I did not know Jim Prigoff well but was 

delighted to be able to ask him a few 

questions during the Urban Creativity 

Conference in 2020, when he participated in 

an on-line Q&A session together with Henry 

Chalfant and Susan Farell.

Jim answered candidly and made quite a lively

impression in spite of his respectable age.

We stayed in touch after the conference via 

e-mail, discussing the origins and 

trajectory of style writing and were 

plannning an audio interview for my podcast.

That was, sadly, never to be recorded but 

he did humbly devote the time and effort to 

type down some lenghty and super interesting 

answers to some of the many questions I had.

I was planning to try and get it published 

as an article sometime down the line but 

learning of Jims recent passing, it feels 

more appropriate to make it available here, 

for free and as a tribute to his work.



This interview was conducted on the 20:th July 2020.

I am very happy that I got the chance to 

thank the man for producing works as 

Spraycan Art. A book that left an immense imprint  

on me, and so many other kids in the 80´ies with over 250 000 

sold (racked?) units. 

It was tremendously inspiring to discuss various 

graffiti-related topics with a man of such 

insights and passion for art and culture

As a graffiti writer and chronicler:

I salute you Mr Prigoff! 

SGP: To graffiti-aficionados, I would claim 

you became a household name in conjunction 

with the release of the book Spraycan Art.

By then, in 1987, you were 60 years of age.

I would like to know what you did before 

this.

What was your childhood like and what was 

your relation to art and expressions in the 

public space before graffiti came along?

Jim: My life history was that of a middle-

class child growing up in suburban NY. There 

was every expectation that I would go to 

college, get a good job, and have a 

successful business career. My mother took 

me to Museums and in general I was a 

visually oriented person. At age 40, I 

became interested in tracking and 

documenting murals and community art 

particularly as it had political reference. 

I began to see tags appearing and 

photographed some. As the art form developed 

and became more sophisticated, I 

incorporated it into my mural search wanting 

to give dignity and respect to this new 

burgeoning form of art expression.

SGP:  What are your earliest meetings with, or 

memories of (style writing)graffiti and what 

did you make of it?

Jim: I remember seeing BIO, BRIM, MED, T-KID 

TAGS in the Bronx and then some of Keith 

Haring’s characters in the early 80’s. A 

Samo here and a Sane there. Going to 

Freedom’s tunnel on the west side. Tracking 

Lee, Vulcan, Daze, Crash, Blast, Phase 2, 

Tracy and so many others.

 

SGP: How did you go about approaching it and 

learning more about it?

Jim: In the early eighties I began to meet 

some of the writers, particularly on the 

west coast when I moved in 1981. The TMF 

crew, TDK crew and TWS, writers that I am 

still in touch with to this day. Also, many 

of the writers in LA like Slick, Hex, Chaz, 

Risk etc.

 

As the writing moved from tags to pieces, I 

recognized   the skill involved and became 

interested in following its development as 

well as to give respect and dignity to those 

creating the art.

I watched the writers creating their pieces, 

talked to      them about the culture to 

understand their motivation,

creativity, and how it was becoming such an 

important part of their lives. I remember 

inviting the TMF crew to my home in SF. to 

do an in-depth interview with them.

 

SGP: When did you first cross paths with 

Henry Chalfant and how did you come to work 

on the book together?

Jim: Tony Silver came to see me when he was 

working on Style Wars, hoping I would have 

some ideas for fund raising to help finance 

the film. He mentioned his film partner, 

Henry Chalfant and suggested I should meet 

him when I was next in NYC. When I decided 

to do a book of how the art came above 

ground from the NY City subway system, began 

to appear on walls and handball courts and 

then move across the country, I wrote and 

invited Henry to join me. His reply was “My 

brain is Graffitied out. But let’s do it”.

 

SGP: We recently spoke about the process of 

selecting what works and cities that were 

featured in the final product (Listen to the 

snippet published in this post)

Could you speak a bit about the response and 

critique the book received and any tangible 

proof of its impact on subsequent 

travels/interactions the coming years?

The first trip to Sweden for example.

Jim:The book received an instant positive 

response world-wide. It was voted one of the 

50 best books for layout and design in 

Britain in 1987. There were many newspaper 

reviews and received commendation in a NY. 

Public Library list. Henry was already 

recognized internationally and with the 

publishing of Spraycan Art, I became very 

visible and invited to speak in venues 

around the world.

 

SGP: Did you at any point feel a 

responsibility in regards to the amount of criminal 

damage/defacement that the book inspired?

And, without  rehashing the old "Art or 

Crime" debate; how big a part of graffiti do 

you think the illicit nature of it is/contra 

the artistic aspect?

This could be expanded into a discussion of what 

happens when graffiti is brought on to 

canvas and the transition into the field of 

fine art and museums, certainly.

Jim: My chosen role in the movement was that 

of a photo documenter to preserve the images 

which often disappeared rapidly, to present 

the art form to as large an audience as was 

possible and to be its advocate. Also, to 

help understand its social context within a 

capitalist society. There is no question I 

played a contributing part in the larger 

picture/puzzle. People are welcome to 

ascribe whatever they want as to my 

influence because almost all of the feedback 

has been very positive. Kids I didn’t even 

know have told me I saved their lives as 

they left the gang culture and moved to 

Graff. Many of their friends left behind 

were R.I.P. Graffiti moving to Museums and 

fine art is partially a result of writers 

getting older, gaining attention, needing to 

support families etc. But that is just one 

of the many facets in an ever far reaching 

development.

 

SGP: With the spreading of style writing now 

having reached most corners of the world.

What are your impressions on how it has 

evolved in respective geographical areas.

I.e I see tendencies of simply imitating 

classic NY Subway Graffiti, with western 

letters/words and the same old styles and 

aesthetics in all parts of the world. 

It has its charm I suppose but can 

also feel shallow and bleak somehow.

Are there any scenes where you think an 

exciting adaption and furthering of the 

artform has taken place?

Jim: This question is complex and better 

answered by the artists themselves. There 

were so many ways that writers chose to 

develop style. First, many just copied from 

the books or had mentors who taught them 

style. But as time went on, writer explored 

new imagery and style often became regional. 

 

 

SGP: Having dedicated such a large part of 

your life to chronicling and collecting 

graffiti. Why has this movement been so 

important to you, and perhaps any guesses on 

the attraction and meaning it has had to so 

many? In short; what is so great about 

graffiti?

Jim: Graffiti documentation has been part of 

a much larger interest in tracking painted 

murals, particularly as they related to 

community issues, political attitudes and 

their influence in public visual life. For 

me it was a way to combine an interest in 

photography wi