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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Turajlić, Adrijana. "Graffiti or street art." Kultura, no. 159 (2018): 318–26. http://dx.doi.org/10.5937/kultura1859318t.
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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.
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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.
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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.
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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.
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Rajan, Benson. "Sari, Femininity, and Wall Art: A Semiotic Study of GuessWho’s Street Art in Bengaluru." Tripodos, no. 50 (July 1, 2021): 111–30. http://dx.doi.org/10.51698/tripodos.2021.50p111-130.
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Graffiti has been conversing with the public for millions of years. In India, this art form is prominent in spaces like historical monuments, schools, colleges, classrooms, public bathrooms, benches, desks, and local transports. With the coming of the Covid 19 pandemic, this art from the streets has come alive in people’s smartphones. This paper explores and interprets the works of GuessWho, a prominent stencil graffiti artist working in the city of Bengaluru, Karnataka, and originally belonging to Kochi, Kerala. This study seeks to understand how the discourse around graffiti can help empower women in their struggle to claim the streets. By focusing on Instagram as a medium of social resistance, the paper explores the role of graffiti and social media in challenging the patriarchal status quo. Semiotics is used to understand the ways in which the production and consumption of forms of street art and graffiti are increasingly shaping the way Bengaluru city negotiates with gender. GuessWho’s graffiti symbolically targets and contests gender discrimination and particularly challenges some of the existing classist, racist, or sexist biases by subverting the use of sari, technology, and gender roles in the artwork.
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Ross, Jeffrey Ian, John F. Lennon, and Ronald Kramer. "Moving beyond Banksy and Fairey: Interrogating the co-optation and commodification of modern graffiti and street art." Visual Inquiry 9, no. 1 (September 1, 2020): 5–23. http://dx.doi.org/10.1386/vi_00007_2.
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This editorial reviews the co-optation and commodification of modern graffiti and street art. In so doing, it analyses attempts by individuals and organizations to monetize the creation, production and dissemination of graffiti and street art. The commodification process often starts with attempts by graffiti and street artists to earn money through their work and then progresses to efforts primarily by cultural industries to integrate graffiti and street art into the products and services that they sell. This latter development can also include how selected property owners and real-estate developers invite artists to create works in or on their buildings or in particular neighbourhoods to make the areas more desirable. After the authors have established this context, they draw together the divergent themes from the four articles contained in this Special Issue.
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Darisman, Aris. "Karya Graffiti sebagai Representasi Persoalan Sosial di Kota Bandung." Humaniora 5, no. 2 (October 30, 2014): 749. http://dx.doi.org/10.21512/humaniora.v5i2.3130.
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Graffiti works are often found in urban area, so it becomes culture expression of a city represented through art (urban art). At this stage, graffiti is classified in the genre of street art. There is high enough desire for graffiti artists to interact and convey their message through their works with public. Thus, public spaces, such streets, become a choice for space and inspiration to them to work as well as exhibitions. Everyday issues, which according to Charles Baudelaire (1863), become inspiration for impressionist painters to paint modern subjects. Modern subjects in the form of everyday problems occur along the way in Paris, bridges, and roadside cafes. What was disclosed by Baudelaire is still factual at present, that the road becomes the source of inspiration collection. This study used field research, literature studies, and interview. Meanwhile, research object was graffiti works in Bandung. Research showed street art, in this case graffiti, was a symbol of resistance and response to actual political conditions. Walls and other objects commonly found in the street or public space were a stretch of ideas and canvas for graffiti artists.
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Rafferty, Pat. "Discourse on Difference: Street Art/ Graffiti Youth." Visual Anthropology Review 7, no. 2 (September 1991): 77–84. http://dx.doi.org/10.1525/var.1991.7.2.77.
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Lorr, Michael J. "Routledge Handbook of Graffiti and Street Art." Social Science Journal 55, no. 2 (June 1, 2018): 214–15. http://dx.doi.org/10.1016/j.soscij.2018.03.007.
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HICKS, TOM. "GRAFFITI WORLD: STREET ART FROM FIVE CONTINENTS." Art Book 13, no. 1 (February 2006): 36–37. http://dx.doi.org/10.1111/j.1467-8357.2006.00634.x.
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DeNotto, Michael. "Routledge Handbook of Graffiti and Street Art." Reference Reviews 32, no. 1 (January 15, 2018): 27–28. http://dx.doi.org/10.1108/rr-07-2017-0167.
