Suppose that Leonardo, Monet, Picasso, or any other recognized artists of Western European culture were alive today and decided to paint a masterpiece on the side of your house. Would Picasso or Monet's markings be considered art or vandalism? People's answers may vary, but I would classify those markings as art in the form of graffiti. Their markings would qualify as vandalism only if they appeared on private or public property unauthorized.

Graffiti art originated in the late 1960's and still isn't accepted as art like museum or gallery works. Graffiti art is not denied the status of genuine art because of a lack of form or skills, but is mainly due to its location and bold, unexpected presentation.

Graffiti is the plural form of the Italian word grafficar. In plural, grafficar stands for drawings, markings, patterns, scribbles, or messages that are painted, written, or carved on a surface. Grafficar also means "to scratch," such as wall writings or bathroom scribb

In the 1970's people began painting subway trains, starting the existence of subway art. Train painting became crucial to the development of graffiti art because this was the time when every artist wanted to be recognized. The visibility of the trains encouraged more people to try out this new form of art. Despite New York City's attempts to stop vandalism, the style grew and soon people from cities all over the world were joining in.

Graffiti art is not a spontaneous activity; it involves a great deal of imagination, planning, and effort. The graffitist first does a sketch then plans out characters and selects colors. Next, the artist selects his or her surface and does an outline, followed by the filling in of colors and detail work.

Cooper, Martha. and Chalfant, H. Subway Art. New York: Holt, Rinehart, and Winston, 1984.

Therefore, graffiti is art. It has form, color, and other properties that qualify it aesthetically as being art. The only obstacle that has hindered the general acceptance of graffiti art is its location and presentation. However, the instances of acceptance of graffiti art by the art world shows that conventional methods of presentation are not all that matters in determining if something is art. In short, graffiti is art like any other work that might be found in a gallery or a museum.

Dickie, G., Scalfani, R., and Roblin, R. Aesthetics: A Critical Anthology. New York: St. Martin's Press, 1989.

"Graffitists view their art as a ritual transgression against a repressive political and economic order. Some artists see themselves as revolutionaries reacting against the established art market or gallery system in that art is not only that which appears in the gallery as determined by

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