Presentacion ingles problema de mi comunidadthebosser
The document discusses different types of vandalism such as graffiti, abuse, strong language, and theft. It defines vandalism as hostility towards art and literature that results in damage or destruction of monuments and property. While some see graffiti as an art form, others believe it is illegal to express art in public or private spaces without permission. The main reasons for destructive vandalism are disrespect for others and expressing oneself through violence. Theft vandalism aims to take property, sometimes accompanied by robbery or destruction. To help address these issues, the document suggests creating awareness, reporting offenders, and occupying people through employment to prevent idle time that could lead to vandalism.
This document discusses the history and evolution of graffiti art in New York City. It begins by describing the author's observations of street art in the city and their interest in understanding graffiti as a creative art form rather than mere vandalism. The document then traces the origins of graffiti in Philadelphia in the 1960s where it was associated with gangs and an expression of territorialism. When graffiti emerged in New York City via subway taggers in the 1970s, it was similarly viewed negatively. However, graffiti matured and developed artistic merit. By the 1980s, graffiti had grown in recognition abroad and in art galleries, moving from its gang origins to an expression worthy of praise. Today, graffiti is
Lady Pink argues that art should not be restricted only to galleries and museums, but should be freely expressed by humans wherever they want. Graffiti has a long history dating back to markings found in Pompeii. Though initially seen as uncultured, graffiti was a form of expression for the working classes and a way to critique oppressive authority. Photographer Brassaï brought graffiti to the attention of famous artists in the 1930s. Tagging began as artists started signing their names to trains, and became more elaborate over time. Graffiti is addictive and competitive, valued for its placement in public spaces, and was historically a male-dominated form of expression. The Situationists used graffiti to subvert social
The document discusses street art, architecture, and urbanism. It defines street art as unsanctioned public expressions using building aesthetics. Polychromy and cladding are mentioned as using color or other materials to dress building exteriors. The conclusion states that street art politically expresses and interacts with urban surroundings in a way that makes functionality aesthetically appealing.
The document discusses the history and origins of graffiti. It traces graffiti back to ancient Rome, where political statements and satire were scratched onto walls. The word "graffiti" comes from the Italian word "graffiato," meaning scratched. While sometimes viewed as vandalism, graffiti has also been considered a form of art and political expression throughout history. Modern graffiti emerged in New York in the 1970s, where artists would tag trains as a way to gain exposure and mark their territory across the city. The document explores both the legal and illegal aspects of graffiti and provides tips for creating graffiti-style lettering on paper.
The document discusses the controversy around street art and graffiti, exploring whether it should be considered vandalism or a valid form of artistic expression. It introduces the concept of "yarn bombing" as a type of street art that is non-permanent and can be easily removed, using colorful yarn to decorate public spaces in a way that may be less offensive than traditional graffiti. The document proposes a project for students to collaboratively create a yarn bombing installation and discusses criteria for evaluating the project.
This document compares and contrasts graffiti and murals. It defines graffiti as informal inscriptions or paintings, often with political or social messages, created without permission on street furniture or walls. Graffiti originated in the 1960s in New York and is one element of hip hop culture. It uses tags, bright colors, and stylized lettering. Murals are large sanctioned images painted on walls that tell stories through backgrounds, details, and characters. Unlike graffiti, murals have an educational purpose and contain narratives through monumental, compositional images.
This document discusses the differences between graffiti and street art. While both involve placing art in public spaces rather than galleries, graffiti writers primarily want to communicate with other writers, whereas street artists want the public to view and engage with their work. Graffiti focuses more on "tagging" with spray paint or markers to mark territory, while street art uses symbolic imagery and techniques like stencils or posters to convey conceptual messages to viewers. The intention of engaging the public is the main distinction between graffiti writers and street artists.
Presentacion ingles problema de mi comunidadthebosser
The document discusses different types of vandalism such as graffiti, abuse, strong language, and theft. It defines vandalism as hostility towards art and literature that results in damage or destruction of monuments and property. While some see graffiti as an art form, others believe it is illegal to express art in public or private spaces without permission. The main reasons for destructive vandalism are disrespect for others and expressing oneself through violence. Theft vandalism aims to take property, sometimes accompanied by robbery or destruction. To help address these issues, the document suggests creating awareness, reporting offenders, and occupying people through employment to prevent idle time that could lead to vandalism.