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Arnold, Emma. "Routledge Handbook of Graffiti and Street Art." Journal of Urban Design 24, no. 1 (October 17, 2018): 159–61. http://dx.doi.org/10.1080/13574809.2018.1533400.
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Khotimah, Eti Khusnul, and Alief Budiyono. "Reduksi Tingkat Stress pada Komunitas Purbalingga Street Art melalui Graffiti dan Mural." Jurnal Ilmu Dakwah 39, no. 2 (December 5, 2019): 112. http://dx.doi.org/10.21580/jid.v39.2.3997.
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<p><em>Many things can be done to reduce stress, one of them is through Graffiti and Mural. Both are recognized to reduce stress levels in a person. The purpose of this study is to find out how to reduce stress levels and differences in stress levels before and after treatment in the form of drawing graffiti and murals in the Purbalingga Street Art (PUSAR) community. This type of research is a quantitative quasi experiment. To measure stress levels, the instrument used is the Depression Anxiety Stress Scale (DASS). The stress difference was analyzed using the Wilcoxon signed rank test. The results of the study stated that graffiti and murals can cause a sense of fun and calm when the artist holds a pilox (spray paint) on the object of the wall. Then, there is a point in making graffiti that makes a graffiti artist feel satisfied to express and express emotions from within himself. So that what makes graffiti and murals can overcome problems and cause pleasure is when all emotions can be overflowed into his work. Furthermore, every member of the Purbalingga Street Art (PUSAR) community with different stress levels get different results. Statistical test results show a significant difference or decrease in stress levels in the study subjects with the results of p value = 0.011 (p value <0.05), so the hypothesis is accepted.</em></p><p><em><br /></em></p><p><span lang="IN">Banyak hal yang dapat dilakukan untuk mereduksi stress, salah satunya melalui Graffiti dan Mural. Keduanya diakui dapat mengurangi tingkat stress pada seseorang. </span>Tujuan dari penelitian ini adalah mengetahui <span lang="IN">cara me</span>reduksi tingkat stress <span lang="IN">dan </span>perbedaan tingkat stress sebelum dan sesudah dilakukannya perlakuan berupa menggambar graffiti dan mural pada komunitas Purbalingga Street Art (PUSAR). Jenis penelitian ini adalah kuantitatif quasi eksperimen. <span lang="IN">Untuk mengukur tingkat stress, i</span>n<span lang="IN">s</span>trumen yang digunakan adalah skala Depression Anxiety Stress Scale (DASS). Perbedaan stress tersebut dianalisis menggunakan uji wilcoxon signed rank. Hasil penelitian <span lang="IN">menyatakan bahwa </span>graffiti dan mural dapat menimbulkan rasa senang serta ketenangan ketika artist memegang pilox <span lang="IN">(cat semprot) pada obyek </span>tembok. Kemudian, ada sebuah titik dalam pembuatan graffiti yang membuat seorang artist graffiti merasa puas untuk mengungkapkan dan mengekspresikan emosi dari dalam dirinya. Sehingga yang membuat graffiti dan mural dapat mengatasi masalah dan menimbulkan rasa senang adalah saat semua emosi dapat diluapkan ke karyanya. <span lang="IN">Selanjutnya, </span>setiap anggotakomunitas Purbalingga Street Art (PUSAR) <span lang="IN">dengan tingkat stress yang berbeda mendapatkan hasil yang berbeda pula. H</span>asil uji statistik menunjukan perbedaan atau penurunan tingkat stress yang signifikan pada subjek penelitian dengan hasil p value = 0,011 (p value < 0,05), <span lang="IN">sehingga </span>hipotesis diterima. </p>
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Siemens, Elena. "Paris Wall Flowers, Moscow Wall Wars." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (November 4, 2014): 1. http://dx.doi.org/10.21992/t9pd2c.
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“Paris Wall Flowers, Moscow Wall Wars” is intended as an introduction to the themed issue on Translating Street Art, inspired in part by Guy Debord and his associates from the Situationist International (SI). The issue’s international cast of contributors trace various contemporary expressions of the “dérive” and the “detournament” as found in many diverse spheres from graffiti to defaced monuments to “subvertising.” Following in the footsteps of the SI’s collage-like publications, Translating Street Art incorporates poetry, photography, scholarly essays, and personal accounts. “Paris Wall Flowers, Moscow Wall Wars” discusses two graffiti sites in Paris and Moscow, and considers the importance of their locations, as well as the distinction between street art and graffiti, and the fate of the unofficial genres in today’s mainstream culture.
