In the rich tapestry of New York’s art scenes, the early days of graffiti hold a special allure. They have been glamorized and immortalized in films to the point where it’s hard to truly grasp the reality of that time for those of us who didn’t experience it firsthand. This is why Gordon Matta-Clark: NYC Graffiti 1972/3 at White Columns is a must-see exhibition. Starting in 1972, Matta-Clark captured thousands of photographs of the city’s graffiti artists and their work. The show focuses on the pivotal years of the early 1970s when graffiti evolved from a casual activity to a serious artistic pursuit, showcasing artworks, archival materials, newspaper clippings, and Matta-Clark’s photos.
During this time, Matta-Clark was already a prominent figure in New York’s downtown art scene. Alongside his avant-garde art practice, he co-founded White Columns (then known as 112 Greene Street) as an alternative art space and the renowned artist-run restaurant FOOD. In this exhibition, his gelatin silver prints of graffiti art, many of which are hand-colored, recontextualize the imagery as institutional art.
White Columns may not be large enough to provide a comprehensive overview of the subject, but this limitation proves to be an asset. The exhibition feels like a time capsule that doesn’t delve too deeply into didacticism or overly emphasize Matta-Clark’s role in the history, despite his significance to the space. The photographs serve more as historical documents than artworks, straddling the line between highlighting the graffiti artists and appropriating their work through the elder artist’s modified photos. While the press release underscores the connection between this art form and conceptual art, what truly shines through in the exhibition is the vibrant energy and creativity of graffiti art. The walls of the main room are adorned with works by both well-known and lesser-known artists, featuring paintings and marker drawings in vivid, luminous hues of blue, red, yellow, and other jewel tones. A preliminary sketch by Futura 2000, a prominent figure in the show, showcases an 18-year-old Futura experimenting with his tag in icy blue tones.
Information panels offer insights into artists who played pivotal roles in the development of graffiti as an art form but didn’t achieve widespread recognition in the art world. One standout piece is an experimental marker drawing by SKJ 171 from 1973, featuring his tag on a white cloud-like shape surrounded by irregular zones of sky blue and purple. The panel notes that he was a founding member of United Graffiti Artists (UGA) and documented his own and others’ artworks early on. Similarly, visitors learn that Topcat 126 brought the influential “Broadway Elegant” style of writing from Philadelphia to Manhattan in 1971. The bold ruby red letters at the bottom of his 1973 drawing exude brilliance.
Display cases filled with sketchbook pages, spray paint cans, and other items offer even more intimate glimpses into the artists’ worlds. It’s these drawings, sketches, and paintings that truly transport you back in time.
Gordon Matta-Clark: NYC Graffiti 1972/3 at White Columns (91 Horatio Street, West Village, Manhattan) runs until May 17 and was curated by Roger Gastman and Jessamyn Fiore.
