Best 49 of Graffiti quotes - MyQuotes
The mistake that was made in the '70s is we stopped policing the streets, we stopped cleaning the streets, we stopped cleaning the graffiti off buildings, we stopped supporting our cultural institutions and building parks and schools and all those kinds of things.
I got arrested for graffiti. I got arrested - a lot of, like, underage drinking, drunk in public, shoplifting, you know, your various, like, suburban arrests, I guess.
Should # graffiti be judged on the same level as modern art? Of course not: It's way more important than that
Graffiti is one of the few tools you have if you have almost nothing.
A lot of mothers will do anything for their children, except let them be themselves.
I want to make the world a better place, for women, mainly.
Graffiti is a lot easier than the canvas actually, because it's such a large format, so when you're going to such a thin detail, it's not that thin in the realm of things because it's such a big wall. This would take a small paint brush of detail, but on a huge wall, if that's the size of a building, the thinnest detail is still that big, it's a quick spray. Spray paint is easiest for me. I love spray paint.
I originally set out to try and save the world, but now I'm not sure I like it enough.
Writing graffiti is about the most honest way you can be an artist. It takes no money to do it, you don't need an education to understand it, and there's no admission fee.
All graffiti is low-level dissent, but stencils have an extra history. They've been used to start revolutions and to stop wars
Poetry is eternal graffiti written in the heart of everyone.
Is graffiti art or vandalism? That word has a lot of negative connotations and it alienates people, so no, I don't like to use the word 'art' at all.
In Afghanistan I was doing street art because it was more open, but when I had a show, only men would come. I said, I'm an artist not only for men, but for women too. So that's why I like graffiti.
Out there, in the world, all the walls were covered with graffiti: "Yids, go back to Palestine," so we came back to Palestine, and now the worldatlarge shouts at us: "Yids, get out of Palestine.
Graffiti is a pathetic attempt at anonymous recognition.
Modern art is a disaster area. Never in the field of human history has so much been used by so many to say so little.
The art of cartooning is vulgarity. The only reason for cartooning to exist is to be on the edge. If you only take apart what they allow you to take apart, you're Disney. Cartooning is a low-class, for-the-public art, just like graffiti art and rap music. Vulgar but believable, that's the line I kept walking.
When you can't think of anything else, photograph graffiti, nudes, or plants.
The violent illiteracies of the graffiti, the clenched silence of the adolescent, the nonsense cries from the stage-happening, are resolutely strategic. The insurgent and the freak-out have broken off discourse with a cultural system which they despise as a cruel, antiquated fraud. They will not bandy words with it. Accept, even momentarily, the conventions of literate linguistic exchange, and you are caught in the net of the old values, of the grammars that can condescend or enslave.
Aristotelian logic is massive and marmoreal, but every monument accumulates graffiti.
When absolutes are abandoned for principles, the U.S. Constitution becomes a blank slate for anyone’s graffiti.
The grumpier you are, the more assholes you meet.
The idea is to use minor events that are believed to be related to a terrorist organization, so graffiti is one of them, banners and leaflets are others, but also a lot of minor crimes if you can connect them with the group - credit card fraud, thefts - these types of things have been used to support them.
Peter Van Agtmael
You find [reverberations from 9/11 ] in them most unexpected places, like graffiti on a wall. Sometimes it's a faded picture; sometimes it's a newspaper tacked to a wall. Sometimes it's weird paraphernalia related to it, home constructed paraphernalia. It resonates through society and continues to resonate today.
I was here but now I'm gone I left my name to carry on Those who liked me Liked me well Those who didn't can go to hell'" -The bathroom wall
Love and romance are things worth waiting for.
Gordon B. Hinckley
A tattoo is graffiti on the temple of the body.
After pop art, graffiti is probably the biggest art movement in recent history to have such an impact on culture.
Some people are enraged, and some people are applauding. If there were a mission statement for graffiti, that would be it.
One piece of graffiti doesn't mean much. Forty pieces of graffiti might mean something... It's all about connecting the dots.
It's meant to be seen rolling so it should be big and readable. Wildstyles on trains didn't make much sense to me when I first started and they still don't today.
A wall is a very big weapon. It's one of the nastiest things you can hit someone with.
I always try to find time to do some graffiti here and there, but most of the time, I have so many walls that are given to me now, so anytime I want to go out and do something illegal, I can just do it legally.
A. C. Grayling
Look at the blogosphere - the biggest lavatory wall in the universe, a palimpsest of graffiti and execration.
One of the interesting things about skateboarding and graffiti is that skateboarding exists in the documentation of an act.
My lawyer's opinion is that the cops might not actually be able to charge me with criminal damage any more - because theoretically my graffiti actually increases the value of property rather than decreasing it. That's his theory, but then my lawyer also believes wearing novelty cartoon ties is a good look.
Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line. There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now.
I've never really considered myself just a street artist. I consider myself a populist.
The words of the prophets are written on the subway walls and tenements halls and whispered in the sounds of silence.
Second only to the master of us all, Clodia has become the most discussed person in Rome. Versus of unbounded obscenity are scribbled about her over the walls and pavements of all the baths and urinals in Rome.
His achievements read like the graffiti on the walls of a hangman's changing room.
I find it easy to spot a depressive. The illness is scrawled across them like graffiti.
You know, you'd hide behind a Public Enemy or Ice Cube, or Bruce Springsteen, or U2, because they spoke for you. But now everybody's bloggin'. I heard somebody say, "Blogging is just graffiti with punctuation." Everyone's an authority so there's nobody in power, 'cause everyone thinks they're in power.
The trick with hip-hop-hip-hop is a sport. The only music that's really, really close to a sport. It starts off, "My DJ's better than yours. I can out-rap you, I can out-dance you, my graffiti piece is better than you." It's very competitive.
I don't think you should have to pay to look at graffiti. You should only pay if you want to get rid of it.
Graffiti is only dangerous in the mind of three types of people; politicians, advertising executives and graffiti writers.
Bin Laden was very keen to point out to me that his forces had fought the Americans in Somalia. He also wanted to talk about how many mullahs in Pakistan were putting up posters saying, "We follow bin Laden." He even produced a sort of Kodak set of snapshots of graffiti supporting him.