The story of aerosol paint - Robert Weide Objects, Consumption and Desire
Spray Paint... graffiti... How an Object Became an Object and a Subcultur
Aerosol paint, commonly called spray paint, must ha ve been an object that wascreated without any idea of what it would create. What it created was the modern graffitisubculture. The history of spray paint and its progeny, the modern graffiti subculture, is astory of how everyday objects become what they are today and how they take on a life oftheir own, far surpassing whatever benign use they were originally intended for and
The Origin of Aerosols
The central form in graffiti is lettering, and the introduction of spray paint as a
tool and medium for writing graffiti greatly accelerated the size, complexity and design
of lettering in Chicano gang graffiti at the time. As Phillips states, "The most fascinating
changes ever since the introduction of spray paint have been in the presentation of letters
themselves." (188) Of course in the 1950's and 1960's, Chicano gang members writing
graffiti in California might not have for-seen the eventual emergence of the modern 8
graffiti subculture and the corresponding development of the complex lettering designs
and artistic expression that the availability of spray paint has enabled for generations of
young people around the world. It is absolutely astounding how one simple object, an
innocuous tool intended for small fix- it jobs around the home or workplace, could
burgeon an entire subculture committed to the use and mastery of that object as an artistic
medium.
With the heralding of the modern graffiti subculture in the 1970's and early
1980's, particularly in New York, and around the western world, interest in the modern
graffiti subculture increased and was answered by the publishing of two popular books
documenting the graffiti subculture, Subway Art in 1984 and Spray Can Art 1987 by
photographer Henry Chalfant, along with his co-authors, Martha Cooper and James
Prigoff. The title of the second book points to the significance and importance of spray
paint in the graffiti subculture and the application of it as a medium to surfaces far
beyond the metal sided subways where it emerged in New York in the 1970's. The works
of graffiti documented in the book also demonstrate the centrality of spray paint to the
graffiti subculture in its being perhaps the most common form (other than lettering)
represented in works of graffiti from around the world. Cans of spray paint are featured
prominently in photographs of graffiti from New York (13, 27), Chicago (47), San
Francisco (51), Los Angeles (56), London (59), and Paris (71), among other places.
Interestingly, many of the images from graffiti in America also identify the cans of spray
paint pictured in the works of graffiti as a particular brand pf spray paint, Krylon, which
has traditionally been the preferred brand of spray paint for graffiti writers in North 9
America. (A full discussion of brands and their relationship with graffiti writers and the
graffiti subculture can be found in a later section.)
In what was the first academic examination of the modern graffiti subculture,
Craig Castleman also points out the importance of spray paint as a medium for writing
graffiti. In describing the three principle forms graffiti takes Castleman explains the
difference between tags, throw- ups and pieces. Tags are the most basic form of modern
graffiti, which typically consist of a signature of a graffiti writer's name or crew
affiliation in a single color. (26) He states that "Spray paint was the first tool employed
for tagging, in the late 1960's" because "spray paint enables a writer to make a very large
mark," and to do so easily and quickly. (26) However, in terms of graffiti inside of
subway trains, which is the focus of Castleman's book, spray paint was inconvenient in
that it emits a strong odor that draws attention to a writer executing a tag, whereas other
tools such as markers were more covert for use on a crowded train. Spray paint was most
useful for writing on the outside of trains, where size and ease of application are
everything. (Images 1 and 2 depict tags. 1 shows the size that tags can take and 2 shows
the different ways tags can look depending on what paint, no zzle or marker is used.)
Although spray paint is one of a number of instruments that can be used for
tagging, it is the only tool that is practical for use in producing the other two main forms
of modern graffiti, the throw-up and the piece. Throw-ups are typically two to four
letters, indicating a writer's name, which are painted using spray paint in a bubble style
lettering that can be executed quickly and with a minimal amount of paint. They consist
of using one color to fill in the letters and another, contrasting color, to outline the forms
of the letters. (29-30) On subway cars throw-ups are the most efficient way of writing 10
ones name in mass quantities so as to "get up" as much as possible. With a mere two cans
of spray paint in contrasting colors, a writer can execute a number of throw-ups in
minutes on the exterior of subway cars. (Images of throw- ups are depicted in images 3, 4
and 5. As the images demonstrate, throw- ups consist of simple bubble shaped letters
filled in with one color and outlined with a contrasting color.)
The other principle form of modern graffiti is the piece (short for masterpiece)
which is the highly stylized complex lettering designs graffiti is known for. (31) In order
to execute a piece, especially in a precarious position like on the side of a subway car,
spray paint is an essential tool and medium. Pieces require the covering of substantial
spaces, combined with intricate designs using many different colors within small spaces
through out the larger area of the piece as a whole. And, as with all illegal graffiti, must
be executed in as little time as possible. (Images 6 and 7 depict complex pieces done
using only spray paint as a medium. One can get a sense from these images how difficult
it would be to produce such a complex design on such a large space with brushes or any
other medium, in the span of one day.)
Spray paint is the only medium that can be used to execute these large and
complex designs in any practical amount of time. Using spray paint, a graffiti writer can
carry over a dozen different colors and enough paint in volume to cover a substantial
area, all in something the size of a backpack or shopping bag. This makes it clear that
carrying a dozen different buckets of paint in order to paint a piece using brushes is
horribly unpractical from a graffiti writer's perspective. In addition, spray paint is
typically extremely fast drying so that multiple layers of different color paint can be
painted over one another without the colors mixing and intruding on one another's 11
intended place in the design, whereas paint from a bucket applied with a brush can take
hours to dry. Although since the 1980's subway graffiti craze, many writers have
experimented and mastered the use of bucket paints in painting graffiti, spray paint is by
far the most common and preferred method of writing graffiti.
Jeff Ferrell, in his study of graffiti writers in the Denver area in the early 1990's
agreed that spray paint is the "end-all, be-all" object in the graffiti subculture. He
describes spray paint as, "the essential practical tool in doing graffiti." (63) In conducting
field ethnography with graffiti writers Ferrell found that, "spray paint often becomes the
focus of writers' conversations." (63) Ferrell also found that writers used other tools such
as markers, he had no doubt that spray paint was by far the most common and
prototypical tool and medium used by graffiti writers. He found on numerous occasions
that the central role of spray paint in the graffiti subculture was evidenced in its imagery
and identity was often a focus of works of graffiti that he viewed or participated in
producing. Ferrell found what anyone who looks at the modern graffiti subculture will
find, that spray paint is the most important object in the subculture and the whole graffiti
subculture revolves around spray paint.
Joe Austin, in his study of the New York graffiti subculture, also found the
importance that spray paint had for writing graffiti. As much as spray paint enabled the
production of large and complex graffiti pieces, writers needed to have a mastery of spray
paint as cultural object in order to even attempt executing one of these masterpieces. A
writer "had to have an extensive knowledge of the qualities of several brands of spray
paint and of which types of spray nozzles would produce the desired aerosol effects."
Nancy McDonald, in her study of the graffiti subculture, also found the necessity
of being knowledgeable of and proficient in the use of spray paint in order to partake in a
career as a graffiti writer. She states, "Writers need to familiarize themselves with the
tools of their trade… which spray brands are suitable for which jobs, how to apply
different spray nozzles to alter line widths and create different effects, how to paint
without making drips or spotty paint marks." (73) These researchers found that without
spray paint as an available tool and a mastery of spray paint as an artistic medium, one
could not participate in the graffiti subculture.
Form and Function
The ageless debate in regards to form and functionality is best characterized as,
which is more important, form or function? Or, similarly, which came first, form or
function? Molotch offers an engaging analysis of how form and function are not separate
entities in conflict with one another, but are rather two concepts, embodied in objects,
which are interwoven and mutually constructive. However many do not see it as binary
but rather a dichotomy between two ways of looking at an object.
Molotch phrases the position of the function side of this debate in this way, "For
some who champion practicalities of life, art may be a good thing, but hardly intrinsic to
the production process." (54) From this perspective, it is the function of an object that
makes it what it is. Whatever form or artistic and aesthetic values it has are merely
secondary to this primary purpose of utility. Molotch references Henry Petroski's
functional argument to this effect, that, "the 'evolution' of modern products comes from 13
their 'usefulness', by which he means utility quite apart from any aesthetic
considerations." (54) Petroski, and others like him, are adamant that function is what is
central to an object's importance, and considerations of aesthetic or artistic qualities are
superfluous when compared to the master concept of function.
In contrast, for people who perceive artistic and aesthetic form as important,
viewing an object in terms of its function is inadequate. Molotch points out, "That
designers themselves think 'it's both' is evidence in itself of art's significance… They
perceive a high correlation between stuff they judge as having good form and stuff they
judge as highly functional." (57) Molotch also references Cyril Stanley Smith's argument
that form preceded function. (60) He argues that, for example, those who first molded
baked clay 20, 000 years ago did not do so for practical purposes but, rather, for artistic
purposes. Only later was molded baked clay put to practical use for bowls, cups and other
functional objects.
How then can one analyze spray paint as an object in terms of form and function?
I argue that spray paint has a certain uniqueness to it in that its form is dependant on its
function. This form is not the typical concept of form alluded to in Molotch's book, the
actual physical form of the object itself – what it looks like sitting there on a shelf in a
store. That form is important too (and will be discussed in a later section on brands),
however the form I am referring to is the form the paint takes once it's been sprayed on a
surface. Spray paint, as it's used by graffiti writers in the modern graffiti subculture, is
itself an artistic medium and the art graffiti writers produce is the spray paint, and vice
versa, the spray paint is the art they produce. In this sense, the quality of the spray paint
in terms of its function determines the quality of its form in the art it is used to produce. 14
In trying to discern the "chicken and egg" dilemma regarding spray paint in terms of
which is more important, form or function, Molotch phrases it perfectly, "We are, with
form and function, with art and economy, at home not just with chicken and egg, but
chicken in egg and egg in chicken." (88) The form is its function and its function is its
form. What then are the qualities upon which one can evaluate the functionality of spray
paint and the form it takes when used?
Spray paint, as it is used by graffiti writers in the modern graffiti subculture, has
many qualities that are desired, and in some cases, necessary, for its effective use as an
artistic tool and medium. Furthermore, these qualities must be assessed in relation to the
three forms modern graffiti takes, which were discussed earlier: tags, throw-ups and
pieces.
The first characteristic of spray paint upon which its quality can be assessed, and
perhaps the most important for graffiti writers, is opacity. How well does the paint cover
the surface it is sprayed onto? If a spray paint is of poor quality, it might take many coats
to cover an area; thus contradicting its intrinsic value as a fast and efficient tool for
writing graffiti. This applies to all three forms of graffiti, tags, throw- ups and pieces but
has particular relevance in painting pieces. In regard to pieces, another problem with poor
quality spray paint that does not have a high degree of opacity is that graffiti writers
typically overlap many layers of different colors in order to produce complex designs in a
piece. If any layer of the paint applied reveals the layer beneath it, or if the color of any
layer is altered by a color in the layer beneath it, the interplay of the different colors in
the different layers is confounded; thus ruining the complex design the graffiti writer is
attempting to paint. Opacity is also a concern in that much of the time, graffiti is painted 15
over other graffiti, and graffiti writers don't want the graffiti belonging to the person they
just painted over showing through their own graffiti. This is especially true when graffiti
is painted over other graffiti as part of a feud between writers – commonly known as a
"battle" in the graffiti subculture. (The difference in the opacity of different paints is
depicted in image 5, depicting two throw-ups, one filled in very solid, and the other
showing the wall underneath through its partly transparent fill in.)
A second important characteristic of spray paint to graffiti writers is pressure.
Paint that is canned under high or low pressure is ideal for different uses in creating the
three different forms of graffiti. In painting tags and throw- ups, writers are after quantity
rather than quality in the style of their work. That is, they want to paint a lot and fast. For
these purposes a spray paint that expels its contents under high pressure is ideal for
tagging or filling in a throw- up as fast as possible. However, when one considers the
production of pieces, the opposite is true. Perhaps graffiti writers might want a high
pressured spray paint to fill in the initial layer, but the following layers, the ones that
people see in the finished product are intended to be applied smoothly and consistently.