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Munoz Moran, Placido. "'La Escocesa': A fabric of Images." Unfamiliar 7, no. 1 (November 26, 2017): 31–42. http://dx.doi.org/10.2218/unfamiliar.v7i1.1893.
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The banning of the practice of graffiti in public space since the approval of the civic regulation in 2006 has restricted the production of graffiti artworks in Barcelona. It transformed and coerced the local graffiti and street art scene towards new forms of production in the city, which are the central focus of this article. ‘La Escocesa: A factory of images’, is based on my dialogues with the resident graffiti artists of the art centre ‘La Escocesa’ in ‘Poble Nou’. Some of these artists participated in both the creation of the graffiti scene in the 90s and the development of this practice in the city. Today they are recognized artistic figures of the local and international graffiti scene. I shared with some of these graffiti artists in the art centre some of my fieldwork experiences in connection with other local artists and representatives of the local council. In addition, I also opened up dialogues with them using anthropological examples about art and artists, the city and the space. The following section contains part of the conversations, reflexions and debates that we had.
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DeNotto, Michael. "Street art and graffiti: Resources for online study." College & Research Libraries News 75, no. 4 (April 1, 2014): 208–11. http://dx.doi.org/10.5860/crln.75.4.9109.
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Umdu, Duygu Cinar. "Street Graffiti and Residents’ Attitude: Izmir City." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 130–38. http://dx.doi.org/10.18844/prosoc.v4i11.2867.
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Humanity has always been in a struggle to express itself to others. They conveyed through marks and symbols on cave walls, head stones, clay tablets and papyrus before the invention of writing and society. Today urban areas and especially streets are places that carry social marks first-hand. They retain these semiotic signs and become a collective of symbols that link the past to the present and future. Graffiti, which is a part of such communication, is the way people express emotions and ideas to society through symbols. In this study, the attitude of the residents in Izmir City about graffiti, whether they see it as an art form or visual pollution, is studied. A survey was applied to 100 citizens, including fieldwork, photo-shoots and interviews done with 20 people. Part of the graffiti in Izmir urban identity is determined and the results are presented. Keywords: Graffiti, resident’s attitude, Izmir.
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Figueroa Saavedra, Fernando. "Lirismo callejero para paladares de asfalto: Neorrabioso entre las fieras." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 26 (July 2, 2016): 76. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2016261417.
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Lirismo callejero para paladares de asfalto: Neorrabioso entre las fierasDentro de la efervescencia del grafiti como medio de comunicación en la ciudad contemporánea, se han integrado una serie de propuestas que ahondan en el desarrollo de la poesía textual a pie de calle. A partir de lo que catalogamos como grafiti de leyenda o leyenda ingeniosa, abordamos lo que podría calificarse como un grafiti de autor y, en concreto, aquel que tiene por objeto crear una experiencia poética, conforme a un proyecto o una actividad perseverante. Como exponente central destacamos a Batania Neorrabioso, en cuyo caso particular se reflejan una serie de pautas y características que han distinguido la creatividad popular y el grafiti en el espacio urbano desde los años sesenta hasta hoy, además de mostrar el proceso de adaptación y caracterización del grafiti como medio de expresión extraoficial hasta el siglo XXI y el papel de la poesía como dinamizador social.Palabras clave: Batania, Neorrabioso, Street Art, Graffiti, grafiti de leyenda, grafiti de autor, poesía social, política de autor. Stray lyrism for asphalt palates: Neorrabioso among wild beastsWithin the effervescence of graffiti as a media in the contemporary city, a series of proposals had been integrated, that delve into the development of textual poetry on the street. From what we classify as inscription graffiti or clever graffiti, we address what might be described as auteur graffiti and, in particular, the one that aims at creating a poetic experience, in accordance with a project or a persisting activity. Batania Neorrabioso is an outstanding exponent of this kind of graffiti. His works reflect a set of guidelines and characteristics that have distinguished the popular creativity and urban space graffiti from the 60s until today, as well as showing the adaptation process and the way to characterize graffiti as an unofficial media until the 21st century and the role of poetry as social revitalizing.Key words: Batania, Neorrabioso, Street Art, Graffiti, inscription graffiti, auteur graffiti, social poetry, writer policy
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Feitosa-Santana, Claudia, Carlo M. Gaddi, Andreia E. Gomes, and Sérgio M. C. Nascimento. "Art through the Colors of Graffiti: From the Perspective of the Chromatic Structure." Sensors 20, no. 9 (April 29, 2020): 2531. http://dx.doi.org/10.3390/s20092531.
