Like much of art history, graffiti has historically been considered a male-dominated form of art. Among the early writers [1], only "founders" of this style are mentioned in literature (Julio 204, Taki183 etc.). When discussing this style, its associations with gangs, urban crime, or the history of street art are mainly discussed. Even in the latter case, graffiti is linked to the activities of boys and men, excluding women from the outset. On the other hand, street art is considered a medium accessible to everyone, created by anyone. Due to the tag, or pseudonym, used by artists to sign their work, the writer's identity is unknown, meaning anyone could be a writer. M. Walsh in his book "Graffito" states that graffiti may be the only form of art that transcends social boundaries. The author believes that in the world of street art, the only thing that matters is artistic skill and the artist's attitude, and race, gender, social class, and age are irrelevant [2]. According to this statement, art itself should take precedence, with the person creating it coming second. However, women are invisible in the world of graffiti, not because there are few of them, but because their role in creating this art form, which is considered "masculine", is diminished.
This article will present the stories of women creating graffiti and the challenges they faced during their artistic careers. It will also showcase "crews" formed by girls and their collaborations. Finally, events known as graffiti jams, designed to unite female writers and promote their work worldwide, will be discussed.
Untold Stories
Female street artists often do not reveal their identities. This may be one reason why people often do not know that the person behind a great work is a woman. However, even when their gender is disclosed, their role in creating street art is often overlooked. As early as the 1970s, when graffiti was still emerging, young women participated in this male-dominated field. Two of them, Barbara 62 and Eva 62, were partners from Manhattan, and like most graffiti writers from that district, they tagged their names on the streets of New York (Fig. 1). Although they were not the first female writers, they were among the first to become widely recognized [3]. Their tags appeared alongside those of others, such as TAKI 183, considered pioneers of contemporary graffiti (Fig. 2). This shows that women have been creating street art from the very beginning, alongside other widely recognized "legends" of street art.
Fig. 1. Tags Barbara 62 and Eva 62
Fig. 2. Tags Eva 62 and TAKI 183
Source: https://www.mandatory.com/living/1234371-taki-183-elusive-ny-graffiti-legend-comes-retirement
By the late 1970s, the scene was taken over by Lady Pink, an Ecuadorian citizen raised in New York City. In 1979, the artist began painting subway trains pink and quickly became known as the "First Lady" of graffiti (Fig. 3). In 1982, she played one of the main roles in the first hip-hop film, "Wild Style" (1983), directed by Charlie Ahearn, and became the only noticed girl in the graffiti world at the time. This role and her other significant contributions to graffiti made her a cult figure in the hip-hop subculture. The artist developed in various directions. Despite tagging trains since high school, she exhibited paintings in art galleries, and at the age of 21, she had her first solo exhibition at Moore College of Art [4]. However, her beginnings were not always easy, especially when it came to street art. Creating graffiti as a girl, Pink describes it as a challenging task with many hostilities directed towards her. As she claims, it is much more difficult to start creating graffiti as a woman because men are not supportive and find it hard to say good things about art made by girls. Additionally, in her opinion, it's hard to join the "boys' club," and to be noticed and respected, one must put even more determination and work into it [5].
Fig. 3. Lady Pink on the subway car
With the development of graffiti, there were increasingly more anti-movements working against new artists. In the 1980s, regulations limiting the sale of paint in New York made it difficult to obtain materials, and drug trafficking and wider access to firearms increased street violence and brought graffiti closer to gangs. Additionally, The Clean Train Movement, led by the New York Metropolitan Transportation Authority (MTA), successfully cleaned the subway of tags [6]. During this time, it was harder for graffiti artists to "appear" on the surface. Discouraged by the new limitations, many street artists turned to other forms of art. Some saw repression as a new challenge and continued their pursuit of victory over the MTA and the police. Among such individuals, in addition to Lady Pink, were Claudia Gold (known as ClawMoney) and Miss17.
Fig. 4. Graffiti by ClawMoney
ClawMoney, who became known in the late 1980s and early 1990s for her iconic "paw print" (Fig. 4.), is now the CEO of Claw&Co, a large retail brand [7]. Meanwhile, much younger, Miss17 began her career only in 1998, with the mission of "world domination." From the beginning, her graffiti could be found not only in the United States but also in Europe, Latin America, and Asia. Miss17 is best known for her throw-ups and popularizing horizontal tags. She rarely "beautifies" her few-second graffiti, and her style is rather raw. Miss17 is one of the artists whose tag indicates that she is a woman. When asked about her experiences related to this fact, she replied, "When I first went out, I wrote MS.17, and then it changed to Miss 17, so it was pretty obvious that I was a girl. Looking back, I regret it because everyone treats you and your graffiti differently when they know you're a girl. Referring to my graffiti alone, I don't think there's any obvious femininity in them" [8].