Lines have to be straight, avoiding drips, blending colors and achieving many of the
aerosol effects of spray paint in graffiti are difficult to accomplish when paint is released
under high pressure. Therefore, when doing pieces, especially the intricate "wildstyle"
pieces that are often done as legal murals, where artists have as much time as they need to
get every line and every spot just right, a spray paint with low pressure is desirable as an
artistic medium.
A third important characteristic for determining which paints are of superior
quality is durability. Paints that wash away easily or fade with time and weathering are 16
undesirable for a graffiti writer's purposes. Writers want their gr affiti to last, if it isn't
painted out by authorities or painted over by other graffiti writers, and in order for it to
last it has to be able to endure the elements and the ravages of time. Therefore writers are
especially keen to notice how long different paints last and how well they stand up to the
weather and time. Those that last the longest on different surfaces, and maintain the
integrity of their color over time, are most desired by graffiti writers. However,
consideration is tempered by the fact that different paints last longer on different surfaces.
For example paints with a flat texture tend to cover better and last longer on porous
surfaces like concrete or wood. Whereas, paints with a glossy finish tend to cover better
and last longer on non-porous surfaces such as metal. (A lack of durability can be seen as
a result of the use of substandard quality spray paints in image 8. One can see that the
outline of the piece has faded with time and failed to cover areas of the fill in, which was
done with a better quality paint.)
A fourth characteristic that graffiti writers use to determine preferences in spray
paints is the range of colors different brands offer. Since graffiti writers use spray paint to
produce art, they want to get as many different colors as they can possibly have available
to them. Brands that offer a larger range of colors, and particularly bright eye-catching
colors, are preferred by graffiti writers because they offer more possibilities of color
combinations that can be used in the graffiti they produce. This is especially important
for the painting of pieces, which demand many different colors used skillfully in complex
designs.
A fifth characteristic of spray paint that is important to graffiti writers in the
graffiti subculture is the smoothness and consistency of the paint as it is expelled from 17
the can. When expelled from an aerosol can, spray paint can come out chunky and in
irregular consistencies, or it can come out smooth with a very consistent viscosity, thus
rendering very smooth and consistent lines and patterns, however the writer uses it.
Graffiti writers tend to prefer for paint to be expelled from spray paint cans in a very
smooth and consistent way because this gives them greater control over the paint as it is
applied to a surface. Especially in the production of pieces, smoothness and consistency,
which enable the ability of a writer to control the flow of paint from the can is incredibly
important in order to be able to paint designs of any complexity. With an irregular
discharge of paint, uncontrollable mistakes can occur that are not the fault of the writer
painting the graffiti. Where this is not as important for painting tags and throw- ups,
where the quality of style is less important than the quantity of production, in the
production of pieces it is extremely important. (Differences in consistency can be seen in
image 2, which depicts various tags done with different paints equipped with different
nozzles. Some of the tags consist of solid lines, whereas others seem to sputter or drip.
The tags on top are flared out, a common technique done with the use of certain nozzles.)
A sixth characteristic of spray paint cans, which is very important for graffiti
writers, is a can's compatibility with any number of custom nozzles that are often used by
graffiti writers for a number of different effects and uses when painting tags, throw-ups
and pieces. There are customized nozzles that release the paint from a spray paint can in
large quantities at high velocity and which produce lines that are as wide as a softball or
even wider. These nozzles are preferable for doing large tags or filling in throw- ups as
quickly as possible. In contrast, there are custom nozzles that release the paint out of a
can at a very low velocity and in very narrow, precise lines, or in a very fine mist. These 18
nozzles are preferable for painting complex pieces, where small and precise designs
require paint to be released at a minimum velocity so as to have the greatest control
possible over the release of the paint from the can. There are many other nozzles, which
provide different combinations of velocity and line width, and even some that do not
even produce a straight line, but rather release the paint from the can at extremely high
velocity in giant messy swaths that pour and drip down walls when sprayed with them.
These nozzles have recently become popular for writing huge messy tags that take up
large spaces and can be sprayed at a distance high above one's head, as if done with a fire
extinguisher or water hose. (Again, refer to image 2 for depiction of how the use of
different nozzles affects the way the paint is released from the can.)
There are dozens of different customized nozzles that graffiti writers use and the
compatibility they ha ve with different spray paint cans is very important to graffiti
writers. However, since the size of different nozzles' tube that inserts into a spray paint
can and the size of the receptor in the top of a spray paint can where the nozzle is plugged
into are not standardized. Some spray paint cans have a receptor that is large enough to
accommodate any nozzle, where as some spray paint cans can only be used with certain
nozzles, which have a smaller tube that inserts into the can's receptor. In addition,
matching spray paint cans with different amounts of pressure with nozzles intended to
release or retard the velocity of the paint being sprayed is another consideration. A nozzle
that releases paint at a low velocity in thin crisp lines, is best used with a spray paint can
that has a low pressure, and vice versa.
The main point in considering each of these characteristics of spray paint is that
there is a tremendous amount of consideration that takes place on the part of graffiti
writers when selecting different spray paint cans for different purposes.
Brands
Having considered the different characteristics upon which graffiti artists evaluate
the functionality of different paints, one must then naturally turn to an examination of
which brands are the most popular and why. This is an analysis based on function as well
as form, in both the sense of the form the can of spray paint itself takes, but also the form
the paint that comes out of the can takes once it has been used. Indeed both of these
forms are a part of the functionality of the paint and serve to entice graffiti writers to
prefer certain brands of paint over others, especially when considering designer spray
paints designed particularly for use by graffiti artists.
Naomi Klein's analysis of brands and branding proves very informative for an
analysis of spray paint brands. The observation that, "corporations may manufacture
products, but what consumers buy are brands" is just as applicable to spray paint in the
modern graffiti subculture as to anything else. (7) However, what is interesting is that in
contrast to the story of brand- name advertising told by Klein, name-brand spray paints
that are sold at hardware stores and mega stores across the country are conspicuously not
marketed to the graffiti subculture, though it would be hard to imagine that graffiti
writers are not major consumers of these products. In contrast, designer brands of spray
paint were particularly designed and created for the modern graffiti subculture, and are 20
heavily marketed to graffiti writers using the same sort of techniques any other product
might. In fact the brand name war among designer spray paints is so competitive that one
company stole another company's brand name in order to start its own entry in to the
designer spray paint business.
In considering different brands of spray paint, one might first look at shelf brands
that are sold to the general public in hardware stores and superstores like The Home
Depot and Wal-Mart across the country. These name brands are widely known and
widely available to American graffiti writers, since they are sold at major stores that have
locations all over North America. Their availability makes them among the most
commonly used paints in the modern graffiti subculture in North America.
Perhaps the most popular brand of spray paint for graffiti writers in North
America is the Rust-Oleum brand. Commonly known as Rust-O, this brand of spray paint
is produced by a company that specializes in rust-preventive exterior paints, and only
moved into the spray paint business when aerosol can technology became available after
the Second World War. Not unlike the invention of the portable pressurized aerosol can,
the story of the invention of rust-preventive Rust-Oleum paint is another interesting
example of what Molotch calls "lash-up". (2) A Scottish-born captain of a sea- faring
fishing ship, by the name of Robert Fergusson, happened to realize that when fish oil
spilled on the rusty metal deck of his ship, the corroding effect of the salt water on the
metal was retarded. Wherever the fish oil had been spilled, the advance of the corrosion
simply stopped. That observation gave Captain Fergusson the idea of combining fish oil
with paint in order to produce a rust-preventive paint that could be used to protect against
and retard the spread of rust on his ship. After settling in New Orleans, the captain spent 21
years of smelly experimentation with paints and fish oil in an attempt to formulate a fish
oil-based paint. In 1921, he perfected a fish oil-based paint that stopped rust, dried
overnight, and didn't smell like fish. As Molotch suggests, the invention
of a paint like this depended on a number of different factors "lashing- up" together at the
same time in order to produce this new product. (Image 9 shows Captain Fergusson at the
first Rust-Oleum factory in New Orleans.)
The invention of a rust-preventive paint, and its later embodiment in an aerosol
can was important for the modern graffiti subculture that emerged half a century after his
invention, because a rust-preventive paint satisfies one of the key characteristics that
graffiti writers base their preference for spray paint on, durability. Rust-Oleum paint not
only makes the surface it is applied to more durable against the elements, but the paint
itself is extremely durable against the ravages of weather and time. It stays adhered to
surfaces and holds its color long after other spray paints have faded away. Compared to
fine art supplies it is like the difference between oil paint and water color in terms of
durability. This makes it very popular among graffiti writers who swear by its superiority
over other brands, which tend to fade after 6 months to a year. It also is also a very
opaque paint that covers surfaces much more effectively than other big name-brands.
Opacity is also a characteristic that is important for graffiti writers. Another reason
graffiti writers prefer Rust-Oleum is the vast number of different colors offered by RustOleum and its sub-brands, American Accents, Painter's Touch, and America's Finest.
Color selection is another major characteristic upon which graffiti writers evaluate the
quality of different spray paints. (Image 10 shows a can of Rust-Oleum spray paint. 22
Images 11 and 12 depict two of Rust-Ole um's sub-brands, Painter's Touch and American
Accents.)
Statements by graffiti writers in interviews and on blogs in websites attest to their
preference for Rust-Oleum, among name-brand paints. On one website that interviews
famous graffiti writers with a standard set of questions, one questions asks writers,
"which brand of paint do you prefer using and why?" (Skateallcities.com) In response, a
number of the writers interviewed state their preference for Rust-Oleum. One reputable
writer from Miami states in response, "Anything by Rusto is the best!" Another famous
writer from Los Angeles simply responds, "Rusto. It lasts."
Graffiti writers evaluate the quality of this paint based on the form that it takes
when used, which is synonymous with its function. Aesthetically, the paint looks good
when it's sprayed on a surface and it stays looking good for months and even years after,
despite harsh weather conditions. This is a perfect example of how form is function and
function is form. (Molotch, 2005) The form the paint takes on a wall reflects the quality
of its function as an art medium.
Krylon is a historically very popular brand in the graffiti subculture, which has
fallen out of favor in the last 5 or 10 years due to a decline in the quality of the paint.
Although it is a must-mention when talking about spray paint and the modern graffiti
subculture. Krylon was perhaps the first widely favored paint in the graffiti subculture,
featured in many works of graffiti, particularly during the 1980's. Pieces featuring a can
of Krylon, with its distinctive 5-dot logo, are in abundance in photographs from the time,
such as many of the pictures of graffiti in Chalfant's books. The preference for Krylon
has always been tied to its smoothness and consistency of release from the can. With the 23
proper nozzle attached, Krylon spray paints produce clean, uniform, sharp lines that tend
to drip less than other popular brands like Rust-Oleum that can sputter or chunk when
coming out of the can. Krylon is not as popular as it once was though, in large part
because the quality of the paint, in terms of opacity and durability, has greatly diminished
since about the mid to late 1990's. However, graffiti writers who specialize in doing
complex pieces especially prefer Krylon, even toda y. Although Krylon isn't as opaque or
durable as other paints, when painting a complex piece, especially in a legal location,
many layers of paint are used, which makes up for the lesser opacity and durability that a
single coat might have. Krylon is also a very widely available spray paint, being carried
at any number of mega stores like Wal-Mart and K-mart, as well as arts and crafts chains
like Michael's and Pearl Art. Krylon has been since 1965, the largest US producer of
spray paints. (Krylon.com) (Image 13 depicts a can of Krylon spray paint.)
The images of cans of Krylon spray paint in works of graffiti, identified by its
iconic logo, is in itself evidence of the popularity of the brand in the graffiti subculture in
the past. In addition, interviews with graffiti writers, particularly piecers, on the internet,
show that even today, despite its poorer quality, Krylon is still the "old- faithful" of spray
paints in the graffiti subculture. When asked the question about which brands of paint
they prefer, graffiti writers who were interviewed sometimes praised both Krylon and
Rust-Oleum. One responded, "Krylon for the sharp clean cuts and Rusto to blast shit
out." (Skateallcities.com) (Image 14 shows a can of Krylon depicted in a work of
graffiti.)
In addition to these two popular and widely available brands that are sold in
hardware stores, art stores, and mega stores all over the country, there are also a number 24
of poor quality brands that graffiti writers lump all into one group. Some call it "trash
paint" (Ferrell, 64), others call it "dollar paint" or "99 cent paint" (reflecting it's price).