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Graffiti is a general term that describes inscriptions on a wall, a practice with ancient origins, ranging from simple drawings and writings to elaborate pictorial representations. Nowadays, the term graffiti commonly describes the street art dedicated to wall paintings, which raises complex questions, including sociological, legal, political and aesthetic issues. Here we examine the aesthetics of graffiti colors by quantitatively characterizing and comparing their chromatic structure to that of traditional paintings in museums and natural scenes obtained by hyperspectral imaging. Two hundred twenty-eight photos of graffiti were taken in the city of São Paulo, Brazil. The colors of graffiti were represented in a color space and characterized by several statistical parameters. We found that graffiti have chromatic structures similar to those of traditional paintings, namely their preferred colors, distribution, and balance. In particular, they have color gamuts with the same degree of elongation, revealing a tendency for combining similar colors in the same proportions. Like more traditional artists, the preferred colors are close to the yellow–blue axis of color space, suggesting that graffiti artists’ color choices also mimic those of the natural world. Even so, graffiti tend to have larger color gamuts due to the availability of a new generation of synthetic pigments, resulting in a greater freedom in color choice. A complementary analysis of graffiti from other countries supports the global generalization of these findings. By sharing their color structures with those of paintings, graffiti contribute to bringing art to the cities.
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Novack, Tessio, Leonard Vorbeck, Heinrich Lorei, and Alexander Zipf. "Towards Detecting Building Facades with Graffiti Artwork Based on Street View Images." ISPRS International Journal of Geo-Information 9, no. 2 (February 4, 2020): 98. http://dx.doi.org/10.3390/ijgi9020098.
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As a recognized type of art, graffiti is a cultural asset and an important aspect of a city’s aesthetics. As such, graffiti is associated with social and commercial vibrancy and is known to attract tourists. However, positional uncertainty and incompleteness are current issues of open geo-datasets containing graffiti data. In this paper, we present an approach towards detecting building facades with graffiti artwork based on the automatic interpretation of images from Google Street View (GSV). It starts with the identification of geo-tagged photos of graffiti artwork posted on the photo sharing media Flickr. GSV images are then extracted from the surroundings of these photos and interpreted by a customized, i.e., transfer learned, convolutional neural network. The compass heading of the GSV images classified as containing graffiti artwork and the possible positions of their acquisition are considered for scoring building facades according to their potential of containing the artwork observable in the GSV images. More than 36,000 GSV images and 5000 facades from buildings represented in OpenStreetMap were processed and evaluated. Precision and recall rates were computed for different facade score thresholds. False-positive errors are caused mostly by advertisements and scribblings on the building facades as well as by movable objects containing graffiti artwork and obstructing the facades. However, considering higher scores as threshold for detecting facades containing graffiti leads to the perfect precision rate. Our approach can be applied for identifying previously unmapped graffiti artwork and for assisting map contributors interested in the topic. Furthermore, researchers interested on the spatial correlations between graffiti artwork and socio-economic factors can profit from our open-access code and results.
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Ivanova, Oksana, Larisa Bilalova, and Ksenia Knyazeva. "The cultural eclecticism of globalism: perspectives from Russia." SHS Web of Conferences 55 (2018): 05005. http://dx.doi.org/10.1051/shsconf/20185505005.
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The paper deals with the reflection of the processes of globalization and multiculturalism in the guise of modern cities. According to the authors of the article, graffiti is a purely urban phenomenon. Modern graffiti is a palette of emotions, feelings, expressive existence, peculiar to the young people, and the modern city is the focus of mad speeds. In this focus of speed collides the seething thirst for life of the youth and the phenomenon of alienation. The dialectic of this contradiction determines the emergence and development of graffiti as a form of self-expression shaped as street art, or as it is sometimes called, the underground art. Graffiti as a component of street culture expresses the trends of globalization and its subjects, methods, and formats of performance: they are universal and do not have national peculiarities. In this case, the subject line of graffiti is a reflection of the specific features of culture, ideology, history, and traditions, that is, the mentality of a particular society. The authors of the paper present the lack of a single methodological, artistic and ideological orientation as cultural eclecticism. The article represents graffiti as a deviation, however, not as illegal acts but as an orientation of an individual to creative activity, as an act of self-actualization. In the study of graffiti as a socio-cultural phenomenon, parallels are drawn with the art of graffiti in various countries of the world, considering it as a form of multicultural integration. In modern interpretation, graffiti should be viewed as a kind of art, since it is artistic and aesthetic personal reflection of the personality, and creative form of its expression. Graffiti as an extra-national and meta-social phenomenon is simultaneously a manifestation of universalism of the global socio-cultural tendencies, and an expression of eclecticism of the new forms of the modern city. The main cultural values are outside of time. Traditional values, modified and mutated, are updated in accordance with trends.
