Relevant bibliographies by topics / Graffiti Graffiti Street art Subculture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Graffiti Graffiti Street art Subculture'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Graffiti Graffiti Street art Subculture.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Graffiti Graffiti Street art Subculture"

1

Kozlovs, Normunds, and Ilva Skulte. "VISUAL STREET ART: MESSAGES OF RIGA STENCIL GRAFFITI." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 694. http://dx.doi.org/10.17770/sie2020vol5.4807.

Full text
Abstract:
The modern urban space is inevitably the site of different striking messages from advertisement to graffiti. The last are used as an alternative medium of subculture, even if majority of the public fails to notice it or else interprets it, contrary to culture’s ordered world of meanings, as chaotic “dirt” more closely related to nature than culture. The discourse of messages found in the public space - on the façades of surfaces forming urban space, can be interpreted in a countercultural code and is for the subculture of graffiti itself, a battle taking place for the aesthetization of the public space. This is the answer provided by the rebellious sons to the “fathers of the city”, who possess money and power with which to design urban public space using architectural means. The generation of sons, who are excluded from this real estate discourse due to a lack of means, put into play the only thing they own, i.e. their body, which they subject to the danger of imprisonment, because graffiti is an illegal activity, which in legal terms is interpreted as vandalism, a view that also prevails within the mass media. In this paper we analyze the meaning of visual messages of Riga stencil graffiti using social semiotics' methodology (Kress & Leewen, 1996; Jewitt & Oyama, 2004). We find that the utilization of the street as an alternative and independent medium in the form of civil disobedience manifested through the translation of radical political ideas, thus to a certain extent performing the work of propaganda, is an example of creative idealism.
APA, Harvard, Vancouver, ISO, and other styles
2

Kuzovenkova, Yulia. "The norm and deviation boundaries in the subcultural aspect." Socium i vlast 4 (2020): 47–55. http://dx.doi.org/10.22394/1996-0522-2020-4-47-55.

Full text
Abstract:
Introduction. The article examines the role of youth culture (in particular, counterculture and subculture) in reformatting the modern sociocultural space. As long ago asin the 1970s. the researchers pointed out that young people, showing their active position, change the realities of the socio-cultural space in which their parents lived. The research is based on the materials of the graffiti and street art subculture, as an informal artistic practice. The graffiti subculture emerged among African American teenagers in the 1970s in New York City. The first label that this subculture has been endowed with by society and city authorities is vandalism. However, in the late 1970s early 1980s graffiti is involved in the sphere of the art world institutions activities (private galleries) and becomes in demand among collectors. Street art emerges under its influence. The aim of the study is to reveal due to what characteristics of the socio-cultural space the transition from deviation (vandal practice) to the asserting norm became possible. Methods. The methodological basis of the research is the theory of generations by K. Mannheim and his concept of «fresh contact», which indicates the rethinking of the previously assimilated sociocultural experience by the subjects of culture. Another methodological basis is the concept of rhizome, introduced into scientific circulation by the philosophers J. Deleuze and F. Guattari. Scientific novelty of the research. It is shown how the rhizomatic principle of organizing culture is realized during the transition of youth practice from the space of deviant, in accordance with social norms, actions into the institutionalized space of the art world. Results. Using the example of the metamorphosis that the youth subculture of graffiti underwent in the late 20th — early 21st centuries, the author shows how the boundaries between norm and deviation are shifting in modern society. Conclusions. The rhizom principle, clearly manifested in the organization of the space of postmodern culture, allows graffiti and street art to make the above transition. The fall of the great narrative in the art world leads to the loosening of hierarchies and creates an opportunity for the integration of once marginal phenomena into the space of official art. K. Mannheim’s concept of «fresh contact» is effective in the study of postmodern culture.
APA, Harvard, Vancouver, ISO, and other styles
3

Nowak-Kluczyński, Konrad. "Od znaku „Polski Walczącej” po hasło „FaceBóg” – rola polskiego graffiti w latach 1942–2011." Biuletyn Historii Wychowania, no. 27 (January 1, 2019): 127–40. http://dx.doi.org/10.14746/bhw.2011.27.9.