This paint is generally not the preference of graffiti writers and excessive use of it is a
sign of lesser status, but many graffiti writers, in the interest of frugality given limited
budgets, use trash paint to do the simple jobs, like fill in large spaces, draw out sketches,
or pay down a first coat. Most graffiti writers, if they have to pay for paint, would prefer
to pay $1 than the $3 Krylon usually goes for, close to $4 Rust-Oleum typically goes for,
and the $5, $6 and $7 designer paints go for. (Image 8 depicts a piece outlined with trash
paint, and demonstrates its substandard quality.)
I say "if they have to pay for paint" because stealing spray paint is an age-old
tradition in the modern graffiti subculture. Rejecting a "culture of consumption", the
modern graffiti subculture has made the practice of shoplifting its essential tool, spray
paint cans, an important part of its subculture. Many graffiti writers consciously reject a
"society organized around purchase" as described by Stuart Ewen in his book, Captains
of Consciousness. Ewen states bleakly that, "The acceptable arena of human
initiative is circumscribed by the act of purchasing." Howeve r, the modern graffiti
subculture rejects this state of affairs, acceptable or not, and strongly encourages the
stealing of spray paint to support one's graffiti career.
Evidence of this sentiment is evident in many forms. Ethnographic research on
the graffiti subculture has always turned up the ideal of stealing spray paint rather than
buying it among graffiti writers. Castleman found that virtually all of the spray paint used
by the early subway writers in New York in the 1970's and early 1980's was shoplifted, a
practice known as "racking" among the writers. (46) He also discovered that there was 25
even a sort of black market for spray paint among the writers, pointing out that, "Some
rackers are better than others, and those who are best at it will often take more paint than
they can use, selling the excess to other writers who are less skilled at stealing or more
timid about it." (47) Evidence of racking among contemporary writers is also evident in
interviews of writers on graffiti websites. When asked if she "racks" or buys her paint
one female graffiti writer states, "I can't remember the last time I bought paint."
(Skateallcities.com) This may be an exaggeration, and while many graffiti writers do buy
paint, there is an emphasis in the graffiti subculture on stealing paint whenever possible.
Writers who purchase their paint are often considered suckers by their peers. (Image 15
depicts boxes of paint stolen by graffiti writers. Notice that all of it is of the Rust-Oleum
brand.)
Having discussed the preference for stealing and aversion for buying spray paint
in the modern graffiti subculture, I can now turn to what is paradoxically the most
preferred and, at the same time, least used spray paints in the graffiti subculture, designer
spray paints. Designer spray paints are designed and produced specifically for use by
graffiti writers. Different cans for different purposes are produced and marketed
specifically for the graffiti subculture. However, these designer spray paints are the most
expensive spray paints available, costing as much as on and a half, to two or three times
as much as a name-brand spray paint. Further preventing writers' access to them is the
fact that they are generally not sold in large retail stores where they can be shoplifted.
The only retail stores they are sold in are small retail shops that cater to the hip hop and
graffiti subcultures, and one art store chain. However, wherever they are sold, their
obvious potential as a target for shoplifting leads store owners and employees to keep 26
them under tight observation, if they aren't completely locked up or behind a counter in
order to prevent shoplifting. Therefore, most graffiti writers, who are poorly funded, must
use them sparingly, if at all, since they are so difficult to steal and so expensive to
purchase. The dominant brands of spray paint that are commonly used in North America,
as well as in Europe, were all created and are all produced in Europe and shipped to
North America.
The story behind the creation of designer spray paint, known to North American
writers as "Euro-paint", is another example of a "lash-up." (Molotch, 2005) The first
designer spray paint was created in Barcelona, Spain, under the brand name Montana. In
1993 two graffiti writers in Barcelona decided to open a retail shop catering to the hip
hop and graffiti subculture. They desired to have a line of spray paints produced for use
by graffiti writers and approached a local paint company with the idea. Although the
company was not convinced of the profitability of marketing spray paints to graffiti
writers, Jordi Rubio, the commercial manager at the spray paint factory was very
intrigued by the two writers' idea and contacted them a year later in order to ask that they
become partners with him and help him develop a brand of custom spray paints for the
market of graffiti writers. In 1994 the two writers organized a graffiti event called
"Aerosol Art" and invited writers from all over Europe to come and paint, offering to
provide free paint. At the event they dis tributed the first cans of Montana spray paint and
graffiti writers have been using it ever since. Shortly after they developed their premiere
line, "Montana Hardcore" and later in 2001 released another line of spray paint under the
name "Alien". The Alien sub-brand is canned with less pressure so as to be more useful 27
in painting complex pieces, where writers want the paint to exit the can at as low a
velocity as possible.
The "lashing- up" of all these different actors at the same time is what led to the
development of designer spray paints in the graffiti subculture. It is no surprise that
graffiti writers wanted access to paint that was specifically developed for their needs and
uses, but it took the combination of graffiti writers knowledge of the subculture, and a
producer's knowledge of production, for that dream to become a reality.
However the story doesn't end there. Since Montana spray paint was first
introduced, a large market for it quickly developed as a result of skillful marketing using
different methods, as well as writers becoming aware of its superior quality due to wordof-mouth interactions among writers. Some of the company's marketing tactics include
running advertisements in graffiti magazines and on graffiti websites, and sponsoring
famous graffiti writers by giving them paint to use in their own graffiti. In 1997, due to
high demand among graffiti writers, the company began exporting spray paint across
Europe and to North America. In the same year the company signed an agreement with a
German company, L&G, for the exclusive distribution rights in Germany, and a number
of other countries in Europe. L&G then conspired with Motip Dupli (known to
Americans as Dupli-Color) to manufacture and label spray paint cans for L&G to be sold
to the market Montana had established. Motip Dupli, recognized the profit potential of
the graffiti market for spray paints and made an offer to buy Montana from Jordi Rubio
and the two writers who helped him start the company. The offer was refused. L&G then
began a campaign against the fledgling Montana company that sought to discredit the
company and steal its customers. Among other efforts, L&G conducted a patent search 28
and discovered that Montana did not have a patent for the brand- name "Montana" and the
patent for that name was held by a Swiss company, unrelated to the spray paint business.
L&G then signed a deal with the Swiss company to pay it royalties for exclusive use of
the name "Montana" and began labeling and marketing its paints, manufactured by Motip
Dupli, under the brand name Montana. Not only had L&G stolen customers and markets
from the company it had signed an agreement with to be merely a distributor, but it had
also stolen company's popular brand name. Thus a dichotomy was born between the
authentic Spanish Montana, and the imposter German Montana. Since then the Spanish
Montana company has begun labeling its spray paint cans "MTN" in order to avoid
further lawsuits and harassment from the company owned by L&G, although it still
largely goes by the name Montana. The dispute between the two companies still remains
unresolved to this day. (Images 16 and 17 depict cans of Spanish Montana's Hardcore
and Alien sub-brands. Images 18 and 19 depict cans of German Montana's Black and
Gold sub-brands.)
The difference between the two Montana brands though is not lost on graffiti writers and
the word is out in the subculture that the "real" Montana is the Spanish one, which
continues to market its Montana Hardcore and Alien sub-brands around the world. It still
remains the preferred brand of designer spray paint between the two brands, but the
fraudulent German Montana maintains sales due to its distribution rights in certain
countries and the ignorance of some writers regarding the difference between the two.
Graffiti writers' own comments on graffiti web blogs testify to their preference for
Spanish Montana, out of loyalty to the authentic brand, if not for reasons of quality. On a
popular blog for graffiti writers there is even a thread specifically devoted to the 29
difference between the two Montana's. One writer comments, "Yeah, I was reading that
German montana found out that Spanish MTN didn't have a copyright on the name
"Montana", so they stole the name, then copyrighted it and that's why Spanish Montana
uses the MTN logo now. That, and to avoid confusion on which brand is which. German
Montana is good paint, but even most of the colors in the "Black" line are bitten from
spanish MTN. They even cite the item #'s of MTN next to the German item #, so you can
color match.I'd rather go with the original." Another writer praises the Alien sub-brand
of the Spanish Montana company, "Alien all the way, pressure control and coverage
second to none. You can't fuck with the color pallet either." (Bombingscience.com)
In returning to the concept of form and function, the design of the cans the paint is
contained in is another interesting aspect of this conflict. Whereas previously I have
discussed form in terms of the aesthetic form the spray paint takes once it has been used
on a surface in the production of graffiti, I now turn to the form the actually can itself
takes in terms of the design and decoration of the label it is wrapped in. The label the
Spanish Montana uses does not have any graffiti lettering or any representations of
graffiti on it. In contrast, the German Montana has labels designed for attracting the
attention of graffiti writers, with graffiti lettering incorporated into the design and logo. I
can only speculate, but I would think that the fraudulent German Montana company uses
a more outwardly graffiti stylized form in order to trick unknowing graffiti writers into
thinking it is the "real" Montana. It is also worth pointing out here that the name-brand
paints like Krylon and Rust-Oleum that are sold widely in harware stores, art stores, and
mega stores, also lack any kind of graffiti styled designs on their labels. (Images 10, 11, 30
12, 13, 16, 17, 18, and 19 depict the form of all the different spray paint cans. Notice the
graffiti styled lettering on the cans of German Montana spray paint in images 18 and 19.)
Conclusion
In analyzing spray paint as a cultural object it is clearly apparent how incredibly
important spray paint is to the modern graffiti subculture. It took the fortune of a number
of "lash- ups" to come together to bring spray paint to where it is today. However, spray
paint is not just another object, it is the object that the whole subculture is based on and
the subculture would never have come to exist how it does today if it wasn't for that
simple object, the spray paint can. In this regard one can conceive of spray paint itself as
possessing some sense of agency as an object. This agency is apparent both on the more
superficial level, that the availability, or lack thereof, of different spray paints influences
the graffiti that the subculture produces; but it is also apparent on a more subtle level, in
that spray paint is the modern graffiti subculture. The two are intimately and inseparably
linked together, and in fact they are one entity.
Molotch explains how retailers often affect the merchandise that is produced for
sale in their stores. What products and forms they take is often determined by retailers
who want products to fill different niches that they need in the ir stores. Therefore
designers and producers of merchandise produce items to be sold specifically in those
stores. If it wasn't for those retailers the products would have been designed or produced
differently. In a sense, what they produce is at the mercy of what retailers want them to
produce.
However, with spray paint, this idea goes a step further, in that the graffiti that
writers paint is largely affected by what spray paint is available to them. In order to paint
the best art they can, graffiti writers need access to the best paints they can get. If they
can't get good quality paints, the art they produce suffers. They are, in a way, both
enabled and constrained by the range of mediums available to them. Although spray paint
is an indelible part of the graffiti subculture, the availability of spray paint itself and
different spray paints in particular has enabled the modern graffiti subculture to flourish;
the lack of availability or difficulty in obtaining spray paints of higher quality can retard a
graffiti writer's potential to create the best graffiti he or she can paint.
However, conceiving of objects and agency in this way only skims the surface of
the concept of an object having agency. On a deeper level, one can really conceive of an
object as having agency in that it is such an integral part of a cultural experience that the
object and the culture are inseparably bonded together as one. The meaning that spray
paint embodies as an object is deeply imbedded in its role as a cultural object in the
modern graffiti subculture. It might seem odd to think of a physical object as having
agency or role or status, those terms seem to be applicable to people not things, but that's
what spray paint is in the graffiti subculture. It has agency, plays a role, and confers
status.
Alfred Gell discusses the meaning of objects and their capacity for agency in the
context of art in his book, Art and Agency. His analysis sheds light on the concept of
agency in regards to objects, and applies equally well to spray paint in the graffiti culture.
He places emphasis on art as having agency in the sense that it transcends the boundaries
of being merely another inanimate object. Gell argues that this is a superior way of 32
viewing an object such as a piece of art, "because it is pre-occupied with the practical
mediatory role of art objects in the social process, rather than with the interpretation of
objects 'as if' they were texts." (6) Objects aren't just some inanimate thing that can be
deciphered by physical examination; they actually play a meaningful role in social
processes within a culture. They don't just have meaning, the confer meaning.