This document discusses the history and evolution of graffiti art in New York City. It begins by describing the author's observations of street art in the city and their interest in understanding graffiti as a creative art form rather than mere vandalism. The document then traces the origins of graffiti in Philadelphia in the 1960s where it was associated with gangs and an expression of territorialism. When graffiti emerged in New York City via subway taggers in the 1970s, it was similarly viewed negatively. However, graffiti matured and developed artistic merit. By the 1980s, graffiti had grown in recognition abroad and in art galleries, moving from its gang origins to an expression worthy of praise. Today, graffiti is
Lady Pink argues that art should not be restricted only to galleries and museums, but should be freely expressed by humans wherever they want. Graffiti has a long history dating back to markings found in Pompeii. Though initially seen as uncultured, graffiti was a form of expression for the working classes and a way to critique oppressive authority. Photographer Brassaï brought graffiti to the attention of famous artists in the 1930s. Tagging began as artists started signing their names to trains, and became more elaborate over time. Graffiti is addictive and competitive, valued for its placement in public spaces, and was historically a male-dominated form of expression. The Situationists used graffiti to subvert social
The document discusses street art, architecture, and urbanism. It defines street art as unsanctioned public expressions using building aesthetics. Polychromy and cladding are mentioned as using color or other materials to dress building exteriors. The conclusion states that street art politically expresses and interacts with urban surroundings in a way that makes functionality aesthetically appealing.
The document discusses the history and origins of graffiti. It traces graffiti back to ancient Rome, where political statements and satire were scratched onto walls. The word "graffiti" comes from the Italian word "graffiato," meaning scratched. While sometimes viewed as vandalism, graffiti has also been considered a form of art and political expression throughout history. Modern graffiti emerged in New York in the 1970s, where artists would tag trains as a way to gain exposure and mark their territory across the city. The document explores both the legal and illegal aspects of graffiti and provides tips for creating graffiti-style lettering on paper.
The document discusses the controversy around street art and graffiti, exploring whether it should be considered vandalism or a valid form of artistic expression. It introduces the concept of "yarn bombing" as a type of street art that is non-permanent and can be easily removed, using colorful yarn to decorate public spaces in a way that may be less offensive than traditional graffiti. The document proposes a project for students to collaboratively create a yarn bombing installation and discusses criteria for evaluating the project.
This document compares and contrasts graffiti and murals. It defines graffiti as informal inscriptions or paintings, often with political or social messages, created without permission on street furniture or walls. Graffiti originated in the 1960s in New York and is one element of hip hop culture. It uses tags, bright colors, and stylized lettering. Murals are large sanctioned images painted on walls that tell stories through backgrounds, details, and characters. Unlike graffiti, murals have an educational purpose and contain narratives through monumental, compositional images.
This document discusses the differences between graffiti and street art. While both involve placing art in public spaces rather than galleries, graffiti writers primarily want to communicate with other writers, whereas street artists want the public to view and engage with their work. Graffiti focuses more on "tagging" with spray paint or markers to mark territory, while street art uses symbolic imagery and techniques like stencils or posters to convey conceptual messages to viewers. The intention of engaging the public is the main distinction between graffiti writers and street artists.
The document provides an overview of graffiti, including its origins, history, definitions, types, and issues surrounding it. It traces graffiti back 40,000 years to early cave paintings and discusses its emergence in the 1960s in Philadelphia and proliferation in New York City in the 1970s-1980s. The document also explores modern graffiti styles and the various public approaches to handling graffiti.
The document provides an introduction to street art, describing it as art created in public spaces that is meant to make a statement or beautify an area. It notes that street art includes various mediums like stickers, spray paint, and stencils. Examples are given of famous street artists from around the world and some of their notable pieces that have been created using different techniques.
The document discusses the history and origins of graffiti art. It traces graffiti back 30,000 years to prehistoric cave paintings. Modern graffiti emerged in the 1960s with teenagers tagging subway trains in New York City. Graffiti grew closely associated with hip hop culture in the 1980s as artists used spray paint and stencils to create designs. Artists like Basquiat were influential figures in both the graffiti and hip hop scenes in New York during that time. Graffiti continues to influence modern art movements while also dividing opinions as more mainstream artists like Banksy have adopted the style.
Graffiti began in the 1960s in Philadelphia and New York as people began tagging messages and names to honor a musician who had passed away. Over time, graffiti evolved from simple vandalism to a more artistic form as taggers spent more time developing their styles. Supporters argue that graffiti can be used to spread political messages or beautify dull areas when done legally by artists. However, critics argue that graffiti often costs taxpayers significant money to remove and that even illegal graffiti can encourage other crimes by signaling that vandalism will not be punished. The debate continues over whether graffiti is a positive art form or merely destructive vandalism.
Graffiti culture has evolved into a modern art form using spray paint with its own history, styles, and prominent artists. While still illegal in most places, graffiti is considered an expression of individuality by its practitioners. The culture includes specialized terms like "writer" for artists and "crew" for collaborative groups. While some view graffiti as vandalism, others see it as a legitimate art form and some cities have designated legal walls for graffiti.
