For fans around the world, Fairey and Banksy are the Robin Hoods of the art world. And they are far from the only ones. San Francisco's Twist, a.k.a. Barry McGee, has had shows at UCLA's Hammer Museum and had his work included in the Venice Biennale. The grittier, harder work of Los Angeles' TOOMER, who belongs to that city's notorious TKO crew, also has mad fans, has been the subject of documentaries, and is widely sought after by collectors and those who want him to paint their buildings.
Roger Gastman is an L.A.-based graffiti authority whose erstwhile magazines While You Were Sleeping and Swindle were grounded in graffiti culture. He's authored several art books on graffiti for such high-end publishers as Thames & Hudson and Abrams and is currently working on a 500-plus-page history of U.S. graffiti for HarperCollins that, he says, should be out next year. But even he finds it difficult to put a price tag on the influence of graffiti or categorize its success.
Jamie Peachey
Jamie Peachey
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"It's not like a stat you can find, say, like, 'Video games made so much this year,'" Gastman says. "Graffiti is an element that's been put into so much. Music videos, fashion, movies, art. It's put into so many different things at so many levels, that it's really hard to classify. But there's definitely a ridiculous amount of money being made by graffiti."
Gastman is sure about one thing. In graffiti, street cred is everything, no matter what sort of popularity is achieved through the legitimate art business. A graf writer first makes a name for himself on the street, putting in the time and effort, then trades it for bank in a gallery.
"What you did on the street is what's drawing your fans in," Gastman says. "That's your story. If [DOSE] was just showing something in a gallery and his art was cool, you probably wouldn't be writing about him. You're writing about him because he was on the street."
For DOSE, it's been a steady progression that began in 1998 with the inception of Forever In Control, a fluid art collective that's included as many as 10 other graf writers and artists and as few as five. The idea was for the collective and individual members to market themselves, to push themselves into the community and the public. For a while, FIC pushed its own line of graf supplies. Then it moved into doing legal walls, in part as a way to showcase members' talents.
Three or four years ago, FIC approached Luis Miranda, owner of Miranda's Custom Cars at Central and Grant. Miranda allowed the artists to utilize a long cinder block wall that snakes around Grant and south on First Avenue. Initially, Phoenix's Graffiti Busters program approached Miranda, asking him to paint it out. But Miranda told the program that the graffiti artists had his permission to paint there. The art has featured dozens of writers, including DOSE, SREK, SERP, FORIN, and WIES.
Every couple of months, the artwork is changed. Maricopa County Attorney Andrew Thomas, himself no fan of graffiti, used a mural done by WIES for an anti-truancy flier. The County Attorney's Office used a photo of the piece with a faux writer posing in front of it as if he was doing it illegally. Thomas' office obtained no permission, either from Miranda or WIES, to use a photo of this legal piece of street art.
FIC also got close to Sheriff Joe Arpaio. Very close. For a while, the collective was regularly adding its artwork to a legal wall at the Madison Event Center, just across from Joe's infamous Fourth Avenue Jail. Befuddled sheriff's deputies regularly walked past the seasonally themed art — one group of images had a Tim Burton-style Christmas theme; another, a Halloween theme — on their way to work. DOSE and others worked in the open, both day and night, with the permission of the building's owners. Still, there was at least one run-in with the cops.
"I think it was the sheriffs who called the Phoenix police on us," DOSE remembers. "The cop came up to me, flashing his flashlight at me. I looked down from the ledge where I was and said, 'What's the matter? Can I help you?' Real blunt, he said, 'What the fuck are you doing up there?' I was sarcastic right back: 'Fucking writing graffiti. What does it look like?'"
Ultimately, the property manager came out to explain things to the police officer. Sadly, Madison Event Center no longer sponsors the graffiti wall.
However, graffiti alley is going strong. Drive down the alley behind the row of businesses from 18th and 19th streets and McDowell Road, and you're met on both sides by walls of graffiti. There are huge letters of brown and black, book-ended by Fu-Manchu bearded homeboys, and long panels featuring graffiti with cartoon-character themes — Speedy Gonzales and Road Runner and Coyote running through an urban backdrop. There's fat, bubble-letter graffiti and a wall of graf that looks like tightly wound, gray cotton candy. It's all legal, with both residents and business owners signing off on it.