Furthermore, the meaning an object has and confers is determined within the context of
the culture it is a part of.
Is a can of spray paint really just another tool for use around the home or
workplace, for small crafts or odd jobs, or is it much more than that? It is much more than
that and that much more is because it is a part of this wider sub-cultural phenomenon that
is modern graffiti. As Gell puts it, "Nothing is decidable in advance about the nature of
this object, because the theory is premised on the idea that the nature of the art object is a
function of the social-relational matrix in which it is embedded."
One can not understand an object like spray paint by itself. Rather, one needs to
understand spray paint, and the agency it embodies, as a function of the relational context
of the social interactions within the modern graffiti subculture. Only then, can one truly
understand the significance of spray paint as a cultural object.33
Sources Cited:
download PDF file
by:
Robert Weide
Objects, Consumption and Desire
Professor Harvey Molotch &
Professor Barbara Kirshenblatt-Gimblet
Aerosol paint, commonly called spray paint, must ha ve been an object that wascreated without any idea of what it would create. What it created was the modern graffitisubculture. The history of spray paint and its progeny, the modern graffiti subculture, is astory of how everyday objects become what they are today and how they take on a life oftheir own, far surpassing whatever benign use they were originally intended for and
taking on a meaning of their own in a cultural context. This is a paper that seeks to explore that story and explain how objects and people can interact to produce something far beyond either the object itself or the people who use it. It necessarily entails a journey that explores how objects affect people and how people affect objects and how the complex relationships between thembring objects, people and culture together to enrich people's lives and enable them to reach out and affect the world around them. This is also a story of how "lash-ups" come together at specific times, in specific places, under specific conditions and cir cumstances and among different people, for spray paint and the modern graffiti subculture to come to be what it is today.
The Origin of Aerosols
The origin of aerosol paints can be best situated in the history of aerosol technology more generally as a medium for dispensing various substances. The concept of aerosol dates all the way back to the late 18th century when pressurized carbonated beverages were introduced in France, and in 1837 a man by the name of Perpigna 3 invented the valve that provided for an easier way of filling your cup. Rather than pouring your drink into a cup, you could spray it into the cup. As early as 1862, aerosol technology was being incorporated into metal cans for the first time, but they were far too large and bulky to be of any practical use. In 1899 inventors Helbling and Pertsch patented the use of methyl and ethyl chloride as a propellant for aerosols, and in 1927 a Norwegian engineer by the name of Erik Rotheim patented the first aerosol can and valve that could hold produc ts and dispense them with the use of propellants. However the Second World War is what really pushed aerosol technology in the direction of its current form, and place and region had a lot to do with how that came to be. Molotch states the concept, in its most basic form, that "Places produce stuff." (161) This doesn't just mean that stuff is made somewhere. That much is obvious, everything is made somewhere. What is significant about places and regions is that they have certaincircumstances, resources and characters specific to them that influence and enable the development of certain products. For example, certain places and regions become nodes of production and innovation for certain products because certain conditions in those places and regions facilitate their innovation and production, such as leather working in San Croce, a small town in the Italian region of Tuscany. The production of leather products in San Croce is
no accident. Rather it is due to certain circumstances specific to the region such as climate, culture and the availability of nearby sources of raw cowhides. (Amin, Ash, 1992) The leather tanning industry in San Croce is a result of a culture of specialized labor to produce leather goods, but also a result of the availability and quality of local raw ingredients and the climate conducive to working with them. 4 The development of aerosol devices as we have come to know them, was also the result of regional circumstances. During WWII the US government had stationed hundreds of thousands of soldiers and marines in the South Pacific and as a result of their activity in this region the American servicemen became highly susceptible to diseases, such as malaria, which are spread by insects. In order to try to find some way to protect servicemen from these buzzing pests, the US government funded research to find some portable technology to spray these disease carrying insects and thereby protect American servicemen during their tours of duty in the South Pacific.
As a result of this funding, in 1943, two researchers from the Department of Agriculture, Lyle Goodhue and William Sullivan, developed a small portable can pressurized by a liquid gas, a fluorocarbon, that was capable of spraying an antiinsecticide agent to combat the plague of insect-borne disease that was affecting American servicemen in the South Pacific. These aerosol insecticides became available to the general American public in 1947. This history is an excellent example of how "lash-ups" come together to manifest themselves into one object, specific to that time, place and circumstances or conditions. Molotch explains this phenomenon in the design and production of objects in this way, "Somehow all the elements come together more or less at the same time and in a given geographic place that operates not just as a container, but as a crucible that yields up one particular product and not another." (2, emphasis added) In the case of aerosol cans, without the involvement of American servicemen in the South Pacific during WWII, and their susceptibility to insect-borne disease, the development of a practical and portable aerosol can would not have been developed at that time, lacking those circumstances and 5 conditions that were the impetus for its creation. It was those people suffering in that place, at that time, which led to the development of a true aerosol can, like the aerosol cans that later came to contain paint. Furthermore, the development and design of the portable aerosol can was the result of a globalized chain of production, from the servicemen's need in the South Pacific, to the labs of the Department of Agriculture in the United States. All of these circumstances, resources, places and people came together in order for the aerosol can to be manifested at that time. As Molotch puts it, "Somehow, everything must… 'lash-up' such that the otherwise loose elements adhere; only then can there be a new thing in the world."
The story of aerosol paint continues shortly thereafter, when in 1947 a 27 year old inventor named Robert H. Abplanalp came up with the last essential part of what to become the prototypical form of aerosol cans, which is the crimp on valve. The crimp on valve enabled the removal, replacement and manipulation of valve nozzles on portable aerosol cans, which in turn enabled liquids to be sprayed from a pressurized can for the first time, and in controllable ways. (The importance of nozzles to aerosol paints and the modern graffiti subculture will be discussed in a later section.) Abplanalp also began the use of an inexpensive, practical and durable aluminum can, which is the standard for all aerosol cans through the current day. Abplanalp's company became a multi-million dollar supplier of aerosol cans, although his cans were used for the dispensing of liquefied creams, foams and powders, mostly for hygienic use, and not spray paint. His Precise Valve Corporation manufactured billions of aerosol cans per year for decades. Finally in 1949 someone got the wonderful idea of putting paint in an aerosol can, and what we now know as spray paint was born. The man credited with the invention of aerosol paint in a can is Edward Seymour, although he credits his wife Bonnie with having come up with the idea. Seymour founded his company Seymour of Sycamour, Inc. to manufacture his spray paints and the first color produced was aluminum, which, it just so happens, is perhaps the most popular color used to fill in letters in works of illegal graffiti due to its opacity, coverage and speed of application, compared to other colors. (The functional qualities for spray paint will be discussed in a later section.)
Literary Sources Graffiti has often been a subject of interest in the popular press, particularly after the widespread emergence of the modern graffiti subculture in the 1970's and 1980's. A modest number of academic works have also been dedicated to the study of the modern graffiti subculture and each of them discusses the importance of spray paint for the graffiti subculture as a tool and medium for writing graffiti. The importance of spray paint to the modern graffiti subculture and the symbiotic relation ship between the object and the subculture are important concepts that have not been ignored by scholars of the graffiti subculture. However, the depth of description and analysis of this relationship to date, has been at best cursory. In a book from the 1970's entitled Street Writers, a veteran graffiti artist who has been an active graffiti writer in Los Angeles for over 50 years, Chaz Bojorquez, stated the significance of spray paint when it was introduced to the general public in the late 1940's, "Old graffiti was always done with a brush. But spraycans and felt markers have changed everything." (Cesaretti, 1975) Susan Phillips further examined the impact that the introduction of spray paint as a tool and medium had on the emergence of the graffiti subculture. She also notes that graffiti tools used by Chicano gang youths prior to the emergence of spray paint in the late 1940's consisted mainly of buckets of paint and brushes, a piece of chalk or charcoal, a shoeshine bottle with its characteristic rectangular sponge, or a pocketknife, used for inscribing one's name or neighborhood in a pliable surface. (16) However, as Phillips points out, lugging around a bucket of paint and brushes to apply it is less than convenient and more than conspicuous. Although other tools and mediums for writing graffiti were usable, they could be difficult to apply to many rough or irregular surfaces, and less than permanent. What was needed was something that was easily applicable to a wide range of surfaces and materials, somewhat durable once applied, and, equally important, easily concealable. The can of spray paint perfectly fit all of these criteria and its introduction enabled the development of writing graffiti and eventually, the emergence of the modern graffiti subculture.
The central form in graffiti is lettering, and the introduction of spray paint as a
tool and medium for writing graffiti greatly accelerated the size, complexity and design
of lettering in Chicano gang graffiti at the time. As Phillips states, "The most fascinating
changes ever since the introduction of spray paint have been in the presentation of letters
themselves." (188) Of course in the 1950's and 1960's, Chicano gang members writing
graffiti in California might not have for-seen the eventual emergence of the modern 8
graffiti subculture and the corresponding development of the complex lettering designs
and artistic expression that the availability of spray paint has enabled for generations of
young people around the world. It is absolutely astounding how one simple object, an
innocuous tool intended for small fix- it jobs around the home or workplace, could
burgeon an entire subculture committed to the use and mastery of that object as an artistic
medium.
With the heralding of the modern graffiti subculture in the 1970's and early
1980's, particularly in New York, and around the western world, interest in the modern
graffiti subculture increased and was answered by the publishing of two popular books
documenting the graffiti subculture, Subway Art in 1984 and Spray Can Art 1987 by
photographer Henry Chalfant, along with his co-authors, Martha Cooper and James
Prigoff. The title of the second book points to the significance and importance of spray
paint in the graffiti subculture and the application of it as a medium to surfaces far
beyond the metal sided subways where it emerged in New York in the 1970's. The works
of graffiti documented in the book also demonstrate the centrality of spray paint to the
graffiti subculture in its being perhaps the most common form (other than lettering)
represented in works of graffiti from around the world. Cans of spray paint are featured
prominently in photographs of graffiti from New York (13, 27), Chicago (47), San
Francisco (51), Los Angeles (56), London (59), and Paris (71), among other places.
Interestingly, many of the images from graffiti in America also identify the cans of spray
paint pictured in the works of graffiti as a particular brand pf spray paint, Krylon, which
has traditionally been the preferred brand of spray paint for graffiti writers in North 9
America. (A full discussion of brands and their relationship with graffiti writers and the
graffiti subculture can be found in a later section.)
In what was the first academic examination of the modern graffiti subculture,
Craig Castleman also points out the importance of spray paint as a medium for writing
graffiti. In describing the three principle forms graffiti takes Castleman explains the
difference between tags, throw- ups and pieces. Tags are the most basic form of modern
graffiti, which typically consist of a signature of a graffiti writer's name or crew
affiliation in a single color. (26) He states that "Spray paint was the first tool employed
for tagging, in the late 1960's" because "spray paint enables a writer to make a very large
mark," and to do so easily and quickly. (26) However, in terms of graffiti inside of
subway trains, which is the focus of Castleman's book, spray paint was inconvenient in
that it emits a strong odor that draws attention to a writer executing a tag, whereas other
tools such as markers were more covert for use on a crowded train. Spray paint was most
useful for writing on the outside of trains, where size and ease of application are
everything. (Images 1 and 2 depict tags. 1 shows the size that tags can take and 2 shows
the different ways tags can look depending on what paint, no zzle or marker is used.)
Although spray paint is one of a number of instruments that can be used for
tagging, it is the only tool that is practical for use in producing the other two main forms
of modern graffiti, the throw-up and the piece. Throw-ups are typically two to four
letters, indicating a writer's name, which are painted using spray paint in a bubble style
lettering that can be executed quickly and with a minimal amount of paint. They consist
of using one color to fill in the letters and another, contrasting color, to outline the forms
of the letters. (29-30) On subway cars throw-ups are the most efficient way of writing 10
ones name in mass quantities so as to "get up" as much as possible. With a mere two cans
of spray paint in contrasting colors, a writer can execute a number of throw-ups in
minutes on the exterior of subway cars. (Images of throw- ups are depicted in images 3, 4
and 5. As the images demonstrate, throw- ups consist of simple bubble shaped letters
filled in with one color and outlined with a contrasting color.)
