It is without a doubt, that the city of London is a major contributor to the street art scene. Many modern-day artists are flocking to the capital’s trendy neighbourhoods such as Shoreditch & Camden to literally leave their mark. How did this popularized art form hit the city of London so hard? Catapulting London to top ranking in the graffiti art world and solidifying its place on the podium as one of the best open aired museums you’ll find on the globe.

It hasn't always been easy- in fact for a significant portion of its short life, graffiti and street art has been treated as a castaway. It was often deemed as messy vandalism created by bored and troubled youth or vagrants. Throughout its lifetime, there has been significant moves to crack down and erase the art form from city walls. Street art has often been condemned as a promotion of gang culture and the seedier side of ‘urban life’. However, as years have passed the reputation of street art has transformed. Which brings to question – has the art changed or is it that we have? In order to understand the evolution of acceptance of the art form, we have to know where we started.

Street arts popularity in Europe was imported with the fashionable trends of American culture. During the 1960’s street art was predominately utilised in New York City. The art form had found its place among America’s young, oppressed and forgotten. Individuals who were over looked by society, and voiceless in the art world. For generations American Black and Latino youth, had witnessed the atrocities and struggles of the older generation brought forward by the hand of the State. Many suffering from their own experience of a nation that worked diligently to silence their community’s voice. These feelings of anger and resentment at being forgotten, led to a void in having a venue to express one’s self and be represented. Street art, gave a long-awaited artistic platform to the younger generation. For the first time they had their own unique outlet to express their views and feelings about the injustices of society. A society they judged to have failed to offer protection, and compassion for them. Unlike, other art forms such as music and literature, street art presented a unique avenue for exposure. Street art was able to remove the veil of ignorance and the practice of turning a blind eye, by forcing the viewer to see the message. The message was front and centre in the streets, on display while one waited for the subway, or while walking to the store. Society could no longer deny what was right before their eyes.

1960’s in the USA laid the scene for the civil rights movement, the long practice of segregation, and racism was reaching a boiling point. However, racism and classism were not confined to America’s shores. Civil injustices historically tied to America, were not uniquely American. The injustices felt around the globe by many minority communities led to the oppressed citizens of other nations seeking a change in their own unjust systems. The longing for a fair venue for expression against injustice transcends from one continent to another making street arts trip across the Atlantic a smooth sail.

As American fashion and music began to penetrate the ‘trendy’ London scenes, Street art slipped in and opened up shop. The youth began to use posters and stencils to grab attention and spread their own unique message, and thus Street art had arrived across the pond.

By the 1970’s London saw an upswing in tagged graffiti by young people in search of artistic notoriety. The graffiti was not limited to walls but began to spread to inanimate objects. As the art forms popularity rose, so did the feelings of disapproval. People viewed street art as destruction of personal property, and looked for a legal means to crack down on the delinquency. The art form attracted many, who wished to rebel against normative expectations. The artist, the anarchist, and the thrill seeker, all finding a place in the illegally swift ritual of street art. Individuals were also looking for new and bolder ways to display their work despite the need for speed, which is a main principal of street art. The concept that ‘if you see it, you can spray it’, led to individuals upping the stakes, walls soon extended to windows, cars, benches, and trains. This living on the edge artistic expression meant you often only had a small window to time to complete your work while being prepared to run away with a moment’s notice. The philosophy was never ask permission, only beg for forgiveness if caught.

Londoners began waking up to their shops and cars being used as a canvas for “tagging”. Messages enclosed in artistic expression were sprayed around the city, with some of the cryptic phrasing being unclear, while others made no attempts to hide their opinions condemning the greed and unfair systems of the nation. Messages like ‘Eat the Rich’ highlighted issues with the United Kingdom’s part in similar injustices and crimes within their nation, that mirrored the ones being battled against on America soil. The creative messaging was a call to wake up, pay attention and understand that the United Kingdom has profited from an established system of classism, systemic racism and poverty that continued to batter many of her majesty’s citizens.

By the 1980’s Hip Hop and Electronic music, had earned a beloved place in London and the influx of this new music genre motivated and promoted street art culture. However, the art form was beginning to transcend. It was making its introduction into mainstream culture. Street art began to be synonymous with ‘being cool’. While it was still early days, a new generation of more open and liberal Londoners whose interest in graffiti and street art culture, began a thaw of the cold shoulder that the art form had endured for decades. The interweaving of communities aided in the normalization of the art form and brought greater familiarity and exposure to artists and their culture. With the continued popularity of the Hip Hop culture and its unique relationship to graffiti and street art more people were taking notice of this gritty artistic genre. With this came the emergence of more artists, more competition for prime and unique locations to spray their work to draw the desired recognition. Soon people were seeking bigger or better ways to showcase their work. Tagging on the ground level was no longer sufficient to draw attention and artists began taking greater risks trying to find bolder locations. Ideas like painting from a ‘heaven’s spot’ were born. The practice of painting from a heaven’s spot, entailed an artist scaling a building (often a fairly tall building), and standing or leaning over the roof ledge to paint the wall below. The name ‘heaven’s spot’ dubbed this ritual of spraying for not only the reference to the height one achieves but also to the many unfortunate events in which artists in their haste to complete work, took a wrong step which caused them to lose balance and plummet to their death below. Hence, the term Heaven’s spot.