Full text
Abstract:
Against the general opinion the history of graffiti goes back to the beginnings of civilization. There are numerous examples of graffiti, for instance the inscriptions hollowed with a chisel found on the ancient household artifacts or on the walls. The inscriptions had an informative function but they were also magical. The phenomenon of spray art was widespread in the 1960s and the beginning of the Polish taggers subculture was in the 1980s, although one can find street art during the Second World War. But it is usually neglected or disregarded in the Polish literature. The Anchor – the sign of “Fighting Poland”, was placed on pavements, walls, notice boards or train stops of the occupied country. It was the sign of the fight for freedom and independence. As the years passed, the Polish reality was changing and the role of graffiti also changed. Now, it expresses itself in slogans, appeals, messages, drawings, portraits or murals. The aim of the work is to show the role of the Polish graffiti between 1942 and 2011. The author analyses graffiti in a number of aspects and throughout many years. The author identifies Polish spray art with teenage rebellion, sense of humor, political engagement, commentary or the negation of reality. Moreover, the article focuses on social, psychological or urban aspects of the examined phenomenon and identifies it with widespread modern hip-hop culture.
APA, Harvard, Vancouver, ISO, and other styles
4

Chikarkova, Maria. "Graffiti as a sign: the semiotic approach to the study of the phenomenon." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 92–98. http://dx.doi.org/10.34079/2226-2849-2019-9-18-92-98.

Full text
Abstract:
Although graffiti is a well-known phenomenon of street art, there is still no single point of view on this phenomenon (even if it is considered art at all). Both the essence and the manifestations of graffiti remain a matter of debate - there are dozens of different classifications, that they are based on different characteristics. However, the phenomenon has rarely attracted attention from the point of view of semiotics, though it is the semiotic reading of graffiti that makes it possible to understand its nature more deeply. Due to semiotics we could create an integrative classification, which would combine stylistics and subject matter into one system. The article made exactly such an attempt –providing of the semiotic classification of graffiti, based on Ch. Peirce’s classification of semiotic signs. Graffiti is a sign, because it has a material shell of the latter, a marked object and rules of interpretation. It functions within the subculture and signifies the individual's desire to escape from the deterministic nature of urban life (J. Baudrillard). It is a culture of the semiosphere, which continuously gives rise to new connotations and, accordingly, generates new receptions. An important component of graffiti interpretation is the cultural code; it is not read outside the field of conventionality, cultural context. Decoding of graffiti can occur in three ways. From our point of view, it is appropriate to use S. Hall’sclassification. He suggested a scheme for "decrypting" messages in the media, however, in our opinion, his scheme works for any communicative act (including graffiti). He distinguished dominant ("dominant-hegemonic"), oppositional ("oppositional") and negotiated ("negotiated") decoding. In the graffiti situation, oppositional decoding prevails among ordinary recipients (passers-by). U. Eco called this type aberrant, because it provides "decryption" of text with a different code than the one it was created for. Authors of graffiti themselves are often not fully aware of what they createalso. Modern writers use techniques of op-art, Dadaism, surrealism, etc., without being very oriented in all these directions. When graffiti combines different types of art (for example, the combination of painting with literature), it takes into account the features of inter-semiotic translation, which makes the decoding situation even more complicated. We offercreating a semioticclassificationofgraffiti, that might be based on Ch. Peirce’s classification of semiotic signs, whichdistinguishthesigns-copies, signs-indexes, signs-symbols. It could help the essence of graffiti and decode them.
APA, Harvard, Vancouver, ISO, and other styles
5

Custódio, André Viana, and Cristiano Lange dos Santos. "Graffiti, pixação e juventude: apontamentos jurídicos-sociais entre o crime e a arte na cidade de Porto Alegre / Graffiti, spraying and youth: legal-social notes between crime and art in the city of Porto Alegre." Revista de Direito da Cidade 12, no. 3 (December 9, 2020): 371–98. http://dx.doi.org/10.12957/rdc.2020.44465.