The other principle form of modern graffiti is the piece (short for masterpiece)
which is the highly stylized complex lettering designs graffiti is known for. (31) In order
to execute a piece, especially in a precarious position like on the side of a subway car,
spray paint is an essential tool and medium. Pieces require the covering of substantial
spaces, combined with intricate designs using many different colors within small spaces
through out the larger area of the piece as a whole. And, as with all illegal graffiti, must
be executed in as little time as possible. (Images 6 and 7 depict complex pieces done
using only spray paint as a medium. One can get a sense from these images how difficult
it would be to produce such a complex design on such a large space with brushes or any
other medium, in the span of one day.)
Spray paint is the only medium that can be used to execute these large and
complex designs in any practical amount of time. Using spray paint, a graffiti writer can
carry over a dozen different colors and enough paint in volume to cover a substantial
area, all in something the size of a backpack or shopping bag. This makes it clear that
carrying a dozen different buckets of paint in order to paint a piece using brushes is
horribly unpractical from a graffiti writer's perspective. In addition, spray paint is
typically extremely fast drying so that multiple layers of different color paint can be
painted over one another without the colors mixing and intruding on one another's 11
intended place in the design, whereas paint from a bucket applied with a brush can take
hours to dry. Although since the 1980's subway graffiti craze, many writers have
experimented and mastered the use of bucket paints in painting graffiti, spray paint is by
far the most common and preferred method of writing graffiti.
Jeff Ferrell, in his study of graffiti writers in the Denver area in the early 1990's
agreed that spray paint is the "end-all, be-all" object in the graffiti subculture. He
describes spray paint as, "the essential practical tool in doing graffiti." (63) In conducting
field ethnography with graffiti writers Ferrell found that, "spray paint often becomes the
focus of writers' conversations." (63) Ferrell also found that writers used other tools such
as markers, he had no doubt that spray paint was by far the most common and
prototypical tool and medium used by graffiti writers. He found on numerous occasions
that the central role of spray paint in the graffiti subculture was evidenced in its imagery
and identity was often a focus of works of graffiti that he viewed or participated in
producing. Ferrell found what anyone who looks at the modern graffiti subculture will
find, that spray paint is the most important object in the subculture and the whole graffiti
subculture revolves around spray paint.
Joe Austin, in his study of the New York graffiti subculture, also found the
importance that spray paint had for writing graffiti. As much as spray paint enabled the
production of large and complex graffiti pieces, writers needed to have a mastery of spray
paint as cultural object in order to even attempt executing one of these masterpieces. A
writer "had to have an extensive knowledge of the qualities of several brands of spray
paint and of which types of spray nozzles would produce the desired aerosol effects."
Nancy McDonald, in her study of the graffiti subculture, also found the necessity
of being knowledgeable of and proficient in the use of spray paint in order to partake in a
career as a graffiti writer. She states, "Writers need to familiarize themselves with the
tools of their trade… which spray brands are suitable for which jobs, how to apply
different spray nozzles to alter line widths and create different effects, how to paint
without making drips or spotty paint marks." (73) These researchers found that without
spray paint as an available tool and a mastery of spray paint as an artistic medium, one
could not participate in the graffiti subculture.
Form and Function
The ageless debate in regards to form and functionality is best characterized as,
which is more important, form or function? Or, similarly, which came first, form or
function? Molotch offers an engaging analysis of how form and function are not separate
entities in conflict with one another, but are rather two concepts, embodied in objects,
which are interwoven and mutually constructive. However many do not see it as binary
but rather a dichotomy between two ways of looking at an object.
Molotch phrases the position of the function side of this debate in this way, "For
some who champion practicalities of life, art may be a good thing, but hardly intrinsic to
the production process." (54) From this perspective, it is the function of an object that
makes it what it is. Whatever form or artistic and aesthetic values it has are merely
secondary to this primary purpose of utility. Molotch references Henry Petroski's
functional argument to this effect, that, "the 'evolution' of modern products comes from 13
their 'usefulness', by which he means utility quite apart from any aesthetic
considerations." (54) Petroski, and others like him, are adamant that function is what is
central to an object's importance, and considerations of aesthetic or artistic qualities are
superfluous when compared to the master concept of function.
In contrast, for people who perceive artistic and aesthetic form as important,
viewing an object in terms of its function is inadequate. Molotch points out, "That
designers themselves think 'it's both' is evidence in itself of art's significance… They
perceive a high correlation between stuff they judge as having good form and stuff they
judge as highly functional." (57) Molotch also references Cyril Stanley Smith's argument
that form preceded function. (60) He argues that, for example, those who first molded
baked clay 20, 000 years ago did not do so for practical purposes but, rather, for artistic
purposes. Only later was molded baked clay put to practical use for bowls, cups and other
functional objects.
How then can one analyze spray paint as an object in terms of form and function?
I argue that spray paint has a certain uniqueness to it in that its form is dependant on its
function. This form is not the typical concept of form alluded to in Molotch's book, the
actual physical form of the object itself – what it looks like sitting there on a shelf in a
store. That form is important too (and will be discussed in a later section on brands),
however the form I am referring to is the form the paint takes once it's been sprayed on a
surface. Spray paint, as it's used by graffiti writers in the modern graffiti subculture, is
itself an artistic medium and the art graffiti writers produce is the spray paint, and vice
versa, the spray paint is the art they produce. In this sense, the quality of the spray paint
in terms of its function determines the quality of its form in the art it is used to produce. 14
In trying to discern the "chicken and egg" dilemma regarding spray paint in terms of
which is more important, form or function, Molotch phrases it perfectly, "We are, with
form and function, with art and economy, at home not just with chicken and egg, but
chicken in egg and egg in chicken." (88) The form is its function and its function is its
form. What then are the qualities upon which one can evaluate the functionality of spray
paint and the form it takes when used?
Spray paint, as it is used by graffiti writers in the modern graffiti subculture, has
many qualities that are desired, and in some cases, necessary, for its effective use as an
artistic tool and medium. Furthermore, these qualities must be assessed in relation to the
three forms modern graffiti takes, which were discussed earlier: tags, throw-ups and
pieces.
The first characteristic of spray paint upon which its quality can be assessed, and
perhaps the most important for graffiti writers, is opacity. How well does the paint cover
the surface it is sprayed onto? If a spray paint is of poor quality, it might take many coats
to cover an area; thus contradicting its intrinsic value as a fast and efficient tool for
writing graffiti. This applies to all three forms of graffiti, tags, throw- ups and pieces but
has particular relevance in painting pieces. In regard to pieces, another problem with poor
quality spray paint that does not have a high degree of opacity is that graffiti writers
typically overlap many layers of different colors in order to produce complex designs in a
piece. If any layer of the paint applied reveals the layer beneath it, or if the color of any
layer is altered by a color in the layer beneath it, the interplay of the different colors in
the different layers is confounded; thus ruining the complex design the graffiti writer is
attempting to paint. Opacity is also a concern in that much of the time, graffiti is painted 15
over other graffiti, and graffiti writers don't want the graffiti belonging to the person they
just painted over showing through their own graffiti. This is especially true when graffiti
is painted over other graffiti as part of a feud between writers – commonly known as a
"battle" in the graffiti subculture. (The difference in the opacity of different paints is
depicted in image 5, depicting two throw-ups, one filled in very solid, and the other
showing the wall underneath through its partly transparent fill in.)
A second important characteristic of spray paint to graffiti writers is pressure.
Paint that is canned under high or low pressure is ideal for different uses in creating the
three different forms of graffiti. In painting tags and throw- ups, writers are after quantity
rather than quality in the style of their work. That is, they want to paint a lot and fast. For
these purposes a spray paint that expels its contents under high pressure is ideal for
tagging or filling in a throw- up as fast as possible. However, when one considers the
production of pieces, the opposite is true. Perhaps graffiti writers might want a high
pressured spray paint to fill in the initial layer, but the following layers, the ones that
people see in the finished product are intended to be applied smoothly and consistently.
Lines have to be straight, avoiding drips, blending colors and achieving many of the
aerosol effects of spray paint in graffiti are difficult to accomplish when paint is released
under high pressure. Therefore, when doing pieces, especially the intricate "wildstyle"
pieces that are often done as legal murals, where artists have as much time as they need to
get every line and every spot just right, a spray paint with low pressure is desirable as an
artistic medium.
A third important characteristic for determining which paints are of superior
quality is durability. Paints that wash away easily or fade with time and weathering are 16
undesirable for a graffiti writer's purposes. Writers want their gr affiti to last, if it isn't
painted out by authorities or painted over by other graffiti writers, and in order for it to
last it has to be able to endure the elements and the ravages of time. Therefore writers are
especially keen to notice how long different paints last and how well they stand up to the
weather and time. Those that last the longest on different surfaces, and maintain the
integrity of their color over time, are most desired by graffiti writers. However,
consideration is tempered by the fact that different paints last longer on different surfaces.
For example paints with a flat texture tend to cover better and last longer on porous
surfaces like concrete or wood. Whereas, paints with a glossy finish tend to cover better
and last longer on non-porous surfaces such as metal. (A lack of durability can be seen as
a result of the use of substandard quality spray paints in image 8. One can see that the
outline of the piece has faded with time and failed to cover areas of the fill in, which was
done with a better quality paint.)
A fourth characteristic that graffiti writers use to determine preferences in spray
paints is the range of colors different brands offer. Since graffiti writers use spray paint to
produce art, they want to get as many different colors as they can possibly have available
to them. Brands that offer a larger range of colors, and particularly bright eye-catching
colors, are preferred by graffiti writers because they offer more possibilities of color
combinations that can be used in the graffiti they produce. This is especially important
for the painting of pieces, which demand many different colors used skillfully in complex
designs.
A fifth characteristic of spray paint that is important to graffiti writers in the
graffiti subculture is the smoothness and consistency of the paint as it is expelled from 17
the can. When expelled from an aerosol can, spray paint can come out chunky and in
irregular consistencies, or it can come out smooth with a very consistent viscosity, thus
rendering very smooth and consistent lines and patterns, however the writer uses it.
Graffiti writers tend to prefer for paint to be expelled from spray paint cans in a very
smooth and consistent way because this gives them greater control over the paint as it is
applied to a surface. Especially in the production of pieces, smoothness and consistency,
which enable the ability of a writer to control the flow of paint from the can is incredibly
important in order to be able to paint designs of any complexity. With an irregular
discharge of paint, uncontrollable mistakes can occur that are not the fault of the writer
painting the graffiti. Where this is not as important for painting tags and throw- ups,
where the quality of style is less important than the quantity of production, in the
production of pieces it is extremely important. (Differences in consistency can be seen in
image 2, which depicts various tags done with different paints equipped with different
nozzles. Some of the tags consist of solid lines, whereas others seem to sputter or drip.
The tags on top are flared out, a common technique done with the use of certain nozzles.)
A sixth characteristic of spray paint cans, which is very important for graffiti
writers, is a can's compatibility with any number of custom nozzles that are often used by
graffiti writers for a number of different effects and uses when painting tags, throw-ups
and pieces. There are customized nozzles that release the paint from a spray paint can in
large quantities at high velocity and which produce lines that are as wide as a softball or
even wider. These nozzles are preferable for doing large tags or filling in throw- ups as
quickly as possible. In contrast, there are custom nozzles that release the paint out of a
can at a very low velocity and in very narrow, precise lines, or in a very fine mist. These 18
nozzles are preferable for painting complex pieces, where small and precise designs
require paint to be released at a minimum velocity so as to have the greatest control
possible over the release of the paint from the can. There are many other nozzles, which
provide different combinations of velocity and line width, and even some that do not
even produce a straight line, but rather release the paint from the can at extremely high
velocity in giant messy swaths that pour and drip down walls when sprayed with them.
These nozzles have recently become popular for writing huge messy tags that take up
large spaces and can be sprayed at a distance high above one's head, as if done with a fire
extinguisher or water hose. (Again, refer to image 2 for depiction of how the use of
different nozzles affects the way the paint is released from the can.)