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Кузнецова, І. О., and О. В. Лільчицький. "ОСОБЛИВОСТІ ВІЗУАЛЬНОГО ВІДОБРАЖЕННЯ СПОРТИВНОГО ЖИТТЯ У ВУЛИЧНОМУ МИСТЕЦТВІ УКРАЇНИ." Art and Design, no. 2 (September 21, 2020): 61–72. http://dx.doi.org/10.30857/2617-0272.2020.2.5.
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Determining the features of the visual display of sports life in the existing street art of Ukraine. Issuing recommendations on the conceptual improvement of the visual display of sports life in the existing street art of Ukraine, for the created objects of art and design related to the reflection of personality in sports. The paper used the methods of systematization and updating of analytical information about the features of the visual display of sports topics in the street art of Ukraine. The accumulation, systematization and implementation of information was carried out by studying specialized professional literature, relevant sites, field studies in Kyiv and the region. Studies were conducted with a focus on street art in large cities of Ukraine. The main displays of sports life in the existing street art of Ukraine are identified and characterized. The main trends of the visual series of modern street art of Ukraine, reflecting sporting events, are described. A comparative analysis of some trends in the design of murals and graffiti is done. Abstract recommendations are given for improving street art in the country. The paper describes the features of street sculpture, murals and graffiti of the country. Abstract recommendations are given to improve the modern street art of Ukraine, aimed to solve aesthetic and, as a result, ethical problems.The paper shows modern trends in the design of murals and graffiti of Ukraine, reflecting the sports life of Ukraine, which can serve as a guide for creating new murals.
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Wiesner, Adam. "Street Art and Graffiti in the Context of a City." Slovenský národopis / Slovak Ethnology 67, no. 1 (March 1, 2019): 47–62. http://dx.doi.org/10.2478/se-2019-0003.
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Abstract The paper presents data from interviews conducted in 2006–2007 with four representatives of the Prague street art and graffiti scene who worked in the Czech capital city at the beginning of the 2000s. Part of the article deals with creative activities in the Prague subway where most of the interviewed authors created their works. The author thus offers the perspective of the authors of the Prague street art and graffiti scenes and presents their view of the (il)legal works of art from around ten years ago in the context of the current discourse in social sciences. Over the last twenty years, this discourse has evolved to such an extent that it now enables to see the phenomenon of urban public works of art as a phenomenon full of paradoxes. Graffiti and street art therefore cannot be interpreted only from the point of view of legality or the art of resistance. Their definition must remain sufficiently open, since certain ambivalence, contradiction and ghostliness are characteristic of it equally as of life in a modern global city that is inherently tied to it.
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MacDowall, Lachlan John, and Poppy de Souza. "‘I’d Double Tap That!!’: street art, graffiti, and Instagram research." Media, Culture & Society 40, no. 1 (April 13, 2017): 3–22. http://dx.doi.org/10.1177/0163443717703793.
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Recent scholarship into the uses of social media has opened up productive ways of thinking about the dynamic relationship between user-generated content and new forms of sociality and social practice. However, compared with Twitter and Facebook, the photo- and video-sharing platform Instagram has received relatively little scholarly attention. Instagram is only the latest in a complex media history that has shaped a range of social practices, including graffiti and street art. This article considers the relationship between street art, graffiti, and mobile digital technologies, in particular the ways in which the production and consumption of forms of street art and graffiti are increasingly shaped by the architectures, protocols, and uses of Instagram. Beyond thinking conceptually about how Instagram is reshaping these practices, it also considers some analytic strategies for Instagram research that can illuminate this emerging and dynamic relationship. We also suggest that thinking of Instagram simply as another tool obscures both the complex issues of using Instagram metadata for research (privacy, the definition of publication, intellectual property, archiving, and conservation) and they ways in which the platform itself is in no way distinct from the cultural formations to which it promises access.
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Omodeo, Christian. "Face à l’urbain : bibliothèques d’art, graffiti et street art." Perspective, no. 2 (December 31, 2016): 195–202. http://dx.doi.org/10.4000/perspective.6963.
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Duhanic, Ines. "Copyright in street art, graffiti, porn and ‘Mein Kampf’?" Journal of Intellectual Property Law & Practice 14, no. 10 (August 27, 2019): 822–23. http://dx.doi.org/10.1093/jiplp/jpz114.