Street art and graffiti both involve public art displays, but graffiti focuses more on tags and fame within the graffiti community, while street art aims to send social or political messages anonymously. Graffiti began in the 1960s with tags on subway cars in New York City and has rules around different styles like throw ups and pieces. Street art is now found in museums and brings communities together through murals, but both forms face legal issues and conflicting views from the public. Artists themselves disagree on differences, with some seeing graffiti as rebellious and street art as mature, while others feel the distinctions are forced.
The document summarizes the origins and history of contemporary street art. It began in the late 1970s in New York City as political propaganda and an expression of rebellion through vandalism. Key early artists included Keith Haring and Jean-Michel Basquiat in the 1980s who brought more than just graffiti to the streets. Modern street artists mentioned include Invader, JR, Blu, Banksy, Shepard Fairey and his Obey movement, who have continued using street art to make political statements and connect with the public.
Pros and cons of graffiti and street artKatie Taplin
The document discusses the history and perspectives of graffiti and street art. It notes that graffiti originated in Philadelphia in the late 1960s started by two artists named Cornbread and Cool Earl. Street art later branched off from graffiti. The document outlines pros and cons of both graffiti and street art from artistic expression to costs of removal to negative influences. It profiles some influential figures in graffiti history like Taki 183 and Shepard Fairey. Facts are given showing most common graffiti targets in the UK.
Modern graffiti began in Philadelphia in the 1960s after the death of jazz musician Charlie Parker. In the 1970s, the center of graffiti culture shifted to New York City as writers like TAKI 183 and Tracy 168 began using their street numbers in their tags and bombing subway trains, allowing their work to spread across the city. Street artists challenge definitions of art by situating their work in non-art contexts and questioning the existing environment in its own language rather than aiming to change what art is.
Here is a slideshow presentation of Street Art, with little discussion on its history, differentiation of kinds (e.g. Street Art, Mural Art, Graffiti, and Public Art), various movements, and function of street art. This is presentation is created in attempt to share information and educate people.
This document provides information on several street artists and their techniques:
- Space Invader uses ceramic tiles to create mosaic-style artwork glued on walls in cities worldwide.
- Banksy is known for his stenciled graffiti spray painted on walls, streets, and bridges around the world.
- Shepard Fairey emerged from skateboarding and is known for his "Andre the Giant has a posse" and Obama "Hope" posters displayed in museums globally.
- Mark Jenkins sculpts entirely with cellophane tape to create interactive art.
- Juan Muñoz worked mainly with paper mache, bronze and resin to tell stories through his sculptures.
- JR places
Graffiti is a form of self-expression through inscriptions or pictures on walls and other surfaces. It has existed since ancient times but the first known graffiti writer was Taki183 in New York City in the 1970s who would tag his name throughout the city. Graffiti ranges from simple tagging to complex murals and styles, with skilled writers able to tag their name in only a few seconds. While drawing graffiti without permission is considered vandalism, some professional writers earn money painting for clubs and shops.
From graffiti to street art essay pp.pptxDamian Rarog
Street art began emerging in the 1960s with tributes to jazz musicians being written on walls in Philadelphia. It grew in the 1970s in New York City as artists like TAKI 183 and TRACY 168 began "tagging" trains. Over time, vandalism and graffiti evolved into a recognized art form. Street artists use various techniques like stencils, posters, and freehand painting to create works that can address social and political issues while beautifying public spaces. Famous street artists like Banksy, Shepard Fairey, and Space Invader have helped bring attention to causes while transforming dull areas into more vibrant places.
Street art began as gang graffiti in the 1920s-30s and evolved over time. By the 1970s-80s, artists began using public spaces to tag their names, starting trends like Taki 183. Street art grew popular in the 80s due to technology and now expresses political and social messages. While sometimes seen as vandalism, street art is now more accepted as an art form. It comes in many styles and is used worldwide to engage audiences in important issues.
Graffiti began in New York in the 1960s as single hitting and was done predominantly by Puerto Ricans and African-Americans from poor, inner-city neighborhoods. In the late 1980s, graffiti was forced to transform as cities built secure train yards and enacted stricter laws in response to graffiti on subway cars. Most artists then took their art to the streets, though some began painting freight trains, losing a vital part of graffiti culture. Varying graffiti styles developed over time, from quick throw ups to complex wildstyles.
Street art originated from graffiti art in New York City in the 1980s. It uses various mediums like stencils and posters to express messages in public spaces. While sometimes illegal, street art is becoming more accepted as a way to regenerate communities and share political or social commentary. Famous street artists like Banksy and Shepard Fairey often use their art to address issues like homelessness, inequality, and political campaigns. Technology has also helped street art spread more widely through advances in printing and sharing on the internet.
This document discusses graffiti and urban art. It introduces Banksy, the famous graffiti artist from Bristol known for his stenciled spray paintings in public spaces that often contain political or social commentary. Students are instructed to work in pairs to describe graffiti images, look for anything unusual in them, and see if they contain hidden messages. Web links are provided for further information on Banksy and viewing graffiti images.