Fig. 5. Collaborative work by ClawMoney i Miss17
Both artists met in the late 1990s at a women's photo shoot for the graffiti magazine "While You Were Sleepin." Both were surprised when the staff began handing out sensual dresses and Mardi Gras masks to the participants, thus sexualizing them and reinforcing stereotypes. Both refused to participate and since then have become one of the most famous duos whose work could be found all over New York [9].
While some female graffiti artists were fortunate to find themselves under good wings, such as ClawMoney and Miss17, who could support and cheer each other on, others had less pleasant experiences. Among them was Are2. A biologist by day, a "wanderer" by night, since 1996 Are2 has been politically and socially active as an anti-capitalist. In 2001, she began painting mainly on freight trains (Fig. 6.). Her graffiti is always clear and precise, although deliberately "sloppy," faded with many decorations. She often adds phrases such as "fuck society" and "born against" to her works. Initially, Are2 painted in the BA crew, which consisted of about 30 guys. However, due to two situations, she decided to leave. One of them was an invitation to a new member of the group who called her a "graff ho" online. Furthermore, at the same time, she broke up with her boyfriend, also a BA member, and most of the group "took his side." The artist experienced discrimination firsthand because of her gender in the "male" world of graffiti. Many other female graffiti artists have to exceed expectations to gain the respect of other writers. Women are often considered less capable by their male peers, who claim that they only create to please someone or are assisted by their boyfriends. Sometimes, there are rumors about sexual activities with other graffiti artists, leading to calling them "graffiti hos." In 2011, she joined the Goonies crew, another crew where, as she claims, you can count on each other [11].
Fig. 6. Graffiti Are2
Despite the origins of graffiti being associated with neighborhoods in New York and Philadelphia, it eventually spread not only across the United States but worldwide. Consequently, female artists painting on the streets are not limited to the USA. A bit further north, Gosich Rose, known as EGR, has been "taking over" Canadian streets since 1996. This contemporary visual artist, muralist, and illustrator hails from Toronto, and her works challenge views on fine art versus graffiti and street art. Female characters symbolize determination, while fairies reflect angels. The artist is known for painting "live" during international events. Additionally, with her skills, she paints large-scale artworks on any surface. Her art has appeared not only on the streets but also in print, on music album covers, and in music videos. She addresses political and social issues in her works (Fig. 7.). Her works have been featured, among others, at the first national street art exhibition in Canada at the Royal Ontario Museum (ROM), the Art Gallery of Ontario (AGO), and The McMichael Canadian Art Collection, as well as in galleries and collections in North America, Australia, the UK, Brazil, and Italy [12].
Fig. 7. Mural „love yourself”
Source: https://www.egrart.com/Murals
Motel7 is an artist from Cape Town. She is a member of the significant graffiti crew 40HK and the first white (of Norwegian-English descent) woman painting in South Africa post-apartheid. Women in South Africa were among the first to embrace hip-hop culture through rap and dance, even before the time when "non-political" graffiti became popular in the 1990s. When Motel7 started creating in 2003, she chose the pseudonym "Misty" to emphasize her feminine identity, but quickly changed it to Motel7 [13]. When going bombing (slang for graffiti painting), she dresses androgynously, believing it to be safer. She also usually keeps her identity secret. When it became known that she was a woman, she began receiving questions suggesting that someone helped her create her work or that she needed connections to join a crew. The colorful, geometric letters she creates are heavily deconstructed and sometimes combined with "funny" images (Fig. 8.).
Fig. 8. Graffiti by Motel7
The above-mentioned artists are just a few among many worldwide. Born in Germany in 1980, Claudia Walde, known as MadC, through 25 years of continuous dedication to graffiti and street art, has gone from a teenager starting with spray paint to one of the best street artists in the world [14]. Lady K, who tagged the streets of France in 1990, now engages in painting, sculpture, photography, and writing [15]. Due to the number of female graffiti artists, only a few of them, who mostly started tagging at the very beginning of the hip-hop subculture, were chosen for the purposes of this work. Although many of the mentioned artists work individually or in duos, such as ClawMoney and Miss17 or Barbara62 and Eva62, some of them join graffiti crews, which allows them to have the support or mentoring of more experienced individuals. Below, the most important crews from the perspective of the history of female graffiti will be listed.
