Hailed as the seminal study of spray can art of the 1970s and
1980s, "Aerosol Kingdom" explores the origins and aesthetics of
graffiti writings.
From a vast array of inherited traditions and gritty urban
lifestyles talented and renegade young New Yorkers spawned a
culture of their own, a balloon-lettered shout heralding the coming
of hip-hop. Though helpless in checking its spreading appeal, city
fathers immediately went on the attack and denounced it as
vandalism. Many aficionados, however, recognized its trendy
aesthetic immediately. By the 1980s spray-paint art hit the
mainstream, and subway painters, mostly from marginal barrios of
the city, became art world darlings. Their proliferating, ephemeral
art was spotlighted in downtown galleries, in the media, and
thereafter throughout the land. Not only did the practice of
"public signaturing" take over New York City, but also, as the
images moved through the neighborhoods on the subway cars, it also
grabbed hold in the suburbs. Soon it stirred worldwide imitation
and helped spark the hip-hop revolution.
As the artists wielded their spray cans, they expressed their
acute social consciousness. "Aerosol Kingdom" documents their
careers and records the reflections of key figures in the movement.
It examines converging forces that made aerosol art possible--the
immigration of Caribbean peoples, the reinforcing presence of black
American working-class styles and fashions, the effects of
advertising on children, the mass marketing of spray cans, and the
popular protests of the 1960s and 1970s against racism, sexism,
classism, and war.
The creative period of the movement lasted for over twenty
years, but most of the original works have vanished. Official
cleanup of public sites erased great pieces of the heyday. They
exist now only in photographs, in the artists' sketchbooks, and now
in "Aerosol Kingdom."
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