Street art began in the 1960s with graffiti related to jazz musician Charlie Parker in Philadelphia. Graffiti spread to New York in the 1970s and was pioneered by artists like TAKI 183. There are various reasons why people engage in graffiti, street art, and vandalism, ranging from expressing themselves artistically to gaining social acceptance to making political statements. While graffiti can beautify empty spaces and spread messages, it is also expensive to remove and can decrease property values if not properly regulated. Famous street artists like Banksy, Shepard Fairey, and Space Invader use the medium to comment on social and political issues, but their work is sometimes illegal and causes property damage.
Street art began as tagging by gangs in the 1920s-30s and evolved over time. By the 1970s-80s, artists began tagging their names on public transportation and walls in New York. Street art gained popularity in the 1980s and 21st century due to technology and the internet. It has transformed from vandalism into a widely accepted art form that communicates powerful messages. Well-known street artists like Banksy, Shepard Fairey, and Invader have helped establish street art as a legitimate art movement through their unique styles and meaningful works.
This document discusses graffiti from multiple perspectives. It explores graffiti as a form of art, vandalism, and a symbol of modern times. The document also examines the attitudes of Polish people towards graffiti, how graffiti artists view their work, and attempts to counteract negative graffiti. Finally, it provides a dictionary of graffiti slang terms.
From cave paintings 40,000 years ago to modern street art, graffiti has served as a means of expression and communication. It started as vandalism in Philadelphia in the 1960s but has evolved into a recognized art form. However, opinions on graffiti vary - some see it as a way to beautify communities, while others view it as visual clutter that should not be allowed without permission. Legalizing certain graffiti could help social groups feel included in communities while also saving governments money spent on removal.
Graffiti and street art have gained more recognition and acceptance in the art world. While graffiti is typically writing someone's name, street art encompasses a wider range of visual artistic expressions done in public spaces, including murals, stencils and wheatpasting. Banksy is a famous street artist known for his politically charged pieces done using stencils and spray paint. Views on street art vary from condemnation as vandalism to acceptance as a valid art form that can beautify cities and bring communities together through outdoor art projects.
The document provides an overview of graffiti, including its origins, history, definitions, types, and issues surrounding it. It traces graffiti back 40,000 years to early cave paintings and discusses its emergence in the 1960s in Philadelphia and proliferation in New York City in the 1970s-1980s. The document also explores modern graffiti styles and the various public approaches to handling graffiti.
The document provides an introduction to street art, describing it as art created in public spaces that is meant to make a statement or beautify an area. It notes that street art includes various mediums like stickers, spray paint, and stencils. Examples are given of famous street artists from around the world and some of their notable pieces that have been created using different techniques.
The document discusses the history and origins of graffiti art. It traces graffiti back 30,000 years to prehistoric cave paintings. Modern graffiti emerged in the 1960s with teenagers tagging subway trains in New York City. Graffiti grew closely associated with hip hop culture in the 1980s as artists used spray paint and stencils to create designs. Artists like Basquiat were influential figures in both the graffiti and hip hop scenes in New York during that time. Graffiti continues to influence modern art movements while also dividing opinions as more mainstream artists like Banksy have adopted the style.
Graffiti began in the 1960s in Philadelphia and New York as people began tagging messages and names to honor a musician who had passed away. Over time, graffiti evolved from simple vandalism to a more artistic form as taggers spent more time developing their styles. Supporters argue that graffiti can be used to spread political messages or beautify dull areas when done legally by artists. However, critics argue that graffiti often costs taxpayers significant money to remove and that even illegal graffiti can encourage other crimes by signaling that vandalism will not be punished. The debate continues over whether graffiti is a positive art form or merely destructive vandalism.
Graffiti culture has evolved into a modern art form using spray paint with its own history, styles, and prominent artists. While still illegal in most places, graffiti is considered an expression of individuality by its practitioners. The culture includes specialized terms like "writer" for artists and "crew" for collaborative groups. While some view graffiti as vandalism, others see it as a legitimate art form and some cities have designated legal walls for graffiti.
Street art and graffiti both involve public art displays, but graffiti focuses more on tags and fame within the graffiti community, while street art aims to send social or political messages anonymously. Graffiti began in the 1960s with tags on subway cars in New York City and has rules around different styles like throw ups and pieces. Street art is now found in museums and brings communities together through murals, but both forms face legal issues and conflicting views from the public. Artists themselves disagree on differences, with some seeing graffiti as rebellious and street art as mature, while others feel the distinctions are forced.
The document summarizes the origins and history of contemporary street art. It began in the late 1970s in New York City as political propaganda and an expression of rebellion through vandalism. Key early artists included Keith Haring and Jean-Michel Basquiat in the 1980s who brought more than just graffiti to the streets. Modern street artists mentioned include Invader, JR, Blu, Banksy, Shepard Fairey and his Obey movement, who have continued using street art to make political statements and connect with the public.