Graffiti crews
A crew is a group of interconnected graffiti writers who often collaborate. Crews differ from gangs in that their main goal is graffiti painting. Any group of friends can quickly and informally form a crew if they are interested in graffiti and want to start working together. Such crews often recruit new members over time to maintain their relevance [16]. Belonging to a group allows younger members to have a mentor, someone from whom they learn new artistic skills or how to navigate the streets. This was the case with Abby TC5. An artist and graduate of the Art & Design High School, she began her graffiti career around 1982 by tagging on bus lines and walls in her hometown of Queens, a new working-class neighborhood [17]. She discovered Lady Pink and Lady Heart at school, whom she wanted to be mentored by. Although she did not succeed in achieving this, she joined her friends' group TPA (crew names are usually two to five letters, usually three, which are an abbreviation of the full name). The crew operated at the turn of the 1970s and 1980s. The main members of TPA – The Public Animals – lived in Jamaica, Queens. TPA was a citywide crew, writing on all three subway divisions, using all available techniques. Another well-known crew at that time was TC-5 – The Crazy Five. In the mid-1980s, when New York was an incredible time for graffiti creators, TC-5 was one of the main graffiti groups. The crew's roots date back to the early 1970s when TC-5 was a legendary Bronx crew. After most of the original members "retired," Seen took over the presidency and expanded the crew mainly from the Bronx into a true urban force [18]. TC5's works were often encountered in the New York subway, especially in the IRT division [19] (Fig. 9.). Notable female members of the group included Lady Pink and Abby TC5.
Fig. 9. Graffiti by TC-5
However, learning is not the only advantage of being part of a crew. Additionally, there is a lower risk of being held accountable for graffiti if one member is arrested because, from a legal perspective, the tag/group name could have been painted by anyone. Mutual support and safety were key motivations for the creation of all-female crews, in which they did not experience discrimination based on gender, as mentioned earlier with Are2 when she belonged to the BA crew. One of the first female crews was Crazis Crew, founded in Chile in 2000. The group, consisting of Shape, Bisy, Eney, Cines, Adri, and Naska, is a collective of female street artists from Chile. Initially starting on the streets of their home country, over time, as a group, they began participating in various graffiti-related meetings and events beyond their homeland [20].
Crazis Crew mainly creates collective projects, and their works possess many "feminine" characteristics. They are painted in a way to both show integration and distinguish each person's style. The group productions are "light" and cartoonish, with rounded characters and stylized organic beings such as insects, animals, and people. They often add native clothing, which combined gives a surreal but natural landscape (Fig. 10. and 11.).
Fig. 10. The work of Crazis Crew, Sao Paulo, 2011
Fig. 11. The Work of Crazis Crew, Santiago 2011
However, these were not the only graffiti artists from Chile. Antisa, an artist from Los Angeles (Chile), painted graffiti from the early 2000s. She emphasizes that "in those years, painting was difficult, especially in the provinces, because access to information was very limited, there was no internet." In one statement, she underscores this fact: "We got photocopies of magazines and made our own sprays from deodorants [21]." In 2003, Antisa fully dedicated herself to graffiti painting and began networking with other artists. She painted in a wildstyle with her characteristic complex organic-shaped letters and defined lines. In 2006, she formed the Turronas group with Gigi and Mona (Fig. 12.). Initially, there were only three members, but soon after, the group recruited Pau from Germany and dninja from Brazil, making it international. The artists still travel almost all over Chile and other countries in South America, participating in various events and meetings to share their experiences with others [22].
Fig. 12. Graffiti Turronas Crew
The works created by both crews (Crazis and Turronas) differ in style but both exhibit their distinctive characteristics. They create productions with cohesive colors, textures, and motifs. This credit can be attributed to the rich history and important role of mural creation in Latin American culture.
Despite similarities between American graffiti and that from Latin America, both styles differ fundamentally. North American graffiti is perceived as a typical example of hip-hop subculture with a dominant wildstyle. Additionally, this style tends to emphasize aggressive composition with less legible letters. This is referred to as "true" graffiti, whereas the rest of the productions are considered street art or murals. This form is less accessible to the viewer, often associated with gangs or urban decay. In South American countries, society mostly perceives colorful graffiti as "embellishing" the city. Street art is seen as uplifting and unifying. Graffiti is not criminalized to the same extent as in the United States or some European countries due to social and aesthetic differences [23]. This is evident, among others, in Brazil, where there is a special form of "writing" called pixação. This is a distinctive graphic style characterized by unreadable letters, which is considered a crime in this country, unlike painting colorful and large-scale characters on street walls, for which, as they are considered art, one can only receive a warning. In Brazil, the difference between pixação and graffiti is significant. Although both graphic forms are executed on walls and city walls, graffiti is more widely accepted because it is more aesthetic. Graffiti artists typically create images, while those painting pixação use signatures and words. Additionally, Graffiti cannot be considered a crime as long as the artistic expression enriches cultural heritage and is authorized by the owner [24].
