Graffiti art, long vilified as criminal mischief, is finding a new home in the heart of Philadelphia's Suburban Station. This unlikely gallery, organized by the artist-led Step Outside, showcases the vibrant and rebellious nature of street art, offering a refreshing take on the city's semiquincentennial celebrations. The exhibition, titled 'Platform X', is a testament to the evolving relationship between graffiti and the establishment, challenging traditional notions of art and public space.
What makes this exhibition particularly fascinating is the way it brings together the gritty, rebellious spirit of graffiti with the institutional setting of a subway station. The artists, who chose to remain anonymous due to legal considerations, have transformed the vast, bare-walled concourse into a canvas of creativity. The inside of the station, once empty and uninviting, is now adorned with vibrant paintings, drawings, and mosaics, each piece telling a story of the artists' journey.
One of the most striking pieces, titled 'American Religion', depicts Benjamin Franklin with a crown of thorns and the words 'In God We Lust' written over his head. This is a stark contrast to the patriotic depictions of the Founding Father we've seen for the semiquincentennial. The piece is a powerful statement, reflecting the more rebellious yet optimistic view of the artists. In my opinion, it's a brilliant commentary on the state of American religion and the need for a more critical perspective.
The exhibition also features a room that looks like the inside of a SEPTA BSL train car, complete with orange seats. This is a clever nod to the city's transportation system and the role it plays in the artists' lives. The train car, covered in graffiti, is a symbol of the artists' connection to the city and its subways, a place where their art can truly shine.
What many people don't realize is that graffiti, as an art form, is inherently anti-establishment. The establishments, however, are still struggling to accept it. The city's recent announcement of the Gateways to Philadelphia project, which includes $11.5 million for beautification initiatives and graffiti removal, is a clear example of this tension. In my perspective, this project highlights the ongoing struggle between the establishment and the anti-establishment nature of graffiti.
The show has been received glowingly by visitors, who have been invited to add to the art themselves. Families with kids have been especially drawn to this interactive aspect, drawing on the walls with chalk, spray painting their own tags, and leaving stickers. This is a powerful statement about the inclusivity and accessibility of street art, a safe haven for both artists and the public.
One of the most interesting aspects of the exhibition is the evolution of street art. The artists, including the original 'wallwriters' like Lewis Pittman, have played a crucial role in popularizing the Philadelphia 'gangster' handstyle, defined by tall, condensed letters. This handstyle, along with the 'wicked' variant, has become an iconic part of the city's graffiti culture. If you take a step back and think about it, the evolution of street art is a fascinating journey, from the early days of wallwriting to the sophisticated, highly stylized pieces we see today.
The deep history of Philly graffiti is another fascinating aspect of the exhibition. As a teenager, Cone founded Imperial Casanova Persuaders (ICP), one of the original graffiti clubs in the country, known for tagging public transportation. ICP helped originate the 'wicked' variant of the Philly gangster handstyle, which puts a more wild, energetic spin on the lettering. In my opinion, this history is a crucial part of the city's cultural identity, a hidden gem in American history.
In conclusion, 'Platform X' is a refreshing and thought-provoking exhibition that challenges traditional notions of art and public space. It's a celebration of the rebellious spirit of graffiti, a safe haven for both artists and the public, and a powerful statement about the evolving relationship between the establishment and the anti-establishment nature of street art. As the exhibition continues for the rest of the summer, it's a must-see for anyone interested in the fascinating world of graffiti and its impact on our cities.