Pros and cons of graffiti and street artKatie Taplin
The document discusses the history and perspectives of graffiti and street art. It notes that graffiti originated in Philadelphia in the late 1960s started by two artists named Cornbread and Cool Earl. Street art later branched off from graffiti. The document outlines pros and cons of both graffiti and street art from artistic expression to costs of removal to negative influences. It profiles some influential figures in graffiti history like Taki 183 and Shepard Fairey. Facts are given showing most common graffiti targets in the UK.
Modern graffiti began in Philadelphia in the 1960s after the death of jazz musician Charlie Parker. In the 1970s, the center of graffiti culture shifted to New York City as writers like TAKI 183 and Tracy 168 began using their street numbers in their tags and bombing subway trains, allowing their work to spread across the city. Street artists challenge definitions of art by situating their work in non-art contexts and questioning the existing environment in its own language rather than aiming to change what art is.
Here is a slideshow presentation of Street Art, with little discussion on its history, differentiation of kinds (e.g. Street Art, Mural Art, Graffiti, and Public Art), various movements, and function of street art. This is presentation is created in attempt to share information and educate people.
This document provides information on several street artists and their techniques:
- Space Invader uses ceramic tiles to create mosaic-style artwork glued on walls in cities worldwide.
- Banksy is known for his stenciled graffiti spray painted on walls, streets, and bridges around the world.
- Shepard Fairey emerged from skateboarding and is known for his "Andre the Giant has a posse" and Obama "Hope" posters displayed in museums globally.
- Mark Jenkins sculpts entirely with cellophane tape to create interactive art.
- Juan Muñoz worked mainly with paper mache, bronze and resin to tell stories through his sculptures.
- JR places
Graffiti is a form of self-expression through inscriptions or pictures on walls and other surfaces. It has existed since ancient times but the first known graffiti writer was Taki183 in New York City in the 1970s who would tag his name throughout the city. Graffiti ranges from simple tagging to complex murals and styles, with skilled writers able to tag their name in only a few seconds. While drawing graffiti without permission is considered vandalism, some professional writers earn money painting for clubs and shops.
From graffiti to street art essay pp.pptxDamian Rarog
Street art began emerging in the 1960s with tributes to jazz musicians being written on walls in Philadelphia. It grew in the 1970s in New York City as artists like TAKI 183 and TRACY 168 began "tagging" trains. Over time, vandalism and graffiti evolved into a recognized art form. Street artists use various techniques like stencils, posters, and freehand painting to create works that can address social and political issues while beautifying public spaces. Famous street artists like Banksy, Shepard Fairey, and Space Invader have helped bring attention to causes while transforming dull areas into more vibrant places.
Street art began as gang graffiti in the 1920s-30s and evolved over time. By the 1970s-80s, artists began using public spaces to tag their names, starting trends like Taki 183. Street art grew popular in the 80s due to technology and now expresses political and social messages. While sometimes seen as vandalism, street art is now more accepted as an art form. It comes in many styles and is used worldwide to engage audiences in important issues.
Graffiti began in New York in the 1960s as single hitting and was done predominantly by Puerto Ricans and African-Americans from poor, inner-city neighborhoods. In the late 1980s, graffiti was forced to transform as cities built secure train yards and enacted stricter laws in response to graffiti on subway cars. Most artists then took their art to the streets, though some began painting freight trains, losing a vital part of graffiti culture. Varying graffiti styles developed over time, from quick throw ups to complex wildstyles.
Street art originated from graffiti art in New York City in the 1980s. It uses various mediums like stencils and posters to express messages in public spaces. While sometimes illegal, street art is becoming more accepted as a way to regenerate communities and share political or social commentary. Famous street artists like Banksy and Shepard Fairey often use their art to address issues like homelessness, inequality, and political campaigns. Technology has also helped street art spread more widely through advances in printing and sharing on the internet.
This document discusses graffiti and urban art. It introduces Banksy, the famous graffiti artist from Bristol known for his stenciled spray paintings in public spaces that often contain political or social commentary. Students are instructed to work in pairs to describe graffiti images, look for anything unusual in them, and see if they contain hidden messages. Web links are provided for further information on Banksy and viewing graffiti images.
Street art began in the 1960s with graffiti related to jazz musician Charlie Parker in Philadelphia. Graffiti spread to New York in the 1970s and was pioneered by artists like TAKI 183. There are various reasons why people engage in graffiti, street art, and vandalism, ranging from expressing themselves artistically to gaining social acceptance to making political statements. While graffiti can beautify empty spaces and spread messages, it is also expensive to remove and can decrease property values if not properly regulated. Famous street artists like Banksy, Shepard Fairey, and Space Invader use the medium to comment on social and political issues, but their work is sometimes illegal and causes property damage.