Often with familiarity comes comfort, and as the cultural paradigms morphed and graffiti and street art became more accepted in neighbourhoods, the concepts such as gentrification began to amplify. While London had begun to see gentrification as early as the late 60’s the continuing increase in housing prices was putting a major strain on the younger middle-class generation. This generation hoped to carve their own path, and secure a place to call home in the capital but earned too much to qualify for the social housing benefits, but didn’t earn enough to buy property in traditionally ‘favourable’ areas. The increase in pop culture’s glorification of street life and poverty-stricken neighbourhoods led to a move of middle-class individuals looking for cheaper housing options, while being able to still live in a style that was considered edgy, trendy and cool. The lure to multicultural communities carried the notion and idea that they were a new generation of open minded and true Londoners who rejected the antiquated thinking of their parents who they left back home in the country.

They began to turn their attention to less advantaged areas such as East London. The property developers in these areas sensed they could capitalize on these favourable trends. They began to entice and attract people to move into the area by selling them the dream that these once no-go zones, were now affordable, and up and coming. As more and more people began to relocate to East London in areas like Tower Hamlets, and Hackney they were being exposed daily to more street art and graffiti. Thus, making the art form more appreciated by a wider audience.

As gentrification grew, so did the displacement of significant cultural communities, artists and musicians who called the place home, and who had contributed to the very fiber and uniqueness of the neighbourhood. Gentrification saw these individuals pushed out by what many of the middle class deemed affordable housing, but were in reality an increase of costs to those already situated in the community. Neighbourhoods transformed overnight. Places like Notting Hill, which had once been a vibrant Caribbean community established during the Windrush era was now one of the most desirable and expensive places to live in London. Today aside from the annual Caribbean parade and a few blue heritage plaques stating ‘Here is where Bob Marley recorded his reggae album Exodus’ there is little to no trace of the Caribbean beat that once pumped the heart of Notting Hill.

By 1990’s - 2000’s as the face of neighbourhoods began to shift, new residences brought with them new businesses. Soon cafes, boutiques and big-name chain franchises infiltrated. Mainstream business and art scenes, started paying attention to graffiti and street art. They were discovering that this once dismissed art form could be profitable. However, the neighbourhood shifts, had caused a shortage of artists in the area. Companies recognized that there was financial benefit to preserving the fringes of the neighbourhood. Not wanting to lose the disposable income of the younger generation populating the area, they began to commission street artists to paint their shops often under the guise of keeping the culture of the area. The shift to legal and permitted art, meant the artist didn’t need to create in haste. Thus, bringing an increase in intricate painted murals. With no need to hide or fear of reprimand the artist could simply do art. However, not everyone was open and accepting of the new capitalist partnerships. Many artists believed that this removed the true spirit of what street art was. However, as the decade continued capitalism’s grasp on street art would become a suffocating choke hold.

By the late 1990’s and 2000’s street art was about to reach a pivotal growing point, which would come in the name of an artist called Banksy.

This unknown artist hailing from the streets of Bristol, would enter the street art scene and shake it up. Banksy’s thought-provoking stencil work was the perfect combination of humour, pop culture and social awareness. Banksy’s art had the ability to highlight and expose how societies greed and power had distorted our morals. Banksy was revered for his ability to also deliver the message not only via his pieces but often through elaborate stunts.

From Disneyland to Sotherby, Banksy’s stunts were capturing headlines. Rebellious acts such as hanging his work up in the Louvre, to the self-destruction mechanism that saw the piece “Girl with Balloon” shredded minutes after being auctioned off for 1.02 million pounds. Banksy had the ability to capture attention and get people thinking and discussing important issues while trying to decipher the meaning behind his work.

Street art was coming off the wall and was becoming its own living social activist. Suddenly there was an influx of documentaries, newspaper articles, and tourism. Street art was finally getting recognition. However, not everything that sparkles is gold. As the hype around street art continued to pick up speed, the culture of this art movement, would face a head on collision with those looking to slap a price tag on the work. A war of words between differing ‘values’, a living juxtaposition between the ones’ living by the code and values of the art form and the other exploiting the art for its value.

To understand how deep the knife cuts when speaking about this clash of ideals, one must be familiar with the philosophy of street art. When an artist creates a piece of street art, there is an understanding that when they walk away, that piece (regardless if tagged or not) is given up to society. They understand that accessibility is often a two-way street. While a wider audience can be reached, it also means the work is vulnerable to being defaced, or changed. Streets artists understand this and often respect that this is the name of the game. The artist comes to terms that the longevity of the art is symbolic and reminiscent to life itself. The art has its own course to run. It is here today and gone tomorrow- a fragile reminder of life’s message that nothing created lasts forever.