There are dozens of different customized nozzles that graffiti writers use and the
compatibility they ha ve with different spray paint cans is very important to graffiti
writers. However, since the size of different nozzles' tube that inserts into a spray paint
can and the size of the receptor in the top of a spray paint can where the nozzle is plugged
into are not standardized. Some spray paint cans have a receptor that is large enough to
accommodate any nozzle, where as some spray paint cans can only be used with certain
nozzles, which have a smaller tube that inserts into the can's receptor. In addition,
matching spray paint cans with different amounts of pressure with nozzles intended to
release or retard the velocity of the paint being sprayed is another consideration. A nozzle
that releases paint at a low velocity in thin crisp lines, is best used with a spray paint can
that has a low pressure, and vice versa.
The main point in considering each of these characteristics of spray paint is that
there is a tremendous amount of consideration that takes place on the part of graffiti
writers when selecting different spray paint cans for different purposes.
Brands
Having considered the different characteristics upon which graffiti artists evaluate
the functionality of different paints, one must then naturally turn to an examination of
which brands are the most popular and why. This is an analysis based on function as well
as form, in both the sense of the form the can of spray paint itself takes, but also the form
the paint that comes out of the can takes once it has been used. Indeed both of these
forms are a part of the functionality of the paint and serve to entice graffiti writers to
prefer certain brands of paint over others, especially when considering designer spray
paints designed particularly for use by graffiti artists.
Naomi Klein's analysis of brands and branding proves very informative for an
analysis of spray paint brands. The observation that, "corporations may manufacture
products, but what consumers buy are brands" is just as applicable to spray paint in the
modern graffiti subculture as to anything else. (7) However, what is interesting is that in
contrast to the story of brand- name advertising told by Klein, name-brand spray paints
that are sold at hardware stores and mega stores across the country are conspicuously not
marketed to the graffiti subculture, though it would be hard to imagine that graffiti
writers are not major consumers of these products. In contrast, designer brands of spray
paint were particularly designed and created for the modern graffiti subculture, and are 20
heavily marketed to graffiti writers using the same sort of techniques any other product
might. In fact the brand name war among designer spray paints is so competitive that one
company stole another company's brand name in order to start its own entry in to the
designer spray paint business.
In considering different brands of spray paint, one might first look at shelf brands
that are sold to the general public in hardware stores and superstores like The Home
Depot and Wal-Mart across the country. These name brands are widely known and
widely available to American graffiti writers, since they are sold at major stores that have
locations all over North America. Their availability makes them among the most
commonly used paints in the modern graffiti subculture in North America.
Perhaps the most popular brand of spray paint for graffiti writers in North
America is the Rust-Oleum brand. Commonly known as Rust-O, this brand of spray paint
is produced by a company that specializes in rust-preventive exterior paints, and only
moved into the spray paint business when aerosol can technology became available after
the Second World War. Not unlike the invention of the portable pressurized aerosol can,
the story of the invention of rust-preventive Rust-Oleum paint is another interesting
example of what Molotch calls "lash-up". (2) A Scottish-born captain of a sea- faring
fishing ship, by the name of Robert Fergusson, happened to realize that when fish oil
spilled on the rusty metal deck of his ship, the corroding effect of the salt water on the
metal was retarded. Wherever the fish oil had been spilled, the advance of the corrosion
simply stopped. That observation gave Captain Fergusson the idea of combining fish oil
with paint in order to produce a rust-preventive paint that could be used to protect against
and retard the spread of rust on his ship. After settling in New Orleans, the captain spent 21
years of smelly experimentation with paints and fish oil in an attempt to formulate a fish
oil-based paint. In 1921, he perfected a fish oil-based paint that stopped rust, dried
overnight, and didn't smell like fish. As Molotch suggests, the invention
of a paint like this depended on a number of different factors "lashing- up" together at the
same time in order to produce this new product. (Image 9 shows Captain Fergusson at the
first Rust-Oleum factory in New Orleans.)
The invention of a rust-preventive paint, and its later embodiment in an aerosol
can was important for the modern graffiti subculture that emerged half a century after his
invention, because a rust-preventive paint satisfies one of the key characteristics that
graffiti writers base their preference for spray paint on, durability. Rust-Oleum paint not
only makes the surface it is applied to more durable against the elements, but the paint
itself is extremely durable against the ravages of weather and time. It stays adhered to
surfaces and holds its color long after other spray paints have faded away. Compared to
fine art supplies it is like the difference between oil paint and water color in terms of
durability. This makes it very popular among graffiti writers who swear by its superiority
over other brands, which tend to fade after 6 months to a year. It also is also a very
opaque paint that covers surfaces much more effectively than other big name-brands.
Opacity is also a characteristic that is important for graffiti writers. Another reason
graffiti writers prefer Rust-Oleum is the vast number of different colors offered by RustOleum and its sub-brands, American Accents, Painter's Touch, and America's Finest.
Color selection is another major characteristic upon which graffiti writers evaluate the
quality of different spray paints. (Image 10 shows a can of Rust-Oleum spray paint. 22
Images 11 and 12 depict two of Rust-Ole um's sub-brands, Painter's Touch and American
Accents.)
Statements by graffiti writers in interviews and on blogs in websites attest to their
preference for Rust-Oleum, among name-brand paints. On one website that interviews
famous graffiti writers with a standard set of questions, one questions asks writers,
"which brand of paint do you prefer using and why?" (Skateallcities.com) In response, a
number of the writers interviewed state their preference for Rust-Oleum. One reputable
writer from Miami states in response, "Anything by Rusto is the best!" Another famous
writer from Los Angeles simply responds, "Rusto. It lasts."
Graffiti writers evaluate the quality of this paint based on the form that it takes
when used, which is synonymous with its function. Aesthetically, the paint looks good
when it's sprayed on a surface and it stays looking good for months and even years after,
despite harsh weather conditions. This is a perfect example of how form is function and
function is form. (Molotch, 2005) The form the paint takes on a wall reflects the quality
of its function as an art medium.
Krylon is a historically very popular brand in the graffiti subculture, which has
fallen out of favor in the last 5 or 10 years due to a decline in the quality of the paint.
Although it is a must-mention when talking about spray paint and the modern graffiti
subculture. Krylon was perhaps the first widely favored paint in the graffiti subculture,
featured in many works of graffiti, particularly during the 1980's. Pieces featuring a can
of Krylon, with its distinctive 5-dot logo, are in abundance in photographs from the time,
such as many of the pictures of graffiti in Chalfant's books. The preference for Krylon
has always been tied to its smoothness and consistency of release from the can. With the 23
proper nozzle attached, Krylon spray paints produce clean, uniform, sharp lines that tend
to drip less than other popular brands like Rust-Oleum that can sputter or chunk when
coming out of the can. Krylon is not as popular as it once was though, in large part
because the quality of the paint, in terms of opacity and durability, has greatly diminished
since about the mid to late 1990's. However, graffiti writers who specialize in doing
complex pieces especially prefer Krylon, even toda y. Although Krylon isn't as opaque or
durable as other paints, when painting a complex piece, especially in a legal location,
many layers of paint are used, which makes up for the lesser opacity and durability that a
single coat might have. Krylon is also a very widely available spray paint, being carried
at any number of mega stores like Wal-Mart and K-mart, as well as arts and crafts chains
like Michael's and Pearl Art. Krylon has been since 1965, the largest US producer of
spray paints. (Krylon.com) (Image 13 depicts a can of Krylon spray paint.)
The images of cans of Krylon spray paint in works of graffiti, identified by its
iconic logo, is in itself evidence of the popularity of the brand in the graffiti subculture in
the past. In addition, interviews with graffiti writers, particularly piecers, on the internet,
show that even today, despite its poorer quality, Krylon is still the "old- faithful" of spray
paints in the graffiti subculture. When asked the question about which brands of paint
they prefer, graffiti writers who were interviewed sometimes praised both Krylon and
Rust-Oleum. One responded, "Krylon for the sharp clean cuts and Rusto to blast shit
out." (Skateallcities.com) (Image 14 shows a can of Krylon depicted in a work of
graffiti.)
In addition to these two popular and widely available brands that are sold in
hardware stores, art stores, and mega stores all over the country, there are also a number 24
of poor quality brands that graffiti writers lump all into one group. Some call it "trash
paint" (Ferrell, 64), others call it "dollar paint" or "99 cent paint" (reflecting it's price).
This paint is generally not the preference of graffiti writers and excessive use of it is a
sign of lesser status, but many graffiti writers, in the interest of frugality given limited
budgets, use trash paint to do the simple jobs, like fill in large spaces, draw out sketches,
or pay down a first coat. Most graffiti writers, if they have to pay for paint, would prefer
to pay $1 than the $3 Krylon usually goes for, close to $4 Rust-Oleum typically goes for,
and the $5, $6 and $7 designer paints go for. (Image 8 depicts a piece outlined with trash
paint, and demonstrates its substandard quality.)
I say "if they have to pay for paint" because stealing spray paint is an age-old
tradition in the modern graffiti subculture. Rejecting a "culture of consumption", the
modern graffiti subculture has made the practice of shoplifting its essential tool, spray
paint cans, an important part of its subculture. Many graffiti writers consciously reject a
"society organized around purchase" as described by Stuart Ewen in his book, Captains
of Consciousness. Ewen states bleakly that, "The acceptable arena of human
initiative is circumscribed by the act of purchasing." Howeve r, the modern graffiti
subculture rejects this state of affairs, acceptable or not, and strongly encourages the
stealing of spray paint to support one's graffiti career.
Evidence of this sentiment is evident in many forms. Ethnographic research on
the graffiti subculture has always turned up the ideal of stealing spray paint rather than
buying it among graffiti writers. Castleman found that virtually all of the spray paint used
by the early subway writers in New York in the 1970's and early 1980's was shoplifted, a
practice known as "racking" among the writers. (46) He also discovered that there was 25
even a sort of black market for spray paint among the writers, pointing out that, "Some
rackers are better than others, and those who are best at it will often take more paint than
they can use, selling the excess to other writers who are less skilled at stealing or more
timid about it." (47) Evidence of racking among contemporary writers is also evident in
interviews of writers on graffiti websites. When asked if she "racks" or buys her paint
one female graffiti writer states, "I can't remember the last time I bought paint."
(Skateallcities.com) This may be an exaggeration, and while many graffiti writers do buy
paint, there is an emphasis in the graffiti subculture on stealing paint whenever possible.
Writers who purchase their paint are often considered suckers by their peers. (Image 15
depicts boxes of paint stolen by graffiti writers. Notice that all of it is of the Rust-Oleum
brand.)
Having discussed the preference for stealing and aversion for buying spray paint
in the modern graffiti subculture, I can now turn to what is paradoxically the most
preferred and, at the same time, least used spray paints in the graffiti subculture, designer
spray paints. Designer spray paints are designed and produced specifically for use by
graffiti writers. Different cans for different purposes are produced and marketed
specifically for the graffiti subculture. However, these designer spray paints are the most
expensive spray paints available, costing as much as on and a half, to two or three times
as much as a name-brand spray paint. Further preventing writers' access to them is the
fact that they are generally not sold in large retail stores where they can be shoplifted.
The only retail stores they are sold in are small retail shops that cater to the hip hop and
graffiti subcultures, and one art store chain. However, wherever they are sold, their
obvious potential as a target for shoplifting leads store owners and employees to keep 26
them under tight observation, if they aren't completely locked up or behind a counter in
order to prevent shoplifting. Therefore, most graffiti writers, who are poorly funded, must
use them sparingly, if at all, since they are so difficult to steal and so expensive to
purchase. The dominant brands of spray paint that are commonly used in North America,
as well as in Europe, were all created and are all produced in Europe and shipped to
North America.
The story behind the creation of designer spray paint, known to North American
writers as "Euro-paint", is another example of a "lash-up." (Molotch, 2005) The first
designer spray paint was created in Barcelona, Spain, under the brand name Montana. In
1993 two graffiti writers in Barcelona decided to open a retail shop catering to the hip
hop and graffiti subculture. They desired to have a line of spray paints produced for use
by graffiti writers and approached a local paint company with the idea. Although the
company was not convinced of the profitability of marketing spray paints to graffiti
writers, Jordi Rubio, the commercial manager at the spray paint factory was very
intrigued by the two writers' idea and contacted them a year later in order to ask that they
become partners with him and help him develop a brand of custom spray paints for the
market of graffiti writers. In 1994 the two writers organized a graffiti event called
"Aerosol Art" and invited writers from all over Europe to come and paint, offering to
provide free paint. At the event they dis tributed the first cans of Montana spray paint and
graffiti writers have been using it ever since. Shortly after they developed their premiere
line, "Montana Hardcore" and later in 2001 released another line of spray paint under the
name "Alien". The Alien sub-brand is canned with less pressure so as to be more useful 27
in painting complex pieces, where writers want the paint to exit the can at as low a
velocity as possible.