Street art began as tagging by gangs in the 1920s-30s and evolved over time. By the 1970s-80s, artists began tagging their names on public transportation and walls in New York. Street art gained popularity in the 1980s and 21st century due to technology and the internet. It has transformed from vandalism into a widely accepted art form that communicates powerful messages. Well-known street artists like Banksy, Shepard Fairey, and Invader have helped establish street art as a legitimate art movement through their unique styles and meaningful works.
This document discusses graffiti from multiple perspectives. It explores graffiti as a form of art, vandalism, and a symbol of modern times. The document also examines the attitudes of Polish people towards graffiti, how graffiti artists view their work, and attempts to counteract negative graffiti. Finally, it provides a dictionary of graffiti slang terms.
From cave paintings 40,000 years ago to modern street art, graffiti has served as a means of expression and communication. It started as vandalism in Philadelphia in the 1960s but has evolved into a recognized art form. However, opinions on graffiti vary - some see it as a way to beautify communities, while others view it as visual clutter that should not be allowed without permission. Legalizing certain graffiti could help social groups feel included in communities while also saving governments money spent on removal.
Graffiti and street art have gained more recognition and acceptance in the art world. While graffiti is typically writing someone's name, street art encompasses a wider range of visual artistic expressions done in public spaces, including murals, stencils and wheatpasting. Banksy is a famous street artist known for his politically charged pieces done using stencils and spray paint. Views on street art vary from condemnation as vandalism to acceptance as a valid art form that can beautify cities and bring communities together through outdoor art projects.
The document discusses various topics related to public art including:
- The marginalization of artists in public art projects
- Different levels of engagement artists can have, from individual technical work to long-term community embeddedness
- Issues of representation, gentrification, and the commodification of place through public art
- The broad definition of what constitutes public art
- International examples of organizations taking critical approaches to art and urbanism
Street art began in the 1960s with graffiti related to jazz musician Charlie Parker in Philadelphia. Graffiti spread to New York in the 1970s and was pioneered by artists like TAKI 183. Over time graffiti transformed into street art. People engage in street art and graffiti for various reasons such as boredom, social bonding, political expression, and simply as a creative outlet. While street art can beautify areas and raise social issues, it is also illegal and cleaning it up costs taxpayers significant money. Famous street artists like Banksy, Shepard Fairey, and Space Invader use the medium to share messages but their works are created using techniques like stenciling, stickers, and tile
The twins Gustavo and Otávio Pandolfo create detailed street art graffiti in São Paulo, Brazil. Their figures have dreamlike stories influenced by Brazilian culture like carnival and capoeira. While graffiti began as a way for youth to mark their belonging in the city, it is now considered visual pollution by some. However, graffiti is also a transitory art form of self-expression that appropriately uses streets and walls as its support.
Street art emerged in the 1960s when fans of jazz artist Charlie Parker tagged "Bird lives" in Philadelphia after his death. It reemerged in 1970s New York as tagging by artists like Taki183 and Tracy168 who wrote their names across the city. Street art is a form of self-expression and symbolizes freedom for those without other means of expression or travel. It challenges societal norms through provoking thought and breaking people from accepted values. Street art is influenced by politics and social trends, using techniques similar to pop art in appealing to common people rather than elites. It impacts society by sharing bitter truths and realities not seen in mainstream media, while technology has made creating and sharing street art easier on
This article discusses the evolution of graffiti art from its ancient origins to its modern integral form. It traces graffiti back to ancient Rome, Egypt, and Paleolithic cave paintings, noting it served purposes of personal expression, political dissent, and communication. The modern graffiti movement emerged in 1960s Philadelphia through the works of Cornbread, who pioneered the use of spray paint and revolutionary canvases like buildings and vehicles. His performative style drew attention and inspired emulation. The article argues graffiti art has transformed from a primitive street style to integral fine art embraced by galleries and artists using diverse mediums and styles.
Graffiti began in the 1920s-1930s as gang markings but became more popular in New York in the 1960s-1970s as people tagged their names. Authorities tried to stop subway tagging, so artists began tagging walls and adding more color and design. Taki 183 and Tracy 168 gained fame for their tagging styles. Graffiti can positively impact run-down areas by making them more vibrant, and it allows political expression, but it is also seen as vandalism and illegal. Pop art inspired graffiti with its use of commercial imagery and styles. Graffiti focuses on tagging to gain fame while street art makes statements, though both comment on society and politics. Famous graffiti artists include Egs, Os
From the Streets: Documenting graffiti and cultureJennifer Waxman
This document discusses graffiti and street art terminology, history, documentation strategies, and preservation challenges. It defines common graffiti terms like tags, pieces, and throw-ups. It also outlines a documentation strategy for collecting, organizing, backing up, and sharing photos of graffiti and street art works around the world. The strategy emphasizes using descriptive metadata like the type of work, style, location, and artist alias to catalog pieces. It notes that meaningful documentation is needed for preservation given the ephemeral nature of graffiti and street art.
