In its 50th issue the established German art magazine KUNSTFORUM International did introduce Graffiti for the first time as the volumes’ main topic to its readers in 1982. Back then “graffiti” was still a wide ranged term including murals from Central America, political slogans, ironic writings, ancient carvings and often illegal interventions in the cityscape. Traditional New York graffiti writing, which dominated the city’s face for more then ten years at this point, was presented in three photos and not even a full page of text.

Maybe it was a bit too early because in the following months and years writing was transported through books, movies and vinyl covers to almost every bigger town in the western society. So only some 37 years later they did another try in May 2019 with their 260th issue. This time the word “graffiti” is much more clear defined: writing, following the New York tradition and in parts art which did evolve out of it. Larissa Kikol, responsible editor for this volume, did unite big and small names and gives a status quo of graffiti in central Europe.

With her background as an art historian, she analyzes and contextualizes the works from CLINT176 (Berlin), SAEIO (Paris), SUSIE (Berlin) and HAMS (Marseille). As city portrays you can find Berlin as today’s hot spot and as example of a well documented oldschool the city of Munich. An in-depth definition of graffiti as a tool of city marketing (Robert Kaltenhäuser and Georg Barringhaus) are part of the content as well as interviews with Henry Chalfant, Martha Cooper, RAP, 1UP, graffiti lawyer Dr. Patrick Gau and MOSES & TAPS™.

336 pages, 16,8 x 24,4 cm, Paperback
Language: German
Release date: April 2019
Publisher: Larissa Kikol / KUNSTFORUM International