![]() Many other cities now seem keen to also capitalise on street art's popularity with tourists.īut while local governments encourage some forms of urban art at the expense of others, in terms of the law, the delineation between legal and illegal has not been so clear cut. ![]() In a few short years, street art became such an important part of the Melbourne tourism experience that now it seems no trip is complete without visitors taking a selfie in one of the city's famed laneways. "When you're young and powerless, graffiti is an easy way - well, not that easy - to earn the respect of your peers with nothing but your own hard work," a graffiti artist from Melbourne's East named Paul said.Ī two colour tag by the late 'SINCH' in the Melbourne suburb of Balaclava. In 1971, when the New York Times published an article about TAKI 183 - one of the very first recorded graffiti artists - it didn't matter that he was a poor teenager from Manhattan.Īt the time his tag was so prevalent on the New York City landscape, it was as recognisable as any actor with their name up in lights on Broadway.ĭespite the city's high unemployment, tagging put fame, admiration and respect within reach of even the city's poorest inhabitants.Īnd now, more than 40 years later, tagging still offers the same rewards. "There is a direct link between a tag that became more and more ornamentalised and eventually became this full colour burner." "Tagging is a prototype for a mural," he said. University of Melbourne graffiti scholar Dr Lachlan MacDowall said tagging was the cornerstone of graffiti culture that emerged from the impoverished neighbourhoods of New York in the late 1960s. Tags adorn a lock-up garage in the Melbourne suburb of Balaclava.
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