The very concept that the art must be left in a public realm, was the perfect recipe for exploitation from those looking to cash in. The notion of ownerless work became an advantage for greedy dealers and collectors. They realized that if they could obtain popular pieces, they could sell them while cutting out the artist from any profit. Keeping their fingers on the pulse for new art emerging from artist like Banksy, these individuals would race to beat out competition and stake their claim to new pieces. Often this meant removing the art in its entirety from its original public location, bricks and all. What was once for all to see, was now being coveted away, with viewings set for a price. Intellectual property and talent was literally up for grabs and then placed for sale and like gentrification and social injustices, those at the forefront were being pushed out.

As exploitive commercial trends continued to make strides, individuals in the community such as fellow street artists as well as those whose property were being defaced by art scavengers attempted to salvage their community walls by destroying the new work from popular artist. The idea was that by painting over the piece, and removing the monetary value it would dissuade those lurking around with the intent to steal the art.

As time continued to pass and artists continued to see their work being sold off privately there was an understanding that in order to survive and combat the greed street artists would need to find their footing within the realm of commercialized art. Street art was entering a new uncharted phase of life. The doors of the art world which had been historically bolted shut, were now open and inviting. Street art had evolved to being a marketable art force. It was no longer seen as hooligans defacing the streets of the city, it was arriving to take its place in the art world. Street art was now Modern Art.

While the evolution of street art is still forever progressing, we are seeing the art form carve its own path within our modern society. The appreciation for street art has seen communities and the artist find and create partnerships that allow both to thrive. We are seeing more collaborative community initiatives made to preserve graffiti and inspire the artist, as well as those who admire the art form. The street artist is no longer being left on the sideline and out of the profit equation. In London, ventures to educate and share the culture have been formed. This can be seen in such things as local artists providing their expertise in the shape of workshops for youth and adults looking to learn how to create street art. Within communities like Brick Lane, local artists provide tours where they can share their passions and speak about the community and the messages behind the work. Giving tourists an enriched and meaningful understanding of the area and people they are visiting.

This movement towards appreciation of graffiti and street art has not been limited to just the streets of London. The opening of community spaces that allow artist to work are being established on a global scale. As you travel around the world, you’re more likely to find areas and neighbourhoods dedicated to displaying street art.

In Berlin, 1.3 km of the Berlin Wall has remained and is on display, as the East Side Gallery. This memorial and exhibition allows its visitors to walk the length of the wall, being transported back to the horrors, and struggles that a Nation overcame while trying to step out of the nightmare of dictatorship. The Wall and its artwork serve as a reminder of the evil that humans are capable of, while depicting human resiliance and displaying the message that no matter how hard regimes try, they cannot silence those who take a stand against injustice. The voice of the people will live on through street art.

Other European cities such as Barcelona and Amsterdam, are creating museums and galleries that see the street artist’s work being hung on the same walls of iconic contemporary artists such as Andy Warhol. Independent museums such as the Moco Museum, provide visitors with wide access to pieces from Banksy to Basquiat.

Melbourne was the first city in Australia to host well known American graffiti artist turned contemporary artist KAWS by displaying 100 iconic paintings and sculptures at the National Gallery Victoria (NGV) in KAWS’s exhibition Companionship in the age of Loneliness.

Most recently, following the Covid 19 pandemic, as businesses returned to normal, the artistic trailblazing city of Melbourne has given individuals the opportunity to experience aspect of street art in more unique venues. Which means you don’t have to venture only to Hoiser Lane to see street/ Modern Art. Establishments like Pt. Leo Estate, a coastal winery, have incorporated art with their love of wine. Creating an art attraction such as their Sculpture Park which displays a variety of modern art sculptures. While the Sculpture Park isn’t new to the winery, the Estate took the exciting and cool step in 2020, by welcoming the addition of a sculpture by KAWS which now calls the park home.

Street art continues to solidifying its existence within our world. While we have seen the ascent and descent of many art movements, street art continues to endure throughout the decades. This is due to the fact that street art represents the human experience. Cesar Cruz once said something that I feel embodies the importance of street art within our culture. He stated that “Art should comfort the disturbed, and disturb the comfortable”. I believe this is exactly what street art has been accomplishing since its birth. Street art is a mirror of society. The art form can evoke many emotions from laughter to a deep consideration about what we value as a society. Street art can also at times be a bitter pill to swallow, as it forces us to see our flaws as a species. It gives a voice to the voiceless, and in its ever-changing nature, it acts as a reminder that as people we need not be anchored by our thinking or our circumstance. That we too are capable of change, and that there is always time to paint a brighter future that we can be proud of.