"How did graffiti become respectable?"

The article cited below provides a brief geneaology of graffiti without directly accounting for its origins or actual causes other than commercialization. It notes the key shifts of graffiti in Britain, primarily centered around the emergence of the now 'infamous' banksy.

The banksy phenomena that the author notes via commercialization and how the trend is to become famous through stencils and street art is captured well in the documentary 'Exit Through the Giftshop'. Kids are no longer "bombing" trains like they did in the 80s and 90s.

Sadly, this is as far as the author goes in providing reasons about why or how graffiti became respectable.
Cite

However, my contention would be that graffiti art is "respectable" and not "respectable". First we should not that in the article above "respectable" is "respectable to the public". While the author's narrative begins with bombing trains to Banksy and the commercialization, the article misses a HUGE gap in between.

To my limited understanding, graffiti made a huge move during the 80s where curators and gallery owners tried to capture the new wave of graffiti "street art" into the gallery. Putting it on canvas and so on. However, this initial wave soon diminished and graffiti artists went back to the streets and continued bombing. It simply did not achieve the same effect and bombers felt constrained by the art world. The streets were their canvas and that's where it was meant to be.The second shift, which I think is where graffiti and street art actually became "respected" in the public sphere is with Jean-Michel Basquiat - "SAMO". His career bloomed under the wings of Andy Warhol. Today an original Basquiat is worth quite a bit. And any artist, art historian, art collector, or art enthusiast will certainly tell you the value and impact Basquiat has had on the art world. You can look at a Basquiat in books but I'm told its true effect is really when you witness it in person.




So I think this is when the value of graffiti and "street art"and the third wave of placing tremendous value on a street artist is Banksy. Who we all know well. Whether we like it or not.

In large part, this renewed respect of graffiti in the second wave with Basquiat is really in the context of Andy Warhol and the popart movement. And within this context of commercialization and production art (which Damian Hurst has kind of championed) as well as the abstract asses who tried too hard (Pollock) who were also necessary for art, there is Basquiat who brought in a kind of raw expression. This contrast, I think (in my limited art history), brought respect to graffiti via Basquiat.

The third wave, as noted, with Banksy really got his fame through stencil and his humuor as well as his activism. This contrast really put Banksy on the map. Rich folk, celebrities, and other motherfuckers who have way too much money drooled. They saw the return of Basquiat in stencil form but with a social activist twist. The stencil in effect combined popart and graffiti. The loss or addition of value is up to debate. And with this kind of activism and expression on the street. The stencil became the tool for anybody to "bomb" the street without much skill in free-hand spraypainting. What's more: you can become an activist too! Put your own message out there! And look, the rich people LOVE Banksy. One of his pieces go for a lot of money. This is where the above article comes back into the foray. The commercialization of stencil street art. And correctly, many do commission street artists to paint their walls or stencil a piece here and there. Some get commissioned to do their own project. In this regard, the commission of graffiti became legitimate and an avenue of capital. This phenomena like I said is well presented in the "Banksy" documentary (which is not really about Banksy): 'Exit Through the Giftshop"



At the same time it is not respected in places where this commercialization and capitalization does not exist. Where a contemporary art gallery does not exist to the effect it does in western cultures. In other nations graffiti continues to remain an expression of the street, the people without voices, whether they are gangs or political idealogues of whatever variety but without a voice in power. In this context, graffiti is still shunned and not "respected". It is not accepted in the public sphere because it has not sold out, because it has not turned into a viable avenue of "art" and making money. The political expression of the streets and the people continue to be diss-"respected". In other words, it has yet to become capitalized. It remains a tool for opposition until then. Actually, even when it does - graffiti will continue to exist in the streets. I don't think it's ever going to go away. 

People without a voice are always going to "bomb" the walls.

A Million Street Bomb.