Subway Art History
The history of the underground art movement known by many names, most commonly graffiti begins in Philadelphia, Pennsylvania during the mid to late 60's, and started with bombing. The writers who are credited with the first effort are CORNBREAD and COOL EARL. They wrote their names all over the city gaining attention from the community and the local press. Then the movement made way to New York City where the teenagers would write graffiti on the subways. It is unclear whether this concept made way to New York City on purpose or if it was an accident. Shortly after the CORNBREAD and COOL EARL effort, the Washington Heights section of Manhattan was giving birth to new writers. In 1971 The New York Times published an article on one of these
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Hugo Martinez sociology major at City College took notice of the legitimate artistic potential of this generation. Martinez went on to found United Graffiti Artists. UGA selected top subway artists from all around the city and presented their work in the formal context of an art gallery. UGA provided opportunities once inaccessible to these artists. The Razor Gallery was a successful effort of Mr. Martinez and the artists he represented. Martinez has represented PHASE 2, MICO, COCO 144, PISTOL, FLINT 707, BAMA, SNAKE, and STICH.A 1973 article in New York magazine by Richard Goldstein entitled "The Graffiti Hit Parade" was also early public recognition of the artistic potential of subway artists. During the early to mid 1980s the writing culture deteriorated dramatically due to several factors. Some related directly to the graffiti culture itself and others to the greater society in general. The crack cocaine epidemic was taking its toll on the inner city. Due to the drug trade powerful firearms were readily available. The climate on the street became increasingly tense. Laws restricting the sale of paint to minors and requiring merchants to place spray paint in locked cages made shoplifting more difficult. Legislation was in the works to make penalties for graffiti more
Hugo Martinez sociology major at City College took notice of the legitimate artistic potential of this generation. Martinez went on to found United Graffiti Artists. UGA selected top subway artists from all around the city and presented their work in the formal context of an art gallery. UGA provided opportunities once inaccessible to these artists. The Razor Gallery was a successful effort of Mr. Martinez and the artists he represented. Martinez has represented PHASE 2, MICO, COCO 144, PISTOL, FLINT 707, BAMA, SNAKE, and STICH.A 1973 article in New York magazine by Richard Goldstein entitled "The Graffiti Hit Parade" was also early public recognition of the artistic potential of subway artists. During the early to mid 1980s the writing culture deteriorated dramatically due to several factors. Some related directly to the graffiti culture itself and others to the greater society in general. The crack cocaine epidemic was taking its toll on the inner city. Due to the drug trade powerful firearms were readily available. The climate on the street became increasingly tense. Laws restricting the sale of paint to minors and requiring merchants to place spray paint in locked cages made shoplifting more difficult. Legislation was in the works to make penalties for graffiti more