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Pennington, Jeremy Lee. "Book Review: Routledge handbook of graffiti and street art." International Criminal Justice Review 27, no. 4 (July 21, 2017): 289. http://dx.doi.org/10.1177/1057567717718912.
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Chang, T. C. "Wall dressed up: Graffiti and street art in Singapore." City, Culture and Society 20 (March 2020): 100329. http://dx.doi.org/10.1016/j.ccs.2019.100329.
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Hoppe, Ilaria. "Graffiti is back in town: Critical approaches to visual and spatial practices in Berlin." Journal of Urban Cultural Studies 7, no. 2-3 (September 1, 2020): 199–223. http://dx.doi.org/10.1386/jucs_00026_1.
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The article considers the critical potential of both graffiti and street art using Berlin as an example, where these forms of urban creativity have flourished. It offers an interdisciplinary, context-related analysis by combining visual and spatial theories, which highlight both their critical agency as well as their affirmative potential in processes of gentrification. In this way, the study takes up the question of Avramidis and Tsilimpounidi about what graffiti and street art actually do in urban space. Thus, they are understood as spatial and visual forms of critique and protest, as also historic positions within the discourses on architecture and the city show, where graffiti, in particular, appears as a critical term. This applies to the general notion of graffiti being a confrontation with the capitalist system and its hegemonic spectacle, as well as the abject view, comparing them with dirt within a racist discourse. Finally, these contestations of and within the democratic city dissolve themselves in the post-urban paradigm. This implies a notion of the city under complete private ownership and control where there is no place for dialectics anymore and the ‘urban’ is seen as a threat to society.
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Moran, Ruth Alexandra. "Street appropriation: Subversion as commodity in Dublin." Visual Inquiry 9, no. 1 (September 1, 2020): 27–44. http://dx.doi.org/10.1386/vi_00008_1.
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This article examines the recent intense public interest in Dublin street art collective Subset’s urban painting, which co-opts the language, practices and attitude of graffiti culture as brand narrative, producing a commodity from their portrayal of subversion, which they self-promote on social media. While the career trajectory from vandal or graffiti artist to the established art world is nothing new, what is particularly interesting is how Subset went from an unknown group of art college graduates in early 2017 to their acceptance and recognition by the arts establishment in late 2019. The case of Subset is interesting in terms of the evident cultural cachet of their synthesis of subversive practices and the promotion of their brand in their work, which has proven very popular with the public. As a result, the Subset brand has in turn been co-opted by traditional media, political discourse and the arts establishment.
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Kuzovenkova, Yuliya Aleksandrovna. "Use of urban space by graffiti and street art communities." Vestnik of Saint Petersburg State University of Culture 4 (December 2017): 66–69. http://dx.doi.org/10.30725/2619-0303-2017-4-66-69.
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Young, Alison. "Criminal images: The affective judgment of graffiti and street art." Crime, Media, Culture: An International Journal 8, no. 3 (July 18, 2012): 297–314. http://dx.doi.org/10.1177/1741659012443232.
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Schacter, Rafael. "The ugly truth: Street Art, Graffiti and the Creative City." Art & the Public Sphere 3, no. 2 (December 1, 2014): 161–76. http://dx.doi.org/10.1386/aps.3.2.161_1.
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Chang, T. C. "Writing on the Wall: Street Art in Graffiti‐free Singapore." International Journal of Urban and Regional Research 43, no. 6 (September 28, 2018): 1046–63. http://dx.doi.org/10.1111/1468-2427.12653.
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McGaw, Janet. "Complex Relationships betweenDétournementandRécupérationin Melbourne's Street (Graffiti and Stencil) Art Scene." Architectural Theory Review 13, no. 2 (August 2008): 222–39. http://dx.doi.org/10.1080/13264820802216858.
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Nitzsche, Sina A. "Routledge Handbook of Graffiti and Street Art, Jeffrey Ian Ross (ed.) (2016)." Global Hip Hop Studies 1, no. 1 (June 1, 2020): 162–65. http://dx.doi.org/10.1386/ghhs_00011_5.
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Review of: Routledge Handbook of Graffiti and Street Art, Jeffrey Ian Ross (ed.) (2016)New York City: Routledge International HandbooksISBN 978-1-13879-293-7, h/bk, £160.00, p/bk, £31.99, ebook, £25.99
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Woods, Reuben. "Ballerinas and Band Aids: The Performances of Urban Art in Post-Earthquake Christchurch." Back Story Journal of New Zealand Art, Media & Design History, no. 5 (December 1, 2018): 87–107. http://dx.doi.org/10.24135/backstory.vi5.39.
