal. We legitimize this stuff because it is the work of and for the middle class, it’s our folk art.
I don’t find the graffiti on a subway coach or boxcar any more annoying or distasteful than a huge picture of an overweight car dealer leering down at me from a billboard. The main difference is that the graffiti is the work of some disadvantaged kid seeking attention, a member of a subclass somehow less worthy than ourselves, but the fat car dealer, he’s O.K., because … ?
You misunderstand. I’m not condoning the act in any respect. As I see it, I think moving graffiti off the streets and into galleries and museums could be a step towards curbing graffiti by showing those who might be inclined that there are avenues for self-expression that don’t involve property crimes. That’s the whole premise behind rec centers and other programs–to give kids the opportunity to use their talents in a productive manner as opposed to wasting them on the streets. What’s the harm in recognizing artistic talent when we see it, then encouraging that talent to be used positively?
It’s not the job of the manufacturers or magazines to sanitize reality. History happened. It’s strange that we push the manufacturers and magazines for more and more realism–except when it upsets our sensibilities? Graffiti on a model railroad box car no more glorifies vandalism than a “Whites Only” sign on a station waiting room promotes racism. Railroading has always had its ugly underbelly. It’s our call as individuals how sanitized we want our version of history as we reflect it on our own railroads, but it’s important that we understand that history, warts and all.
One thing to keep in mind… We’re only seeing a very small part of the exhibit in this article. Here’s a link to the museum’s blog about the exhibit:
Reading that, you get a much broader perspective about the aim of the exhibit; that it’s about showcasing exactly what you’re saying–that these artists are buying their own spray cans and painting their own cars (or canvases). And as I read it, the exhibit does talk at l
Walt, The used car dealer paid for the space on that sign. It is legal. It is called advertising. No-one is trying to call it art, except maybe Andy Warhol.
Kevin, the fact that a few vandals from 30 years ago became famous and are now making a living from this rubbish is the very problem. The current crop of vandals might have thought twice if their forebears were in prison for their crimes. Now they can see a path to fame through crime. And again we pay to clean up the mess.
My [2c] : I have seen some pieces of graffiti that are quite artistic, but I don’t condone defacing other’s property (or gang activity). It is a crime, but it is becoming a part of railroading. Therefore, for modelers it is also becoming a part of detailing modern railroad equipment (whether that be a good thing or not).
First, the chances of facing any kind of jail time for vandalism is pretty slim. In Colorado, you’ve got to really cause a ton of damage to warrant anything more than just a few months (as a maximum sentence). Fines and losing your driver’s license are far more likely a penalty, maybe restitution to the owner. So jail as a deterrent simply doesn’t exist. I don’t think it ever has, nor do I see that changing in today’s times. It’s just not effective (in terms of cost or “corrections”) to put people behind bars for tagging.
As for the success stories, would you rather they find a legitimate outlet for their creativity or continue their life of crime? You can’t keep an artist from creating. The point I’m making is that these success stories have forged a path for success with their skills that now doesn’t involve crime. It’s about showing today’s kids that they can be successful with this kind of art without needing to resort to crime.
The problem of graffiti will always exist, but it’s been demonstrated time and time again that if you give young kids something productive to do, they don’t do destructive things. That’s how you break the cycle. But these alternatives can only be successful when they mesh with the kids’ natural proclivities. A kid who’s more artistic than athletic isn’t going to enjoy playing basketball. That’s where these reformed miscreants from 30 years ago can be a positive influence, despite their “storied” past. They’ve been where these kids are today, and can help them find alternatives that better match their natural abilities. Give them a productive, legitimate venue through which to hone their ski
And so, the fact that it’s just the way it is and we’re just modeling the real world as it is, would justify someone who was modeling a souther railroad in the 50’s with white’s only signs and maybe even a lynching of a black man? It’s my garden railroad and I produce something that gives me enjoyment, not something that reminds me of all that’s wrong in the world.
Let me make a couple of points, and let me tie this subject back to our model railroading as best I can.
There’s a lot of things that are real in the prototype world we model which, for one reason or another, do or don’t make it into our modelling. Lynn Wescott, for instance, was uncommonly fond of outhouses…I think he thought it was funny or humorous or something, but I personally find this infantile at best. To each his own; to each his own model.
No one sensible will deny the high-quality decorative aspects of some spray paint work, nor the amount of thought and effort that goes into it. Decorative does not mean art, though. AND what I’ve seen on boxcars is hasty, not-too-thoughtful, and could definitely stand improvement on the decorative side, perhaps because the trespassers are afraid of the appearance of the BNSF and UP police??
Whether or not graffiti is art is not the issue. Let’s say all this graffiti IS true art. We have a boundary issue here. When I want to see art as in landscapes and portraits and sculpture from traditional artists I go to the museum, a gallery, or some such place as a public area where the community has agreed art i