New Orleans, culture, and building an emergency response networkJennifer Waxman
This document discusses challenges and strategies for building an emergency response network in New Orleans cultural heritage communities. It outlines existing resilience plans and organizations in New Orleans, including challenges of governance structure, data management, membership, and fundraising. Options are presented for centralized vs decentralized leadership structures and web integration of various applications. Next steps include writing a strategic plan, increasing the membership base in various cultural sectors, and fundraising for supplies, accounts, and web hosting to support the emergency response network.
Cultural Heritage, Preparedness, and Climate ChangeJennifer Waxman
Jennifer Waxman presented on documenting and raising awareness of the effects of climate change. She discussed several resources for New Orleans related to climate change impacts and cultural preservation efforts, including the NOPC, New Orleans Master Plan, Resilient NOLA initiative, and the Office of Cultural Economy. She also introduced the concept of "cultural placekeeping" to help safeguard local arts and culture through community networks and emergency planning.
Preservation and MPLP: To protect, preserve and provide accessJennifer Waxman
This document discusses More Product, Less Process (MPLP), a methodology for processing archival collections that aims to expedite access and provide sufficient description while performing only minimal physical preservation steps. MPLP assumes repositories have large backlogs and access resembles researchers receiving one box at a time. While MPLP can help reduce processing time, the document emphasizes that preservation and preventive care, like environmental control and integrated pest management, are still important and can coexist with MPLP through good policies, collection assessments, baseline standards, and periodic reviews that balance access and preservation.
Implementation of a condition survey for archival collections at an academic library, presented at Society of American Archivists 2012 Annual Meeting, Session 201
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
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2. WHAT IS IT?
identity
social commentary
style
status
territory
ego
ephemeral
political
art
language
subculture
vandalism
businessglobal
3. DEFINITION
graffiti
illicit marks in which there has been an attempt to
establish some sort of coherent composition…made by an
individual or individuals (not generally professional artists
[but sometimes they are or become one]) upon a wall or
other surface that is usually visually accessible to the
public.
derives from the Greek graphein ("to write”)
graffito, meaning a drawing or scribbling on a flat surface,
originally referred to those marks found on ancient Roman
architecture
Art Crimes http://www.graffiti.org/faq/graf.def.html, accessed 15 July 2015
4. WHY DO WE CARE?
Writing graffiti is a surreptitious adventure, but that does not
make these people’s lives and need for self-expression
illegitimate. Whether in a sanctioned location or not, what do you
have? Art. Thought. Language. Culture.
Though it is considered
deviant and criminal, the
presence of graffiti can also
indicate a group of people
acting to legitimize their
existence in a world where
opportunities are little, where
voices are suppressed.
16. IT AIN’T ALWAYS FREE
Despite the public
accessibility of graffiti and
street art, and it’s seeming
lack of ownership, it has a
legitimate place in the
economy. We cannot
ignore issues of copyright
and trademark
infringement.
17. HOW SHOULD WE DOCUMENT IT?
Documentation strategy
• Downtown Collection at Fales Library at NYU
• NOLA Hip Hop and Bounce Digital Collection at Tulane
University
• Cornell University Hip Hop Collection
Target (with permission, as needed)
• websites (front and back end)
• social media accounts, hashtags
• other media sharing sites, like Flickr
• photographers, artists, gallery owners,
enthusiasts
No one is going to drop this stuff off.
18. ARCHIVES FUNDAMENTALS
CREATOR—won’t know
DATES—probably won’t know
PROVENANCE—nope, mostly likely it will be an artificial
collection
FORMAT—very diverse
DESCRIPTION—crowd-sourced and possibly incomplete
• alias
• associations (ie, crew name)
• location of piece
• type of piece (tag, sticker, throw-up, stencil, blackbook)
• format and media used
• date of documentation
• name of person documenting
• brief description of piece
19. PRESERVATION
Maintaining a collection like this is no different than any other. It’s
a hybrid collection, but digital curation will play a greater role:
• Paper-based or bound items: zines, sketchbooks, notebooks,
photographs
• Born-digital: images, video, databases, websites, blogs and
other dynamically created web-based content
I’m going to talk about the nature of graffiti, some challenges we have bringing it into our collections, and some ideas on how to go about it. I’m going to focus my talk on the urban graffiti writer not major street artists who have become part of mainstream pop culture because I want us to think about about local communities.
What is it? Identity, style, status, territory, ego; it’s art, it’s language, it’s global, it’s political, it’s social commentary; it’s a subculture, it’s ephemeral, it’s vandalism, and it’s a business.