Fig. 13. Graffti, Rede Nami
Probably for this reason, in Rio de Janeiro, colors are everywhere. It can be said that the walls of this city serve as a public place for artistic expression. This allowed Pamela Castro, known as Anarkia Boladona (slang for Crazy Anarchy), to create a revolutionary artistic project - Rede Nami. "My art began as a rebellion against social conditions such as poverty, racism, and gender-based violence, everyday problems in the poor neighborhoods of Rio where I grew up," says Anarkia, born in Rio de Janeiro in 1981. She studied art at state and federal universities, later dedicating herself to graffiti with social themes, including gender-based violence and the roles of women in Brazilian society. She chose this form of art because it allows her to reach a diverse audience and overcome social limitations [25]. After many difficult experiences, Anarkia rebuilt her life by joining a graffiti crew. The Rede Nami project was created in 2008 [26] to promote the Maria da Penha Law (Lei Maria de Penha addresses gender-based violence in Brazil, specifically aiming to reduce domestic violence in this country [27]). Although initially Rede Nami was an all-female artists' group, it transformed into a non-profit non-governmental organization that conducts educational-communication campaigns, both online and offline, to disseminate information about types of violence against women. Workshops are organized as part of the project, where graffiti is used as a communication tool. Topics are discussed, often perceived as uninteresting because many women believe that violence does not concern them, or shameful because others do not have the courage to talk about it. After the discussion, participants are invited to create a joint mural using spray paint related to the topics discussed, thus creating a symbol of the fight against violence [28] (Fig. 13.). The workshops are completely free, which is particularly important for women from poor backgrounds.
Both the creation of female graffiti groups and larger projects, such as Rede Nami, have had a positive impact on women and their art. They could not only support and appreciate each other but also feel a sense of belonging to a group, and thus a kind of security. Although relatively little information exists about various female groups from the 1970s and 1980s when graffiti emerged, more and more information is emerging about current or "younger" crews. This is directly related to the development of the internet and better information flow. With increasing access to advanced technologies worldwide, graffiti has taken on a new form. Artists began uploading their works to the internet, allowing them to "last" longer than until the first covering. As a result, it became increasingly difficult for graffiti writers to remain anonymous. Police found it easier to locate writers and catch them in the act, but this did not stop them from continuing to "paint" cities. On the other hand, it allowed them to connect with a larger number of foreign artists, partly through social media and international graffiti event organizations. In the next subsection, All-Grrlz graffiti jams (i.e., created exclusively for women) will be described, which helped female writers come into the "limelight".
Graffiti jams
Graffiti jams are events that date back to the early 1980s. They likely draw inspiration from jam sessions, known in music, which involve collective playing, often improvisation [29]. This was particularly popular in the case of jazz or funk, genres from which hip-hop originated. In the context of graffiti, a jam involves creating graffiti "live" together. This means that, unlike the typical admiration of graffiti by viewers after its creation, in the case of a jam, third parties can see the process of creating the artwork from the beginning. A graffiti jam can be considered a social event where a group of artists creates together to the accompaniment of music and spectators [30]. This allows artists to be noticed by a wider audience.
Due to experiencing gender discrimination, female graffiti artists have developed a range of resistance strategies. Some focus on safety and collaboration, like the previously discussed female crews, while others are more strategic. Among the latter, female jams can be mentioned. In Australia, the Ladie Killerz Graffiti Jam has been held annually since its premiere in 2008. The event was first organized by JOSKE, a multidisciplinary artist from Queensland, Australia. She aimed to unite the female graffiti scene. Girls who had been painting for a long time were invited to the jams, as well as those who were just starting out, colloquially called "toys." Each person could find their "piece of wall" at these events and not fear negative criticism from other participants. One such event took place in 2012 under the theme "PROM PARTY," with three rules: (1) wear an evening dress, (2) choose a tag, (3) paint [31] (Fig. 14.).
Fig. 14. Jam „PROM PARTY”, 2012
Despite its growth, Ladie Killerz does not have commercial sponsors, and funding is collected from "friends" and the participants themselves. Although they organize open jams, the locations are usually "private," only for the closest audience, such as family etc., to avoid attracting a wider audience. The number of members varies from a few to dozens. Referring to Joske's statement, both older and younger individuals, mothers, daughters, sisters, girls representing hip-hop, punk, and hippie subcultures belong to it. An important aspect is that the event does not attract any media attention; it is organized because the participants want to take part in it [32].