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While graffiti and street art span generations and all corners of the globe, it was still unexpected when Christchurch,a New Zealand city identified by many as a colonial English transplant with a perceived conservative air, was positionedas an urban art ‘destination’ in the wake of the devastating cluster of earthquakes in 2010 and 2011.1 Historically lacking a strong sense of street culture, such as that in New Orleans (which suffered similar devastation after Hurricane Katrina, 2005), Christchurch's post-quake landscape encouraged public discourses and as such required new approaches to shared space.2 As public expressions with do-it-yourself qualities already predisposed to make use of the post-quake landscape, graffiti and street art proved fitting additions to this terrain. They signified life and rebirth, while also engaging with loss and change, revealing the structures of urban and suburban existence, and creating political discourses.
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Traykov, Bozhin. "Transforming Alyosha into Superman: Invented Traditions and Street Art Subversion in Post-Communist Bulgaria." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (November 4, 2014): 56. http://dx.doi.org/10.21992/t95d1b.
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On June 17th 2011 graffiti artists transformed the West side of the Monument of the Soviet Army (MSA) in Sofia, Bulgaria. MSA comprises part of a spatial environment where the invented traditions of the Bulgarian state interact and compete. The art of provocation challenges those invented traditions and opens up the potential for alternative readings and discursive practices of the past and present, contrary to the official political and NGO discourse. As such it subverts ideological symbols in a fashion similar to the carnivalesque. The graffiti art provides the potential to reevaluate, bridge and connect a violent past with an equally violent present, as well as pose questions about the future. It signifies the presence of history and politics in everyday life.
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Zieleniec, Andrzej. "Book review: Ornament and Order: Graffiti, Street Art and the Parergon." Cultural Sociology 9, no. 2 (May 5, 2015): 279–80. http://dx.doi.org/10.1177/1749975515582961e.
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Christensen, Miyase, and Tindra Thor. "The reciprocal city: Performing solidarity—Mediating space through street art and graffiti." International Communication Gazette 79, no. 6-7 (September 25, 2017): 584–612. http://dx.doi.org/10.1177/1748048517727183.
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In this article, based on two case studies conducted in Stockholm and London, we discuss how graffiti and street art provide forms of expressive cosmopolitanism in reclaiming voice and reciprocity in the city. Through in-depth interviews and observations, we explore how urban artists, using their practice, foster ever-transient and contesting senses of outsidered aesthetics and communicative culture that both seek to challenge the institutionalization and hegemonic indoctrination of today's media cities and, as such, become part of the ensemble that constitute its visual geography. While there are many parallels and inter-urban synchronicity, our results indicate that locally-specific elements are prominent in each city. Both studies indicate that the solidaritarian and spatially mediating character of graffiti and street art, and not just their contents, constitutes a resource in sustaining the possibility of coproducing worldly visions in and of the cities. They both observe struggles for openness and social critique taking place across time and space.
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Hicks, Ben, Denise Carroll, Shanti Shanker, and Angela El-Zeind. "‘Well I’m still the Diva!’ Enabling people with dementia to express their identity through graffiti arts: Innovative practice." Dementia 18, no. 2 (August 11, 2017): 814–20. http://dx.doi.org/10.1177/1471301217722421.
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This article reports on a pilot study that investigated the use of graffiti arts as a medium for promoting self-expression in people with dementia. Two people with dementia attended a series of workshops with a graffiti artist where they explored their feelings of changing identity following their dementia diagnoses. As part of the workshops, they were encouraged to develop a personal ‘tag’ or signature to portray their sense of identity and a piece of street art to express ‘their message’. These completed artworks were displayed in a public space in Bournemouth, UK.
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Buendía, Pedro. "Urban art, public space, and political subversion: The Egyptian revolution through graffiti Arte urbano, espacio público y subversión política la revolución egipcia a través del graffiti Art urbain, espace public et subversion politique : La révolution égyptienne à travers du graffiti." Regions and Cohesion 2, no. 3 (December 1, 2012): 84–117. http://dx.doi.org/10.3167/reco.2012.020306.