Full text
Abstract:
ResumoO presente trabalho examina a subcultura do graffiti e da pixação. O problema é como a falta de políticas públicas de arte urbana, que promovam a cultura de rua, recai em casos de cometimento de infrações, desconstrói o universo urbano e criminaliza os casos de graffiti – ilegal – e a pixação na cidade de Porto Alegre. O trabalho está organizado em cinco momentos: no primeiro examina-se como os jovens interagem com o espaço urbano, buscando dispor do direito à cidade; no segundo, apresenta-se alguns apontamentos sobre a cultura do graffiti na cidade; em terceiro, discute-se a distinção entre o graffiti e a pixação; em quarto, verifica-se os aspectos jurídicos do graffiti e a descriminalização trazida pela Lei n. 12.408, de 25 de maio de 2011, além das Leis Complementares municipais n. 771 de 21 de setembro de 2015 e 814 de 19 de julho de 2017; em quinto, examina-se a existência de políticas públicas no campo do graffiti e apresentam-se sugestões. O método de abordagem é dedutivo e o método de procedimento é monográfico, com técnicas de pesquisa bibliográfica e documental nos sites do governo municipal e com base na Lei de Acesso à Informação (LAI). Conclui-se que o aumento de repressão não reduz o índice de grafitagem e pixações, mas estimula o seu aumento.Palavras-chave: juventude; graffiti; pixação; direito a cidade; políticas públicas. AbstractThis work deals with tagging and graffiti as a youthful political and artistic expression to claim the right to the city. The general objective of this work is to discuss the youth subculture of tagging and graffiti in the city of Porto Alegre. The problem defined is how, the lack of public policies of urban art, which promote street culture, falls in cases of committing infractions, deconstructs the urban universe and criminalizes the cases of tagging – not allowed – and graffiti in the city of Porto Alegre? The work is organized in five moments: in the first one it examines how young people interact with urban space, seeking to have the right to the city; in the second, there are some notes about the graffiti culture in the city; third, the distinction between tagging and graffiti is discussed; fourth, there are legal aspects of graffiti and decriminalization brought by Law No. 12.408 of May 25 th , 2011, in addition to Municipal Supplementary Laws No. 771 of September 21 th , 2015 and 814 of July 19 th, 2017; fifth, the existence of public policies in the field of graffiti is examined and suggestions are presented. The method of approach is deductive and the procedure method is monographic, with bibliographic and documentary research techniques on the websites of the Municipal Government and based on the Law of Access to Information (LAI). It is concluded that the increase in repression does not reduce the index of tagging and graffiti, but stimulates its increase.Keywords: Youth; Tagging; Graffiti; Right To The City; Public Policies.
APA, Harvard, Vancouver, ISO, and other styles
6

Merrill, Samuel. "Keeping it real? Subcultural graffiti, street art, heritage and authenticity." International Journal of Heritage Studies 21, no. 4 (July 30, 2014): 369–89. http://dx.doi.org/10.1080/13527258.2014.934902.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Veshnev, Vasily P., and Dmitry G. Tkach. "Contemporary Russian street art. Formation and development." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 343–51. http://dx.doi.org/10.37816/2073-9567-2021-59-343-351.