Another graffiti jam on a massive scale was organized in London from 2014 to 2016. At that time, Femme Fierce was considered the largest graffiti festival in the world. Ayaan Bulale was a co-founder of the festival, bringing together many international female artists in one place. The event lasted several days and aimed, among other things, to raise awareness about breast cancer. The culmination was International Women's Day, March 8, when all the artists gathered for a jam at the Leake Street graffiti tunnel (Fig. 15.). Many participants commented that there had never been so many people in the tunnel before, both graffiti painters and observers of the entire process. Additionally, gallery shows were held at Cre8 Gallery, as well as graffiti workshops and Street Art Tours. Furthermore, Femme Fierce operated on social media platforms like Instagram and YouTube, documenting everything for future generations. Although legally and semi-commercially painting contradicts the fundamental principles of hip-hop, artists participated in this event because of its motive and goal. However, over time, unlike Ladie Killerz, Femme Fierce became increasingly mainstream, involving large corporations (e.g., Elle magazine). This caused its unifying power to lose value, and artists increasingly avoided it [33].
Fig. 15. Femme Fierce jam in tunnel near Leake Street
Currently, female graffiti artists not only want to paint on the streets but also to be visible in galleries and to develop their artistic careers in other ways. The WOM Collective supports artists, local communities, and charities through its graffiti, exhibitions, and workshops throughout London. Additionally, it creates a space for artists to exhibit and sell their works, ensuring that each artist also receives 100% of the value of the sold artwork. WOM was founded in 2019 by four artists: ELNO (Elena González), Carleen de Sözer, Raquel Natalicchio, and Lours, after organizing a female graffiti jam in Allen Gardens and receiving feedback from participants about the struggles of working as a woman in the creative sector [34]. Since then, WOM has been organizing monthly graffiti jams, where artists can network, paint London walls, and beautify rough urban environments with their works (Fig. 16.). The events are open to women of all ages to encourage collaboration among them. Their goal is to unite the community of female artists so they can share their experiences and inspire each other [35]. The WOM Collective aims to empower HerStory by providing space for graffiti jams, exhibitions, workshops, and artistic events.
Fig. 16. WOM Collective, graffiti jam
Source: https://www.womcollective.org/graffiti-jam?pgid=kbqvjnwr-e7de86a8-afc0-4ee3-a19a-28dce7dabc9f
Originally, the HerStory project was created in 2016 by Lady K-Fever, a New York-based street artist and activist. She specializes in projects focusing on communities through collaboration. She began her career in Canada in the early 1990s and by the late 1990s was traveling and painting on the West Coast of the United States. When she landed in Hawaii, she painted large hibiscus flowers, characteristic of her style, for the first time. She is known for combining traditional graffiti elements with flowers, creating a very expressive style (Fig. 17.). In 2004, she moved to New York to paint murals, organize exhibitions, and document hip-hop as a journalist for Backspin Magazine [36].
Fig. 17. Graffiti, Lady K-Fever
HerStory aimed to document and visualize the contributions of female graffiti artists to the history of street art over the past 40 years and is represented by The Bronx Graffiti Art Gallery in New York. The project aims to support creative events that celebrate public art through the lens of Bronx and New York female graffiti artists. As part of the project, a series of artistic events, from jams to educational workshops and gallery exhibitions, were organized from May to November 2016. It is now an annual series of events in New York, organized and represented by The Bronx Graffiti Art Gallery [37].
Today, thanks to widespread access to communication, it is easier for female graffiti artists to showcase their presence and document their achievements. Street art, due to its location and creation process, is very fragile and impermanent. Painting over a work that was created for hours can take just a few minutes. Artworks are changed, altered by other artists, or removed by authorities. The development and access to new technologies not only allow capturing graffiti in its original form but also provide access to archival works. Although female street artists still struggle to stand out among all creators, thanks to an increasing number of programs such as HerStory or jams for women, more information can be found about women who have been, are, and will be part of the entire graffiti community.
Article author
Julia Staniszewska, MA
WIT Academy graduate
Bibliography
[1] From the editor: "Writer" in the context of graffiti refers to a person who paints graffiti or creates graffiti art. The term is used in the graffiti community to describe artists who paint their tags, throw-ups, pieces, or other forms of graffiti on walls, surfaces, and murals. The term "writer" is popular in the graffiti subculture and is used to refer to people who actively participate in graffiti painting.
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