Graffiti is illicit marks in which there has been an attempt to establish some sort of coherent composition…upon a wall or other surface that is visually accessible to the public. It is derived from the Greek word “graphein” meaning “to write”. And the Italian word, “graffito” meaning a drawing or scribbling on a flat surface, originally referred to those marks found on ancient Roman architecture.
Though it is considered deviant and criminal, the presence of graffiti can also indicate a group of people acting to legitimize their existence in a world where opportunities are little, where voices are suppressed. Writing graffiti is a surreptitious adventure, but that does not make these people’s lives and need for self-expression illegitimate. Whether in a sanctioned location or not, what do you have? Art. Thought. Language. Culture.
Inherently, graffiti is ephemeral—it does not last; it is a palimpsest—everybody has read/write access; it is pseudonymous—your identity is masked with an alias; and it is both legal and illegal. This photo is a picture of a building where tags and pieces have been painted over, emphasizing the ephemeral, palimpsest and illegal nature of writing.
Here are just a few basic terms used by the community: piece = graffiti mural, as in “masterpiece”, tag = a writer’s signature, throw-up = name painted with two colors, an outline, and fill; writer = one who does graffiti
More graffiti basics: flick = photograph of graffiti, bomb or bombing = to paint name in any form on many surfaces, paste-up = wheat-pasted design, blackbook = notebook or sketchbook for practicing, benching = writing on a freight, also called a rolling canvas.
You generally think of graffiti and graffiti writers as petty criminals. A lot of the time the name of the game is about trespassing and vandalism.
But graffiti has become mainstream enough for there to be many legal venues for it to thrive as an art form. Murals, community art projects and public art shows allow the writers to showcase their talents. The image on the left shows a giant exhibit that took place in abandoned housing projects across the river from downtown New Orleans. It was as much a show about discriminatory housing laws and practices over the past 70yrs as it was a display of spray can talent.
Memorials are another big subgenre of graffiti writing. This piece memorializes a high school kid shot in his school in New Orleans this past winter. This is a screen shot from a news report on TV.
Stencils and stickers are another subgenre of the graffiti world. They can be simple tags or carry a message that is amusing or political in nature, or both. The translation of the Arabic one is “Shut Up”, and the Spanish one means “I decide.” I interpret these both to be statements on sexual harassment.
Film, photographs, and books are the main media sources for documenting graffiti. It began with photojournalists Martha Cooper and Henry Califant’s 1984 book Subway Art. Today, it’s mainly all online: websites, blogs, social media. These efforts are often crowd-sourced, submission-oriented, international in scope. Mostly homegrown, these sites contain stories, testimonials, sometimes scholarship and are basically giant catalogs of graffiti from around the world. A few major websites also operate as businesses, selling supplies, publications and apparel.
Instagram has provided a new venue for the graffiti community to thrive. Instagram helps individuals maintain their anonymity and allows them to share their work and promote others. The post on the left is from the Instagram account of a New Orleans based-writer who recognizes that “graffiti needs documentation.” He goes on to say he will create his own zine in an effort to do so.
Over winter this past year a writer with the alias UZIT died at a young age. He was a sign painter in New Orleans and a graffiti writer. I followed the local writers’ online response to this loss and began to see #uzitarchive hashtags when someone posted a piece of his work. As we see, the graffiti community has found their own repositories of choice thru self-publishing and online public platforms. Should we wait until something like this comes to us or find ways to diversify the American record by including it?
Something that recently surprised me was the presence of graffiti on Google Street View; this is a screen shot of a building on Google Street View next to my own taken this year. I don’t know what can be done with this, but I’m putting it out there as an experimental way to look at graffiti and local communities.
But, despite the public accessibility of graffiti and street art, and it’s seeming lack of ownership, it has a legitimate place in the economy and claim by it’s community. We cannot ignore issues of copyright and trademark.
Collection development has to be strategic and well planned using a documentation strategy. That means targeted documentation of a specific community like the Downtown Collection at Fales Library at NYU or the Cornell Hip Hop Collection, or archivist-as-activist creating a collection like the NOLA Hip Hop and Bounce Digital Collection at Tulane University. But graffiti is a lot more than it’s connection to hip hop, target (with permission, as needed) websites (front and back end), social media accounts, hashtags, other media sharing sites like Flickr, photographers, artists, gallery owners and enthusiasts. No one is going to drop this stuff off.
Don’t be scared to wrestle with certain fundamentals in archival practice, such as description. Creator, won’t know. Dates, probably won’t know. Provenance—nope, most likely it will be an artificial collection. Format—very diverse. Further description needed: alias, associations (ie, crew name), location of piece, type of piece (tag, stickers, throw-up), format and media used, date of documentation, name of person documenting, brief description of piece.
Maintaining a collection like this is no different than any other. It’s a hybrid collection, but digital curation will play a greater role.