Full text
Abstract:
The paper provides an overview of the main periods of formation of Russian street art as an artistic phenomenon. It analyzes the role of leading authors and associations that have played a key role in the development of this type of art. The study identified the structure and characteristic features of Russian street art. Street art is a specific form of contemporary urban visual art, characterized by a wide variety of creative concepts and artistic techniques. Street art works are always contextual, to a greater or lesser extent integrated into the urban aesthetic and communication environment, and as a rule, stylistically and thematically relevant, aimed at direct dialogue with the viewer. In Russia, street art emerged in the late 1990s and early 2000s as a continuation of artistic practices of the graffiti subcultures and included three periods of its subsequent formation and development: 1995–2005 — the formation of an artistic phenomenon; 2005–2015 — development and public recognition; 2015 till present — active expansion into the information and media space, into the field of art and design, institutional recognition. The development of street art in Russia, as well as throughout the world, is affected by the global mass visual culture, however, in the last decade, an alternative trend has been gaining momentum, which consists in the active use of national artistic and imaginative content. Thus projects reflecting socio-political and cultural agenda that is relevant for Russia and timed to coincide with memorable dates and major events in the country are being promoted and approved.
APA, Harvard, Vancouver, ISO, and other styles
8

Turajlić, Adrijana. "Graffiti or street art." Kultura, no. 159 (2018): 318–26. http://dx.doi.org/10.5937/kultura1859318t.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Onita, Adriana. "Graffiti Silence." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (November 4, 2014): 67. http://dx.doi.org/10.21992/t91k9v.

Full text
Abstract:
These tricontinental ekphrastic poems feature graffiti art(ists) that have caught my heart off guard. The first poem titled “Graffiti of Silence” is a response to the anonymous “listen bird”, ubiquitous in Edmonton's urban geography from 2003 to about 2008. Stenciled, spray painted or stickered, it always featured a speech bubble with one word: listen. It quickly became part of Edmonton’s local iconography, but the city’s Graffiti Management Program managed to eliminate the bird from its streets, but not from public memory. The second ekphrasis titled “The Fisherman” features the work of El niño de las pinturas (Raúl Ruiz), an internationally-renowned graffiti artist based in Granada, Spain. Known for his large-scale wall murals which are almost always accompanied by his own poetic text, he dresses the skin of this city in sienna strokes, covers its bruises with layers of light, becoming a source of symbolic pride for Granada. The third poem, “Monsters in Montevideo,” is inspired by Alfalfa (Nicolás Sánchez), an iconic street artist based in Montevideo, Uruguay. His unique style uses organic lines and bright colours to create fantastical creatures that add a sense of play and surprise to many of the city’s streets. These three ekphrastic poems are an attempt to translate the poetic experience of viewing street art. Through poetry, the impermanent art of graffiti is rendered immortal as a self-portrait of each city and each spectator.
APA, Harvard, Vancouver, ISO, and other styles
10

El-Shewy, Mohamed. "The spatial politics of street art in post-Revolution Egypt." Journal of Urban Cultural Studies 7, no. 2-3 (September 1, 2020): 263–80. http://dx.doi.org/10.1386/jucs_00029_1.

Full text
Abstract:
This article is concerned with exploring the politics of street art and graffiti in Egypt in the aftermath of the uprising against former President Hosni Mubarak in 2011. Rather than viewing street art and graffiti as mere by-products of the revolutionary period, the article centres them as important elements of political and social struggle. I put forward a reading of Egypt’s street art and graffiti as sites of politics through both aesthetic and spatial approaches. To do so I draw on Jacques Rancière’s concept of ‘dissensus’, a term referring to a political and aesthetic process that creates new modes of perception and novel forms of political subjectivity. In various writings, Rancière argues that part of the work of ‘dissensus’ is the creation of spaces where political activity can take place. As spatially bound practices, street art and graffiti can allow a visible ‘dissensus’ to take place. Through a semiotic analysis of several street art and graffiti works, the article makes a further contribution to scholarship on Egypt’s revolutionary street art and graffiti scene. Instead of focusing on the figure of the ‘rebel artist’, I centre the works in relation to the history of Egyptian nationalism, and argue that we need to complicate our understanding of street art and graffiti’s potential as modes of resistance.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Graffiti Graffiti Street art Subculture"

1

Jacobson, Malcolm. "Getting paid writing graffiti : How graffiti artists produce value within marketing." Thesis, Stockholms universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-114878.

