Lee Mono 1977

Editor: Right, let’s talk about “Lee Mono” from 1977 by Henry Chalfant. It looks like a full-blown graffiti artwork splashed across a subway car, made using what seems to be acrylic paint and spray cans. The overall vibe is playful, but the subject matter has an urban grit to it. What's your take when you look at this piece? Curator: Playful, yes, but there's an edge, isn’t there? Imagine the rumble of the train, the furtive energy it must have taken to create this ephemeral art—this moving mural. And that character to the left— is that what takes us to that playful part for you? It gives off that mischievous feel doesn't it? The contrast of colours, how does that come into your impression of playful or not? Editor: I think that mischievous, even innocent-looking character on the left lightens the tone with the "Lee Mono" letters seeming playful by matching the graffiti style with light colours like sky blue that aren't traditionally seen. It makes me curious, how does that play into a wider culture when the graffiti is meant to be a serious form of art? Curator: Precisely! Think of New York in the 70s. Abandonment and artistry bloomed together like street tulips pushing through concrete. What looks rebellious becomes inventive—a community making its mark, literally. The subway wasn’t just transport; it was a canvas, an open-air gallery demanding attention, challenging the establishment. The medium, too, tells the story: quick, raw, illicit even. Does knowing a bit of this background change your first impression, then? Editor: It definitely deepens it! I'm starting to see past the surface, seeing a historical defiance. Curator: That is precisely it! I love that change in perspective! So much of great art sits like an onion. And like an onion it sometimes makes me teary, doesn't it! I appreciate your eye here, peeling back that initial layer with me. Editor: Well, thanks for guiding me. It has certainly made me consider urban spaces as potential artistic platforms.