The "lashing- up" of all these different actors at the same time is what led to the
development of designer spray paints in the graffiti subculture. It is no surprise that
graffiti writers wanted access to paint that was specifically developed for their needs and
uses, but it took the combination of graffiti writers knowledge of the subculture, and a
producer's knowledge of production, for that dream to become a reality.
However the story doesn't end there. Since Montana spray paint was first
introduced, a large market for it quickly developed as a result of skillful marketing using
different methods, as well as writers becoming aware of its superior quality due to wordof-mouth interactions among writers. Some of the company's marketing tactics include
running advertisements in graffiti magazines and on graffiti websites, and sponsoring
famous graffiti writers by giving them paint to use in their own graffiti. In 1997, due to
high demand among graffiti writers, the company began exporting spray paint across
Europe and to North America. In the same year the company signed an agreement with a
German company, L&G, for the exclusive distribution rights in Germany, and a number
of other countries in Europe. L&G then conspired with Motip Dupli (known to
Americans as Dupli-Color) to manufacture and label spray paint cans for L&G to be sold
to the market Montana had established. Motip Dupli, recognized the profit potential of
the graffiti market for spray paints and made an offer to buy Montana from Jordi Rubio
and the two writers who helped him start the company. The offer was refused. L&G then
began a campaign against the fledgling Montana company that sought to discredit the
company and steal its customers. Among other efforts, L&G conducted a patent search 28
and discovered that Montana did not have a patent for the brand- name "Montana" and the
patent for that name was held by a Swiss company, unrelated to the spray paint business.
L&G then signed a deal with the Swiss company to pay it royalties for exclusive use of
the name "Montana" and began labeling and marketing its paints, manufactured by Motip
Dupli, under the brand name Montana. Not only had L&G stolen customers and markets
from the company it had signed an agreement with to be merely a distributor, but it had
also stolen company's popular brand name. Thus a dichotomy was born between the
authentic Spanish Montana, and the imposter German Montana. Since then the Spanish
Montana company has begun labeling its spray paint cans "MTN" in order to avoid
further lawsuits and harassment from the company owned by L&G, although it still
largely goes by the name Montana. The dispute between the two companies still remains
unresolved to this day. (Images 16 and 17 depict cans of Spanish Montana's Hardcore
and Alien sub-brands. Images 18 and 19 depict cans of German Montana's Black and
Gold sub-brands.)
The difference between the two Montana brands though is not lost on graffiti writers and
the word is out in the subculture that the "real" Montana is the Spanish one, which
continues to market its Montana Hardcore and Alien sub-brands around the world. It still
remains the preferred brand of designer spray paint between the two brands, but the
fraudulent German Montana maintains sales due to its distribution rights in certain
countries and the ignorance of some writers regarding the difference between the two.
Graffiti writers' own comments on graffiti web blogs testify to their preference for
Spanish Montana, out of loyalty to the authentic brand, if not for reasons of quality. On a
popular blog for graffiti writers there is even a thread specifically devoted to the 29
difference between the two Montana's. One writer comments, "Yeah, I was reading that
German montana found out that Spanish MTN didn't have a copyright on the name
"Montana", so they stole the name, then copyrighted it and that's why Spanish Montana
uses the MTN logo now. That, and to avoid confusion on which brand is which. German
Montana is good paint, but even most of the colors in the "Black" line are bitten from
spanish MTN. They even cite the item #'s of MTN next to the German item #, so you can
color match.I'd rather go with the original." Another writer praises the Alien sub-brand
of the Spanish Montana company, "Alien all the way, pressure control and coverage
second to none. You can't fuck with the color pallet either." (Bombingscience.com)
In returning to the concept of form and function, the design of the cans the paint is
contained in is another interesting aspect of this conflict. Whereas previously I have
discussed form in terms of the aesthetic form the spray paint takes once it has been used
on a surface in the production of graffiti, I now turn to the form the actually can itself
takes in terms of the design and decoration of the label it is wrapped in. The label the
Spanish Montana uses does not have any graffiti lettering or any representations of
graffiti on it. In contrast, the German Montana has labels designed for attracting the
attention of graffiti writers, with graffiti lettering incorporated into the design and logo. I
can only speculate, but I would think that the fraudulent German Montana company uses
a more outwardly graffiti stylized form in order to trick unknowing graffiti writers into
thinking it is the "real" Montana. It is also worth pointing out here that the name-brand
paints like Krylon and Rust-Oleum that are sold widely in harware stores, art stores, and
mega stores, also lack any kind of graffiti styled designs on their labels. (Images 10, 11, 30
12, 13, 16, 17, 18, and 19 depict the form of all the different spray paint cans. Notice the
graffiti styled lettering on the cans of German Montana spray paint in images 18 and 19.)
Conclusion
In analyzing spray paint as a cultural object it is clearly apparent how incredibly
important spray paint is to the modern graffiti subculture. It took the fortune of a number
of "lash- ups" to come together to bring spray paint to where it is today. However, spray
paint is not just another object, it is the object that the whole subculture is based on and
the subculture would never have come to exist how it does today if it wasn't for that
simple object, the spray paint can. In this regard one can conceive of spray paint itself as
possessing some sense of agency as an object. This agency is apparent both on the more
superficial level, that the availability, or lack thereof, of different spray paints influences
the graffiti that the subculture produces; but it is also apparent on a more subtle level, in
that spray paint is the modern graffiti subculture. The two are intimately and inseparably
linked together, and in fact they are one entity.
Molotch explains how retailers often affect the merchandise that is produced for
sale in their stores. What products and forms they take is often determined by retailers
who want products to fill different niches that they need in the ir stores. Therefore
designers and producers of merchandise produce items to be sold specifically in those
stores. If it wasn't for those retailers the products would have been designed or produced
differently. In a sense, what they produce is at the mercy of what retailers want them to
produce.
However, with spray paint, this idea goes a step further, in that the graffiti that
writers paint is largely affected by what spray paint is available to them. In order to paint
the best art they can, graffiti writers need access to the best paints they can get. If they
can't get good quality paints, the art they produce suffers. They are, in a way, both
enabled and constrained by the range of mediums available to them. Although spray paint
is an indelible part of the graffiti subculture, the availability of spray paint itself and
different spray paints in particular has enabled the modern graffiti subculture to flourish;
the lack of availability or difficulty in obtaining spray paints of higher quality can retard a
graffiti writer's potential to create the best graffiti he or she can paint.
However, conceiving of objects and agency in this way only skims the surface of
the concept of an object having agency. On a deeper level, one can really conceive of an
object as having agency in that it is such an integral part of a cultural experience that the
object and the culture are inseparably bonded together as one. The meaning that spray
paint embodies as an object is deeply imbedded in its role as a cultural object in the
modern graffiti subculture. It might seem odd to think of a physical object as having
agency or role or status, those terms seem to be applicable to people not things, but that's
what spray paint is in the graffiti subculture. It has agency, plays a role, and confers
status.
Alfred Gell discusses the meaning of objects and their capacity for agency in the
context of art in his book, Art and Agency. His analysis sheds light on the concept of
agency in regards to objects, and applies equally well to spray paint in the graffiti culture.
He places emphasis on art as having agency in the sense that it transcends the boundaries
of being merely another inanimate object. Gell argues that this is a superior way of 32
viewing an object such as a piece of art, "because it is pre-occupied with the practical
mediatory role of art objects in the social process, rather than with the interpretation of
objects 'as if' they were texts." (6) Objects aren't just some inanimate thing that can be
deciphered by physical examination; they actually play a meaningful role in social
processes within a culture. They don't just have meaning, the confer meaning.
Furthermore, the meaning an object has and confers is determined within the context of
the culture it is a part of.
Is a can of spray paint really just another tool for use around the home or
workplace, for small crafts or odd jobs, or is it much more than that? It is much more than
that and that much more is because it is a part of this wider sub-cultural phenomenon that
is modern graffiti. As Gell puts it, "Nothing is decidable in advance about the nature of
this object, because the theory is premised on the idea that the nature of the art object is a
function of the social-relational matrix in which it is embedded."
One can not understand an object like spray paint by itself. Rather, one needs to
understand spray paint, and the agency it embodies, as a function of the relational context
of the social interactions within the modern graffiti subculture. Only then, can one truly
understand the significance of spray paint as a cultural object.33
Sources Cited:
- About.com. "The History of Aerosol Spray Cans".
- Amin, Ash and Nigel Thrift. "Neo-Marshallian Nodes in Global Networks".International Journal of Urban and Regional Research. Vol. 16, No. 4. December, 1992.
- Austin, Joe. Taking the Train: How Graffiti Art Became an Urban Crisis in New York City. Columbia University Press. New york, NY. 2001.
- "Tools and Tips."
- Castleman, Craig. Getting Up: Subway Graffiti in New York. The MIT Press, Cambridge, Massachusetts. 1982.
- Cesaretti, Gusmano. Street Writers: A Guided Tour of Chicano Graffiti. Crobat Books, Los Angeles, CA. 1975.
- Chalfant, Henry and Martha Cooper. Subway Art. Henry Holt, New York, NY. 1984.
- Chalfant, Henry and James Prigoff. Spraycan Art. Thames and Hudson, London, UK. 1987.
- Ewen, Stuart. Captains of Consciousness: Advertising and the Social Roots of the Consumer Culture. McGraw-Hill. New York, NY. 1976.
- Ferrell, Jeff. Crimes of Style: Urban Graffiti and the Politics of Criminality. Northeastern University Press. Boston, MA. 1996.
- Gell, Alfred. Art and Agency: An Anthropological Study. Clarendon. Oxford. 1998.34
- Klein, Naomi. No Space. No Chance. No Jobs. No Logo. Picador. New York, NY. 2000.
- "Krylon History."
- MacDonald, Nancy. The Graffiti Subculture: Youth Masculinity, and Identity in London and New York. Palgrave MacMillan. New York, NY. 2001.
- Molotch, Harvey. Where Stuff Comes From. Routledge, New York, NY. 2005.
- "The Two Montanas."
- Phillips, Susan A. Wallbangin': Graffiti and Gangs in LA. University of Chicago Press, Chicago, IL. 1999.
- "Stopping Rust is Just the Start".
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by:
Robert Weide
Objects, Consumption and Desire
Professor Harvey Molotch &
Professor Barbara Kirshenblatt-Gimblet
How nice... art by paint on ruined objects
source: GEMADA Pinturas Artísticas em Aerografia: ARTE NOS BANCOS....
Niklovanje - Proces niklovanja - Sve o niklovanju
Niklovanje:
Amaterski
Najprijemoram imati komadić nikla.(Najbolje zamoliti nekog laboranta koji radi u nekoj maloj galvanizaciji na faksu.PMF-anorganska ili strojarstvo.)Sve ostalo imaš u garaži.Pvc kantu prepolovi inali 3-4 litra vode.Unutra još dodaj akumulatorske kiseline oko 0.1 litar tako da procenat H2SO4 bude oko 2 procenta.Dobroispoliraj taj komad željeza za niklovanje šmirglom,a zatim polir pastom.Odmasti deterdžentom,a onda i gašenim krečom,pa isperi.Dobro bi bilo prije samog niklovanja malo bakarisati komad.Uzmeš plavog kamena i vode pa natrljaš.Tanki film bakra će seuhvatiti po plohi.Sada upali auto,zaveži 2 žice za kleme akumulatora i na njihove krajeve prikopčaj anodu Ni i katodu komad.Uroni tou onu kantu i za 5-10 minuta imaš niklovanje.Treba na one žice osigurač od 2A da ne crkne akumulator. Ako želiš usavršavati postupak onda mjeri struju i mijenjaj naponotporom žice.Temperatura vode,odnos površina,sastav elektrolitai još mnogo toga utiču na kvalitet.