Full text
Abstract:
In settings such as hotels, bars and boutiques, things like cars, sodas, clothes, and cities, are fueled with the symbolic capital of graffiti. The purpose of this ethnographic study is to understand how graffiti writers, through marketing, increase the value of their work, as well as that of other products, and how this commercialization affects the meaning of graffiti.  Utilizing a perspective of social constructionism, the analysis shows how actors and social fields that are constructed as incongruous (e.g., art galleries and graffiti culture), are at the same time being mixed together to create something new, and thus create value. This study shows how practices that are considered marginal, or deviant, at the same time generate value within the general economy. Deploying an abductive approach, and building on ample empirical material, this study shows that the narrative of graffiti as something illegal is one of the main traits that enables graffiti writers to exchange subcultural capital for economic. The results show that previous research, investigating graffiti from a dichotomous perspective of either art or vandalism, do not give a satisfactory understanding of this diverse subculture.   The empirical material consists of 30 participant observations in public events, in Sweden during the autumn of 2014, where graffiti is turned into a commodity embodied with subcultural capital. Moreover, four in-depth interviews were executed with graffiti writers who have sold their competence and art for purposes of marketing, and one group interview with three of their customers. Further, several documents were collected and analyzed.
APA, Harvard, Vancouver, ISO, and other styles
2

Lian, Erwin. "DESIGN INVASION FROM THE STREETS: A STUDY OF STREET ART’S APPLICATION IN DESIGN." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250138042.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Merida, Victor M. "Life in the Penit: Framing and Performing Miami's Graffiti Subculture." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1184.

Full text
Abstract:
In the tradition of the Birmingham School of cultural studies, this thesis focuses on Miami’s graffiti subculture and the conflicts between market economies and economies of social meaning. As a reference point, I consider Miami’s “Penits”: the name given to the seemingly abandoned buildings where graffiti is performed. Short for penitentiary, the term derives from the 1980s after a large building rumored to be a prison was defunded midway through its construction. After this first reclamation, every other graffiti heterotopia in Miami has been similarly recoded as spaces that mock structures of discipline and industry. Through Michel Foucault’s biopolitical framework I argue that the sovereign state and marketplace conspire to dually criminalize and commoditize the subculture’s performative defiance. I conclude by illustrating how the market itself reinforces the carceral archipelago by framing the subculture’s vandal aesthetic through the normalized, self-interested boundaries of conduct that the market itself deems il/legal.
APA, Harvard, Vancouver, ISO, and other styles
4

Hughes, Melissa L. "Street Art & Graffiti Art: Developing an Understanding." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/50.

Full text
Abstract:
While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.
APA, Harvard, Vancouver, ISO, and other styles
5

Hughes, Melissa. "Street art & graffiti art developing an understanding /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/50/.

Full text
Abstract:
Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 1, 2010) Melody Milbrandt, committee chair; Melanie Davenport, Teresa Bramlette Reeves, committee members. Includes bibliographical references (p. 49-50).
APA, Harvard, Vancouver, ISO, and other styles
6

Neto, Bruno Pedro Giovannetti. "Graffiti: do subversivo ao consagrado." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-11012012-152024/.

