Graffiti art, long vilified and misunderstood, is finding a new home in the most unexpected of places: Suburban Station in Philadelphia. This once-neglected space has been transformed into a vibrant gallery, showcasing the raw and rebellious nature of street art. The exhibition, titled "Platform X", is a testament to the power of art to challenge norms and spark conversations. It's a refreshing change from the typical gallery setting, where graffiti art often feels out of place. The artists behind this initiative, led by Doomed Future and Step Outside, have created a space that celebrates the grit and authenticity of street art, while also providing a platform for artists to showcase their work. The exhibition features a wide range of artwork, from paintings and drawings to mosaics, all inspired by the theme of the USA's semiquincentennial. One of the most striking pieces is 'American Religion', which depicts Benjamin Franklin with a crown of thorns and the words 'In God We Lust' written over his head. This is a far cry from the patriotic depictions of the Founding Father we've seen for the semiquincentennial. Another piece, 'Love is Not Dead' by Banjax the Balaclava, presents a more rebellious yet optimistic view, with angry figures holding anarchist flags in front of City Hall. The exhibition is not just about the artwork, but also about the community that has formed around it. The artists and organizers have created a safe haven for street art and graffiti, where people can express their creativity and connect with others who share their passion. The show has been received glowingly by visitors, who have been invited to add to the art themselves. People have drawn on the walls with chalk, spray-painted their own tags, and left stickers anywhere there was room. Families with kids have been especially drawn to this aspect of the show. The exhibition is a celebration of the deep history of Philly graffiti, which dates back to the 1970s. As a teenager, Cone founded Imperial Casanova Persuaders (ICP), one of the original graffiti clubs in the country, known for tagging public transportation. They helped originate the 'wicked' variant of the Philly gangster handstyle, which puts a more wild, energetic spin on the lettering. The exhibition is a powerful statement against the establishment, which has long viewed graffiti art as a form of vandalism. The city's recent announcement of the Gateways to Philadelphia project, which invests $11.5 million towards beautification initiatives including landscaping, new murals, and graffiti removal, is a stark reminder of the ongoing tension between the establishment and the anti-establishment nature of graffiti art. However, the exhibition also highlights the potential for graffiti art to be embraced and celebrated. The show has been received glowingly by visitors, who have been invited to add to the art themselves. The artists and organizers have created a safe haven for street art and graffiti, where people can express their creativity and connect with others who share their passion. The exhibition is a testament to the power of art to bring people together and create a sense of community. In my opinion, the exhibition is a refreshing change from the typical gallery setting, where graffiti art often feels out of place. It's a powerful statement against the establishment, which has long viewed graffiti art as a form of vandalism. However, it also highlights the potential for graffiti art to be embraced and celebrated. The artists and organizers have created a space that celebrates the grit and authenticity of street art, while also providing a platform for artists to showcase their work. This is a big, long-term investment for the community, and I'm excited to see what the future holds for graffiti art in Philadelphia.