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The emergence of graffiti's urban subculture as a means of political expression has become a singular issue of the so-called Arab Spring. Graffiti and urban art, which had little to no relevance in the Arab world until now, emerged with unusual force in many countries, notably in the Palestinian territories, Lebanon, and Egypt. This blossoming takes shape in tangent with the strengthening of a civil society and its rise as a decisive actor in the new political arena. In Egypt's case, graffiti achieved a leading role that reflected the milestones of civil disturbance, marking the walls with virtual snapshots of the popular sentiment. The proliferation of graffiti also had considerable resonance in international media because of the strategy of spreading rebellious and subversive slogans by means of the symbolic occupation of a public space, which, until now, was monopolized by authoritarian powers.Spanish Un fenómeno singular de la denominada “Primavera Árabe“ ha sido la eclosión de la subcultura urbana del graffiti como medio de expresión política. De escasa o nula relevancia hasta ahora, el arte urbano de las pintadas ha surgido con una fuerza inusitada en varias zonas del mundo árabe, notoriamente en los Territorios Palestinos, el Líbano y Egipto. Dicho florecimiento cuaja en paralelo con la rearticulación de la sociedad civil y su irrupción irreversible como actor de los nuevos escenarios políticos. En el caso de Egipto, los graffitis han tenido un señalado protagonismo como reflejo de los sucesivos hitos de las revueltas, marcando los muros y paredes con verdaderas instantáneas del sentir popular. La proliferación del graffiti ha tenido asimismo una considerable resonancia en los medios internacionales, debido a la estrategia de ocupar simbólicamente el espacio público, -que hasta ahora estaba reservado al monopolio de los poderes autoritarios- para la difusión de consignas contestatarias y subversivas.French Un phénomène singulier de la “printemps arabe“ a été l'émergence de la culture urbaine du graffiti comme un moyen d'expression politique. Avec peu ou pas d'importance jusqu'à ce jour, l'art urbain et le graffiti ont émergé avec une force inhabituelle dans diverses régions du monde arabe, notamment dans les Territoires Palestiniens, le Liban et l'Égypte. Ce e éclosion doit être mise en parallèle avec le renforcement de la société civile et son émergence comme acteur décisif dans le nouveau scénario politique. Dans le cas de l'Égypte, le graffiti a joué un rôle clé comme reflet des jalons successifs des révoltes, en marquant les murs avec des instantanés virtuelles du sentiment populaire. La prolifération des graffitis a rencontré aussi un écho remarquable dans les médias internationaux en raison de la stratégie d'occupation symbolique de l'espace public pour la diffusion des slogans rebelles et subversifs; un espace public qui était réservé jusqu'à aujourd'hui aux pouvoirs autoritaires.
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Graf, Ann M. "Domain Analysis Applied to Online Graffiti Art Image Galleries to Reveal Knowledge Organization Structures Used Within an Outsider Art Community." KNOWLEDGE ORGANIZATION 47, no. 7 (2020): 543–57. http://dx.doi.org/10.5771/0943-7444-2020-7-543.
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Domain analysis is useful for examination of individual spheres of intellectual activity, both academic and otherwise, and has been used in the knowledge organization (KO) literature to explore specific communities and uses, including web pornography (Beaudoin and Ménard 2015), virtual online worlds (Sköld, Olle 2015), gourmet cooking (Hartel 2010), healthy eating (McTavish 2015), art studies (Ørom 2003), the Knowledge Organization journal (Guimarães et al. 2013), and domain analysis itself (Smiraglia 2015). The results of domain analyses are useful for the development of controlled vocabularies, taxonomies, ontologies, metadata schemas, and other systems for the documentation, description, and discovery of resources, as well as for knowledge discovery in general (Smiraglia 2015; Hjørland 2017). This research describes a methodology for the elucidation of knowledge organization systems (KOS) currently in use on image websites that document graffiti, graffiti art, and street art around the world.
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Young, Alison. "From object to encounter: Aesthetic politics and visual criminology." Theoretical Criminology 18, no. 2 (April 28, 2014): 159–75. http://dx.doi.org/10.1177/1362480613518228.
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Recent criminological research has engaged with images of crime such that there increasingly appears to exist a need for a specifically visual criminology. Within visual criminology, however, images are frequently constructed as objects of analysis rather than as constitutive elements of the discursive field. This article draws upon the specific context of the social, cultural and legal responses to uncommissioned words and images in public space—street art and graffiti writing. Focusing on one instance of unauthorized image making, I argue for the dynamic role of the image in the constitution of crime in contemporary society and culture, thanks to the affective dimension of the encounter between spectator and image. The complex range of responses to street art and graffiti highlights ways in which visual criminology must ensure that it eschews an object-centred approach to the image, and conceptualize it instead by means of an aesthetic politics of the encounter.