Full text
Abstract:
Nas duas últimas décadas, o graffiti se impôs como um elemento visual das metrópoles brasileiras. Passou a povoar a rotina urbana e, num embate por espaços, vem disputando a visibilidade pública com as cores dos edifícios, as placas de sinalização e outros elementos da comunicabilidade urbana. E o faz mudando a sua proposta e original essência. Este trabalho procura documentar a trajetória do graffitti de meados da década de 1960 até às vésperas da conclusão da pesquisa, em 2011, acompanhando a sua transformação \"do subversivo ao consagrado\". Através da narrativa visual pontuada por uma seleção de 400 fotografias de autoria do pesquisador, destaca-se, em especial, a cidade de São Paulo, onde o trabalho dos grafiteiros vem despertando interesse mundial e não apenas entre adeptos, simpatizantes e editoras especializadas. O graffiti tem sido um interessante campo de estudo para críticos de arte, antropólogos, semiólogos, etc., porém, é na visualidade urbana que tem o maior impacto.
In the last two decades, graffiti has established itself as a visual element of the metropolis in Brazil. It became part of the urban routine, and in a dispute for space has been struggling for public visibility with building colors, traffic signs and other elements of urban communicability. And it does so by changing its intent and original essence. This paper seeks to document the trajectory of graffiti from the mid 1960s to the conclusion of the research, in 2011, following its transformation \"from subversive to acclaimed\". By means of a visual narrative marked by a selection of 400 photographs taken by the researcher, the city of São Paulo is emphasized, where graffiti is attracting worldwide attention and not only among supporters, sympathizers and specialized publishers. Graffiti has been an interesting field of study for art critics, anthropologists, semiologists, and scholars in general, but the greatest impact of this street art is on the urban scene.
APA, Harvard, Vancouver, ISO, and other styles
7

Valdez, Lorenzo Martin Aguilar. "Graffiti art and self-identity: Leaving their mark." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3079.

Full text
Abstract:
This project focuses on graffiti art as not an unconstructive form of artwork as society might assume, but a way of coping and establishing an identity for youth mostly males who are searching for who they are.
APA, Harvard, Vancouver, ISO, and other styles
8

Ulfsdotter, Helena. "Street art : Konst eller kriminalitet i bild- och slöjdundervisning." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-68013.

Full text
Abstract:
Syftet med arbetet är att belysa möjligheter och metoder för ett ämnesövergripande arbetssätt mellan bild och slöjd genom nutida konst-och hantverksfenomen såsom gatukonst och graffitiarterna, samt att undersöka pedagogernas uppfattningar om de sätt genom vilka de arbetar med dessa konst- och hantverksfenomen i undervisning och i sina kurser. Utgångspunkten är att studien ska besvara hur lärarna arbetar ämnesintegrerat mellan Bild och Slöjd och hur pedagogerna förhåller sig till gatukonst och graffitiarterna i sin undervisning och i sin verksamhet. Frågan om hur dessa konstformer kan motiveras som undervisningsinnehåll ska också få svar. Kvalitativa intervjuer har gjorts med informanter med skilda erfarenheter av området, men de är alla lärare, lärarutbildare eller workshopsledare. Resultatet är belyst ur ett sociokulturellt perspektiv och med Foucaults teorier om makt och diskurs. Skillnader och likheter i pedagogers förhållningssätt har synliggjorts och vilken plats gatukonst kan ha i ett skolsammanhang. Synen på Bild och textilslöjd, som i samhället kan motsvaras av konst och hantverk, står inför en förändring och får en ny plats i en samtida kulturkontext.
APA, Harvard, Vancouver, ISO, and other styles
9

Lundy, Susan Alice. "Aerosol activists practices and motivations of Oakland's political graffiti writers /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679387321&sid=10&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Johnson, Shannon Art College of Fine Arts UNSW. "Omen wallpaper." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43296.

Full text
Abstract:
This paper brings together past and contempary elements that play a role in the body of work, I prepared in the Master's project and which I call, 'Omen Wallpaper'. The title draws on the idea that 'omens' as signs and 'wallpaper', as a decoration somewhat on the periphery, surround us in the urban environment. The paper begins by describing the influences and historical movements from which I have drawn. These range, for example, from. Duchamp, Schwitters to Rauschenberg, Warhol and Basquiat. Many of these traditions share the idea of 'anti-art', particularly 'anti painting', manifested in the use of found materials, text and 'unpainterly' techniques like printing and collage. The paper then moves in to ideas more local to me and this body of work, as for example, graffiti. I explore styles of graffiti and some of the most significant artists of this movement. Artists such as 'Misstic' from Paris and 'Banksy' I also investigate some of the problematics associated with that territory, by describing the conflicts I encounter in my research. I also consider another type of' street aesthetic' that operates in a different way, exploiting the general decay and wear and tear of posters. I focus this part of my enquiry, on the French Nouveaux Realist, Jacques de la Villegle who has worked with this medium since the 1950's. Villegles work began central to my research in Paris as well as becoming a inspiration for adopting the technique of 'affiches laceries' or 'tom posters'. This technique allows one to capture a moment culturally, stylistically and randomly amoung many other things with minimal mediation which became a significant turning point in the development of my own style.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Graffiti Graffiti Street art Subculture"

