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Culled from the extensive archives of one of the most renowned graffiti photographers of all time comes this remarkable collection of previously unpublished images of New York's graffiti scene in the 1980s.
If you were a graffiti writer in 1980s New York City, you wanted Martha Cooper to document your work-and she probably did. Cooper has spent decades immortalizing art that is often overlooked, and usually illegal. Her first book, 1984's »Subway Art« (a collaboration with Henry Chalfant), is affectionately referred to by graffiti artists as the »bible«. To create »Spray Nation«, Cooper and editor Roger Gastman pored through hundreds of thousands of 35mm Kodachrome slides, painstakingly selecting and digitizing them. The photos range from obscure tags to intimate portraits, action shots, walls, and subway cars painted inside and out. They are accompanied by heartfelt essays celebrating Cooper's drive, spirit, and singular vision. The images capture a gritty New York era that is gone forever. And although the original pieces (as well as many of their creators) have been lost, these resplendent photos feel as immediate and powerful as a subway train thundering down the tracks.
If you were a graffiti writer in 1980s New York City, you wanted Martha Cooper to document your work-and she probably did. Cooper has spent decades immortalizing art that is often overlooked, and usually illegal. Her first book, 1984's »Subway Art« (a collaboration with Henry Chalfant), is affectionately referred to by graffiti artists as the »bible«. To create »Spray Nation«, Cooper and editor Roger Gastman pored through hundreds of thousands of 35mm Kodachrome slides, painstakingly selecting and digitizing them. The photos range from obscure tags to intimate portraits, action shots, walls, and subway cars painted inside and out. They are accompanied by heartfelt essays celebrating Cooper's drive, spirit, and singular vision. The images capture a gritty New York era that is gone forever. And although the original pieces (as well as many of their creators) have been lost, these resplendent photos feel as immediate and powerful as a subway train thundering down the tracks.
Perlentaucher-Notiz zur TAZ-Rezension
Julian Weber freut sich, dass die legendäre Fotografin Martha Cooper, die als eine der ersten Graffiti als Kunst und nicht als Kriminalität ansah, mit "Spray Nation" einen neuen Bildband veröffentlicht. Im Fokus steht hier vor allem auch die für die HipHop-Kultur essentielle Verbindung von Rap, Breakdance und Graffiti, wie der Rezensent immer wieder betont. Ein "Community-Gedanke", den er bei heutigen Rappern wie Kanye West vermisst. Cooper fange den Underground-Spirit des frühen HipHop in New York mit ihren Fotografien, die nicht nur Graffiti zeigen, sondern auch Breakdance und Personen der Szene, atmosphärisch dicht ein. Besonders hebt Weber das Porträt von Rammellzee hervor, HipHopper der ersten Stunde, dessen Erscheinung er für ein Gesamtkunstwerk hält und von dem er Verbindungen bis zur heutigen Kultur sieht. An den Bildband anschließend empfiehlt er auch den Sammelband "Boogie Down Predictions" von Roy Christopher, der sich ebenfalls der Rap-Geschichte widme.
© Perlentaucher Medien GmbH
© Perlentaucher Medien GmbH