Brže se možeš usavršiti ako uzmeš knjigu iz te oblasti.I ako upišeš zanat za galvanizera,garant ćeš za 3-4 godine praviti takve niklovane dijelove da će ti sav komšiluk zavidjeti.
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Linije za galvanizaciju (cinkovanje, niklovanje, hromiranje, eloksiranje)
Tehnički opis:
Liniju za galvanizaciju čini niz čeličnih kada poređanih da čine funkcionalnu celinu. Kade se, u zavisnosti od namene, izrađuju od kiselootpornog ili ugljeničnog čelika. Kade su sa unutrašnje strane obložene odgovarajućim termoplastima ili tvrdom gumom otpornom na uticaj rastvora. Kade koje je potrebno grejati opremljene su grejačima. Grejanje kada može biti u svim vidovima: električno, parno toplom vodom ili termalnim uljem. Kade u kojima se odvijaju egzotermne reakcije opremljene su i hladnjacima. Transport radnih komada, ramova ili bubnjeva vrši se transporterom koji se nalazi iznad linije. Duž cele galvanske linije nalazi se podest sa gazištem i sigurnosnom ogradom.
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Reference:
Uređaji za odmašćivanje u trihloru
Prolazni uređaji za odmašćivanje
Linije za galvanizaviju (cinkovanje, niklovanje, hromiranje, eloksiranje)
Komorne i prolazne peći za termičke i termohemijske obrade metala
Komorne i prolazne peći za termičke obrade keramike i stakla
Prolazne peci za tvrdo lemljenje
Kade za kaljenje u vodi i ulju
Industrijske sušare za: barut, plastiku, Kaučuk ...
Worlds tallest buildings
Building, city Year Stories Height
Rank m ft
1. Burj Khalifa (formerly Burj Dubai), Dubai, The United Arab Emirates 2010 160 828 2,716
2. Taipei 101, Taipei, Taiwan 2004 101 508 1,667
3. World Financial Center, Shanghai, China 2008 101 492 1,614
4. Petronas Tower 1, Kuala Lumpur, Malaysia 1998 88 452 1,483
5. Petronas Tower 2, Kuala Lumpur, Malaysia 1998 88 452 1,483
6. Greenland Financial Center, Nanjing, China 2009 66 450 1,476
7. Sears Tower, Chicago 1974 110 442 1,451
8. Guangzhou West Tower, Guangzhou, China 2009 103 438 1,435
9. Jin Mao Building, Shanghai, China 1999 88 421 1,381
10. Two International Finance Centre, Hong Kong 2003 88 415 1,362
11. Trump International Hotel, Chicago, U.S. 2009 96 415 1,362
12. CITIC Plaza, Guangzhou, China 1996 80 391 1,283
13. Shun Hing Square, Shenzhen, China 1996 69 384 1,260
14. Empire State Building, New York 1931 102 381 1,250
15. Central Plaza, Hong Kong 1992 78 374 1,227
16. Bank of China Tower, Hong Kong 1989 70 367 1,205
17. Bank of America Tower, New York City, U.S. 2009 54 366 1,200
18. Almas Tower, Dubai, United Arab Emirates 2009 68 363 1,191
19. Emirates Tower One, Dubai, United Arab Emirates 1999 54 355 1,165
20. Tuntex Sky Tower, Kaohsiung, Taiwan 1997 85 348 1,140
21. Aon Centre, Chicago 1973 80 346 1,136
22. The Center, Hong Kong 1998 73 346 1,135
23. John Hancock Center, Chicago 1969 100 344 1,127
24. Rose Tower, Dubai 2007 72 333 1,093
25. Shimao International Plaza, Shanghai 2006 60 333 1,093
26. Minsheng Bank Building, Wuhan, China 2007 68 331 1,087
27. Ryugyong Hotel, Pyongyang, N. Korea 1995 105 330 1,083
28. China World Trade Center, Beijing, China 2009 74 330 1,083
29. The Index, Dubai, United Arab Emirates 2009 80 328 1,076
30. Q1, Gold Coast, Australia 2005 78 323 1,058
31. Burj al Arab Hotel, Dubai 1999 60 321 1,053
32. Chrysler Building, New York 1930 77 319 1,046
33. Nina Tower I, Hong Kong 2006 80 319 1,046
34. New York Times Building, New York 2007 52 319 1,046
35. Bank of America Plaza, Atlanta 1993 55 317 1,039
36. U.S. Bank Tower, Los Angeles 1990 73 310 1,018
37. Menara Telekom Headquarters, Kuala Lumpur, Malaysia 1999 55 310 1,017
38. Emirates Tower Two, Dubai 2000 56 309 1,014
39. AT&T Corporate Center, Chicago 1989 60 307 1,007
40. The Address Downtown Burj Dubai, Dubai, U.A.E. 2008 63 306 1,004
41. JP Morgan Chase Tower, Houston 1982 75 305 1,002
42. Baiyoke Tower II, Bangkok 1997 85 304 997
43. Two Prudential Plaza, Chicago 1990 64 303 995
44. Wells Fargo Plaza, Houston 1983 71 302 992
45. Kingdom Centre, Riyadh 2002 41 302 992
46. Aspire Tower, Doha 2006 36 300 984
47. Arraya 2, Kuwait City, Kuwait 2009 56 300 984
48. One Island East Centre, Hong Kong, China 2008 69 298 979
49. First Bank Tower, Toronto 1975 72 298 978
50. Shanghai Wheelock Square, Shanghai, China 2009 58 298 978
51. Eureka Tower, Melbourne 2006 91 297 975
52. Comcast Center, Philadelphia, U.S. 2008 57 297 975
53. Landmark Tower, Yokohama, Japan 1993 73 296 971
54. Emirates Crown, Dubai, U.A.E 2008 63 296 971
55. 311 South Wacker Drive, Chicago 1990 65 293 961
56. SEG Plaza, Shenzhen, China 2000 71 292 957
57. American International Building, New York 1932 67 290 952
58. Key Tower, Cleveland 1991 57 289 947
59. Plaza 66, Shanghai 2001 66 288 945
60. One Liberty Place, Philadelphia 1987 61 288 945
61. Columbia Center, Seattle, U.S. 1985 76 285 937
62. Millennium Tower, Dubai 2006 59 285 935
63. Sunjoy Tomorrow Square, Shanghai 2003 55 285 934
64. Chongqing World Trade Center, Chongqing, China 2005 60 283 929
65. Cheung Kong Center, Hong Kong 1999 63 283 929
66. The Trump Building, New York 1930 71 283 927
67. Bank of America Plaza, Dallas 1985 72 281 921
68. United Overseas Bank Plaza, Singapore 1992 66 280 919
69. Republic Plaza, Singapore 1995 66 280 919
70. Overseas Union Bank Centre, Singapore 1986 63 280 919
71. Citigroup Center, New York 1977 59 279 915
72. Hong Kong New World Tower, Shanghai 2002 61 278 913
73. Diwang International Commerce Center, Nanning, China 2006 54 276 906
74. Scotia Plaza, Toronto 1989 68 275 902
75. Williams Tower, Houston 1983 64 275 901
76. Moscow, Moscow 2009 73 274 900
77. Wuhan World Trade Tower, Wuhan, China 1998 60 273 896
78. Cullinan North Tower, Hong Kong 2007 68 270 886
79. Cullinan South Tower, Hong Kong 2007 68 270 886
80. Renaissance Tower, Dallas 1975 56 270 886
81. China International Center Tower B, Guangzhou, China 2007 62 270 884
82. Dapeng International Plaza, Guangzhou, China 2006 56 269 883
83. One Luijiazui, Shanghai, China 2008 47 269 883
84. 21st Century Tower, Dubai 2003 55 269 883
85. Naberezhnaya Tower C, Moscow 2007 61 268 881
86. Al Faisaliah Center, Riyadh 2000 30 267 876
87. 900 North Michigan Ave., Chicago 1989 66 265 871
88. Bank of America Corporate Center, Charlotte 1992 60 265 871
89. SunTrust Plaza, Atlanta 1992 60 265 871
90. Al Kazim Tower 1, Dubai, U.A.E 2008 53 265 871
91. Al Kazim Tower 2, Dubai, U.A.E 2008 53 265 871
92. BOCOM Financial Towers, Shanghai 1999 52 265 869
93. 120 Collins Street, Melbourne 1991 52 265 869
94. Triumph Palace, Moscow 2005 57 264 866
95. Tower Palace Three, Tower G, Seoul 2004 73 264 865
96. Trump World Tower, New York 2001 72 262 861
97. Shenzhen Special Zone Daily Tower, Shenzhen, China 1998 48 262 860
98. Water Tower Place, Chicago 1976 74 262 859
99. Grand Gateway Plaza I, Shanghai 2005 52 262 859
100. Grand Gateway Plaza II, Shanghai 2005 52 262 859
Source: Emporis Buildings,
How to pick up girls
How to pick up girls
In Any Environment
The art of picking up girls is not difficult; all you need to do is get a good grip beneath their shoulders and lift. I think even if it was this easy, most guys still wouldn't be able to do it because of all the mental blocks they have: "What if I lift her and she thinks I'm ugly? What if I lift her and then I don't know where to take her? What if there's another guy who just lifted her recently and he's a better lifter?" Now when you consider that most guys are scared to death about talking to a strange woman, you have a recipe for disaster. Fear not, there is hope.
It is possible to learn how to attract and pick up women even if you have never done it before. Sometimes it requires little adjustments to your personality, sometimes big ones. Regardless, starting from any skill level, you can go from "not being able to talk to a girl" to being very successful with women in a short period of time by following some key concepts. One of the best places to start is to hang out with men who are successful with women. By observation, osmosis and asking key questions, you can improve your skill quite rapidly. If you don't have the opportunity to hang out with successful men, then the next best thing is to read books by men who are very successful with women. They will give you the theory, the techniques and open your eyes to things that previously seemed impossible. Allow me a blatant plug, but read "Double Your Dating" by David DeAngelo and it will change your life.
Concept 1 : When picking up a girl, you must be detached from the outcome.
If you care about what the girl thinks of you, you are destined to fail. Let's face it, there are going to be many girls that you are just not compatible with. Many of them just won't live up to your expectations and you won't live up to many of theirs. You must get over this and not care if you succeed or get rejected. If you care, then you will do everything you can NOT to screw up, and consequently, this makes you screw up.
Concept 2: When picking up a girl, YOU are choosing her.
When you talk to someone for the first time, you must realize that there's a reason that you are talking to them. If you're talking to a woman for the first time, it's likely that she already knows you're trying to pick her up. Many guys have tried to pick her up before and many will in the future. This does not mean that she decides if she will accept your approach or not. When you go shopping for a car, you might walk into a dealership, but does that mean that you will purchase the car? No way! The only way you're going purchase the car is if it's a good investment and the salesman is competent. The same applies to dating. When you go out and you meet a girl, keep in mind that YOU won't take her home unless you like her.
Concept 3: Be happy, enjoy what you do and she will too.
Many guys approach this as a horrifying experience when in reality, it should really be a pleasurable one. If your objective is to find out what kind of person this girl is and then make her smile, then you're likely to have many good and enjoyable interactions. If you try to "win" by picking her up, you're doomed for failure. Most of the time, the best pick ups are when you aren't even trying.
Concept 4: No immediate compliments!
What ever you do, do NOT compliment her on her looks. Paying attention to detail is good, but as soon as you mention her physical appearance, things start to turn ugly. If anything, you can mention her clothing, accessories or anything out of the ordinary, but do NOT mention her appearance. Even if she has the most beautiful eyes you've ever seen, refrain from mentioning it. You can tell her later… much later.
Concept 5: Building attraction immediately
In order to build attraction, you must be able to convey signs of a good and desirable mate. These will naturally be present in men whom workout often and are already successful with women. However, what if you don't have time to work out often and you aren't already successful with women ? Well these are traits that you can LEARN from other men. After a while, they will become part of you and you won't even have to think of them. Honestly, the best way to learn them is to hang around men that are successful. Otherwise, if you don't have that opportunity and you still want to learn pick up, I strongly recommend reading the book Double Your Dating as it will give you all the keys to creating massive attraction instantly.
from: @ artofseductions
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