1

Irarrázabal, Gricelda Figueroa. Sueños enlatados: El graffiti hip hop en Santiago de Chile. Providencia, Santiago: Editorial Cuarto Propio, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Graffiti. New York: Gareth Stevens Publishing, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Camerota, Remo. Graffiti Japan. New York, NY: Mark Batty Publisher, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Graffiti culture. Minneapolis: Lerner Publications, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Corallo, Mario. I graffiti. Milano: Xenia, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Stencil graffiti. New York, N.Y: Thames & Hudson, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Graffiti Argentina. New York: Thames & Hudson, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Rotman, Steve. Bay Area graffiti. New York City: Mark Batty Publisher, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Graffiti woman: Graffiti and street art from five continents. London: Thames & Hudson, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Street art: The graffiti revolution. New York: Abrams, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Graffiti Graffiti Street art Subculture"

1

Zieleniec, Andrzej. "Representing Subcultural Identity: A Photoessay of Spanish Graffiti and Street Art." In Youth Subcultures in Fiction, Film and Other Media, 197–217. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73189-6_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Gwilt, Ian. "Augmented Reality Graffiti and Street Art." In Springer Series on Cultural Computing, 189–98. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-06203-7_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Gwilt, Ian. "Augmented Reality Graffiti and Street Art." In Springer Series on Cultural Computing, 227–36. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-69932-5_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Young, Alison. "Street art, graffiti and urban aesthetics." In Routledge International Handbook of Visual Criminology, 202–14. 1 Edition. | New York: Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315713281-16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Smith, Matthew Ryan. "Indigenous Graffiti and Street Art as Resistance." In Street Art of Resistance, 251–74. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63330-5_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Zanella, Andrea Vieira. "Inventive ReXistence: Notes on Brazil Graffiti and City Tension." In Street Art of Resistance, 201–22. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63330-5_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Mcphie, Jamie. "Embodied Walls and Extended Skins: Exploring Mental Health Through Tataus and Graffiti." In Street Art of Resistance, 223–50. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63330-5_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Latorre, Guisela. "Indigenous Images of Democracy on City Streets: Native Representations in Contemporary Chilean Graffiti and Muralism." In Street Art of Resistance, 87–112. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63330-5_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Jarbou, Rana. "The Resistance Passed Through Here: Arabic Graffiti of Resistance, Before and After the Arab Uprisings." In Street Art of Resistance, 113–53. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63330-5_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Nielsen, Cecilia Schøler. "The Democratic Potential of Artistic Expression in Public Space: Street Art and Graffiti as Rebellious Acts." In Street Art of Resistance, 301–23. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63330-5_13.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Graffiti Graffiti Street art Subculture"

1

Figueras Ferrer, Eva, and Pilar Rosado Rodrigo. "Street Art en acción: del graffiti artesanal al soporte digital." In Congreso Internacional de Investigación en Artes Visuales. ANIAV. Editorial Universitat Politècnica de València, 2015. http://dx.doi.org/10.4995/aniav.2015.1307.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Pratama, R., Lita Barus, and Renny Nurhasana. "The Digitalization of Street Art and Graffiti: Analysis on Ladies On Wall’s Social Media Account." In Proceedings of the 2nd International Conference on Strategic and Global Studies, ICSGS 0218, October 24-26, 2018, Central Jakarta, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.24-10-2018.2289674.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Graffiti Graffiti Street art Subculture' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography