cop223

“Graffiti is the art form of the proletariat. The bourgeoisie can’t sell off the walls of their factories so whatever the workers write on them is finally there’s to keep. It’s an art that cannot be exploited by those who own the means of production, because graffiti exploits them first. The proletariat artist is using the property of the bourgeoisie as a canvas—essentially redistributing the use of property to the people. In that sense graffiti writing becomes the last truly free artistic vehicle; it cannot be taxed and doesn’t have to be taught. Anyone can participate, regardless of class, race, religious preference or sexual orientation. Graffiti doesn’t even require consumption of any materials if the artist doesn’t wish to purchase them. According to old school ethics, paint should be stolen from supply stores as an act of liberation from bourgeoisie’s financial death-traps—but really, all you need is a rock and a hard surface to scratch on to make your mark.”

Brian Gonnella, Graffiti Theory: Graffiti as Marxism (2008).

“Why do the rich and right-wing in Britain so love their Nazi uniforms?  Whether it is Tory students, royals, politicians, or upper class jocks, the naughty pleasures of pretending to be a fascist bomber or concentration camp guard are irresistible for some. […] I think what’s really going on with such people is not just antisemitism, but more fundamentally a certain admiration for supermen, hatred for the weak and vulnerable, enjoyment in the imperial bunting, the festivities and aesthetics of domination and hierarchy.  It’s not fascism, but the licensed pleasure of a class on the offensive, people who are intent on clinging on to everything they have and taking more, exhaling with gratification and relief as the opposition is violently policed, or bombed.”

- Richard Seymour (2012).