The history of gang membership and its relationship with black communities globally (particularly in western society) is something that is complex and treacherous in explanation. The amount of nuance and necessary context in explaining this odyssey is something that I as the writer of this article is not equipped to do nor educated enough to do, however what I can offer is a brief idea. Stanley Williams (1953-2005) in his book 'Blue Rage, Black Redemption' allows the reader an insider and primary perspective of what it means or meant to be a gangster, and the constant metamorphosis of that word as time has continued. As one of the founding members of one of the most globally influential gang sets (in terms of cultural influence) being the Crips, a perspective is given that can only have been grown through experience on the frontline. In short, the cycle of poverty due to a history of racism and segregation breeds violence which comes as a result of ego, in attempting to originally self govern and protect regional communities. In this summary I do not tend to minimize the foundation of brotherhood that is understood through Williams's text, and the building of new 'kin'-families which allow some level of structure and expression-ways for inner-city youth.

This is not an article about the intersectionality of gangs and everything else which exists within social structures. This is one about art and the art that has grown from the formation of these groups- from the graffiti which existed throughout the New York subway in the 80s to the murals which decorate London's council estates, in this we look at the often ignored influence of gang culture on contemporary art.

Basquiat has through time become one of the most recognizable names in art globally.

The graffiti movement once dismissed as vandalism took influence by the expression of gang membership through symbol and pattern as well as the intentional use of color. These vandal-type stamps which decorated major cities grew new communities that in time birthed SAMO- the duo of Al Diaz and his artistic partner Jean-Michel Basquiat, who further expanding on this expressive use of brushstroke, combination of pattern and symbol developed the creation of a new visual language of anti-establishment through art. As the pioneer of the Neo-expressionist movement of New-York in the 80s Jean-Michel Basquiat in his short life bridged the gap between the underground and high art world. Graffiti and hip-hop culture have an undoubted relationship, with each structure playing a role in balancing the other, this relationship in no doubt has influenced the way that artists in the graffiti community choose to express their ideas. I do not want to make the blanket statement that hip-hop culture is similar or the same to gang-culture as the two can exist separately however, to deny the influence of gang-culture in hip-hop would be to discredit a major part of hip-hops foundation. This intersect comes particularly into play when dealing with the story of hip-hop and graffiti- and how the ideas which once belonged merely to the 'streets' through the growth of the graffiti and Neo-expressionist movements have been propelled into the mainstream.

The idea of the black identity in urban settings is something which is a theme often explored in contemporary art. When looking at the history and current state of blackness in the context of the social, cultural and political realities of the West it would be difficult to ignore the position that gangs in all forms of that word in the formation of culture and traditions. Take artist Theaster Gates whose community-oriented work focuses on the idea of reclaiming and transforming black neighborhoods, drawing attention to the complexity of Black-American life. When looking at themes of survival, power and the idea of creating community at the hands of systematic oppression, particularly in a universal context (i.e., looking at the lived experiences of as many people as possible)- gang membership will always be relevant.

If we move across the ocean to the UK, Banksy is arguably the current most famous street artist in the world. Their minimalist shapes and forms have made Banksy's work recognizable to those who are even completely unfamiliar with the art world. The sometimes-politically charged stencil art of Banksy which now regularly sells for millions is something which has taken from the culture grown by the underground. Graffiti movements which although can exist separately from their gang-affiliation, do have an intersection with gang-history however this partnership is never credited when speaking about the methods and ways of the mainstream class of contemporary artists, who have taken from these styles. These pieces which in the art universe are highly regarded and respected due to the status of the art and artists never give space to the root cultures which helped to create them.

The idea of things like tagging or the language often used in graffiti-adjacent contemporary art all stem from the cultures brewed and bred by black gangsters. When ideas such as power, resistance and survival in social contexts are told through art to ignore the history and influence 'gangsterness' in the conversation would be an injustice and is often an injustice done. This is not a text to applaud and glee at how great gangs are because they objectively often are not however, a disagreement with activity does not justify a lack of accreditation. Due to the difficulty found by many when attempting to combine the idea of gangs with mainstream media without viewing the individuals which exist in these systems as a form of entertainment, but rather as a peer- they are often left out of conversation regarding the major influencers of contemporary art. Although the environment of the arts is often labelled as something liberal and forward thinking- the reality is that this is in many situations a fallacy. When it comes to inclusion, respectability politics still plays a major role in the business of art leading those who deserve credit to sometimes be decided according to whether they fit the trope.

The influence of black-gang street culture in contemporary art is undeniable yet often overlooked. Whilst gang activity is not commendable, the cultural contributions which have emerged from the communities deserve to be recognized. The exclusion and erasure of these influences highlights the nature of selective inclusion which exists within the art world. True progress in contemporary art would allow for a honest engagement of all its influences- regardless of societal biases ensuring all credit is rewarded when due.