View allAll Photos Tagged Definition
Camille Pissarro (French, 1830 - 1903 ),
Landscape, Ile-de-France, 1873, oil on canvas,
Collection of Mr. and Mrs. Paul Mellon 2014.18.40
Washington National Gallery of Art
in⋅fant
[in-fuhnt]
–noun
1. a child during the earliest period of its life, esp. before he or she can walk; baby.
2. Law. a person who is not of full age, esp. one who has not reached the age of 18 years; a minor.
3. a beginner, as in experience or learning; novice: The new candidate is a political infant.
4. anything in the first stage of existence or progress.
–adjective
5. of or pertaining to infants or infancy: infant years.
6. being in infancy: an infant king.
7. being in the earliest stage: an infant industry.
8. of or pertaining to the legal state of infancy; minor.
Origin:
1350–1400; < L infant- (s. of infāns) small child, lit., one unable to speak, equiv. to in- in- 3 + -fāns, prp. of fārī to speak; r. ME enfaunt < AF < L, as above
textures by lala martin.
(the first photo in my new Dictionary Project.
I pick a word at random and create something based on the word, no matter what it is. you can imagine how thrilled i was to pick "infant" first off. how lame. but i make do.)
( btw... you have no idea how hard this was without a pen mouse.)
I cannot look at this wonderful beastie without giggling.
The Basel Minster (German: Basler Münster) is one of the main landmarks and tourist attractions of the Swiss city of Basel. It adds definition to the cityscape with its red sandstone architecture and coloured roof tiles, its two slim towers and the cross-shaped intersection of the main roof. The Münster is listed as a heritage site of national significance.
Originally a Catholic cathedral and today a reformed Protestant church, it was built between 1019 and 1500 in Romanesque and Gothic styles. The late Romanesque building was destroyed by the 1356 Basel earthquake and rebuilt by Johannes Gmünd, who was at the same time employed for building the Freiburg Münster. This building was extended from 1421 by Ulrich von Ensingen, architect of the cathedral towers at Ulm and Strasbourg. The southern tower was completed in 1500 by Hans von Nußdorf.
Early structures
The hill on which the Minster is located today was already a building site in the late Celtic Era in first century BC. A pre-Roman rampart (Murus Gallicus) was uncovered during archeological excavations. Both gate constructions and the historical run of the street can be partly retraced. This road parted at today's position of the Minster where once assumedly was a small temple which later was replaced by a Roman fort.
The first bishop of Basel is claimed to be Justinianus 343-346 AC. The bishop's see was relocated from Kaiseraugst (Augusta Raurica) to Minster hill during the Early Middle Ages. According to the archeologist Hans Rudolf Sennhauser this transfer presumably took place at the beginning of the seventh Century under bishop Ragnacharius, a former monk of monastery Luxeuil. There is no historical evidence for (the existence) of a cathedral before the ninth century.
Second church structure - the Heinrich Münster
Built on the old foundations of the Haito Minster some time after the turn of the first millennium a new building in the early Romanesque style of the Ottonian period was built by order of Bishop Adalberto II (approx. 999 - 1025). Sometimes called “Adalberto Cathedral”, the three-nave cathedral is actually named after its patron Emperor Henry II, in German “Heinrich”. The cathedral is dedicated to Emperor Henry II and his wife Kunigunde. The bishop governed the city as representative of the Emperor who gained possession of Basel in 1006.
Excavations from 1973-1974 prove that the crypt of this building, consecrated in 1019, had not been expanded. At the end of the eleventh century a tower made of light-colored limestone and molasse was erected on the western side of the building. This historic structure remains forming the bottom part of the north tower (Georgsturm) today. Heinrich Minster did not possess a tower on the south side.
Third church structure - late Romanesque
The building as it stands today dates back for the most part to the late Romanesque building constructed in the last third of the 12th century and completed around 1225. On the foundations of the previous buildings a church with three naves and a transept was built. In the second half of the 13th century, probably after a fire in 1258, the western facade was completed, Georgsturm received a third story and the Martinsturm was started.[2]
Even though supported by massive pillars, an earthquake in 1356 destroyed five towers, the choir and various vaults. Johannes von Gmünd, who was also the architect of Freiburg Minster, rebuilt the damaged cathedral and in 1363 the main altar was consecrated. In 1421 Ulrich von Ensingen, who constructed the towers of the minsters in Ulm and Strasbourg, began the extension of the northern tower (Georgsturm).[3] This phase ended in 1429. The southern tower (Martinsturm) was completed by Hans von Nussdorf on 23 July 1500. This date marks the official architectural completion of the minster. In the 15th century the major and the minor cloisters were added. The minster served as a bishop’s see until 1529 during the Reformation. In the 19th century two major restorations took place. From 1852 until 1857 the rood screen was moved and the crypt on the western side was closed. In the 20th century the main aim of renovations has been to emphasize the late Romanesque architecture and to reverse some modifications made in the 1850s. Additionally, the floor was returned to its original level in 1975 and the crypt reopened. A workshop dedicated to taking care of the increasingly deteriorating sandstone exterior was set up in 1985.
Important historical events
Pope's Election at Basel Cathedral
In 1424, Pope Martin V informed Basel’s government that their city has been chosen to be the site of the next council. The main goal of the meetings held by Basel’s council between 1431 and 1449 was to implement a church reform. Following the orders of Pope Eugene IV, president of the council at that time, Cesarini, left Basel in 1438. One year later, on 24 July 1440, Felix V was elected as a counter pope at Basel’s Münsterplatz. The German Emperor, Frederick III, arranged for the dissolution of the council in Basel because Felix V could not prevail. After the closure of the pontifical university, citizens made an effort to establish a new university. The council’s secretary, Pope Pius II, made it possible to enact the papal bull and to open the Basel University as an independent university on 4 April 1460.
Destruction of religious paintings
Design for organ shutters for Basel Cathedral, by Hans Holbein the Younger, c. 1525–26. Holbein includes a view of the cathedral between its founders Cunigunde of Luxembourg and Henry II, Holy Roman Emperor.[4]
During the iconoclasm of the Protestant Reformation, many valuable pieces of art belonging to the city of Basel and the minster were destroyed in 1528 and 1529. Numerous citizens stormed many of the churches in Basel, some of them by armed force in order to demolish religious paintings and statues. Huldrych Zwingli, an influential church reformer, refused the worship of God in the form of pictures as idolatry.
A group of 40 armed men is said to have ascended to the minster from the crowded market place at approximately 1 pm on 9 February 1529. Then, they attacked the church, where a clumsy guild member tipped over an altarpiece with a halbeard which fell on the floor and broke apart. Afterwards they left the minster in order to get reinforcements. Then the chaplains locked the church. Two hundred loud and rowdy men assembled in front of the locked gates of the minster. Finally they forced their way in and smashed and destroyed crucifixes, images of the Virgin Mary and saints as well as altars in their frenzy. In the course of the afternoon the iconoclasm extended to other churches in Basel as well.
The impressive treasure of the minster could be saved and remained complete until the Canton of Basel was split into "half-cantons" in 1833.
Architecture
Georgsturm and Martinsturm
The main front which points at the west is bestrided by two towers. The northern tower is called Georgsturm (64.2 m) and the southern tower is called Martinsturm (62.7 m). The towers are named after Georg and Martin, saints of the knights. Copies of both saints are portrayed by corresponding equestrian sculptures next to the main entrance upon high pilasters below the particular towers. The statue of Holy Martin originated from the year 1340; today, the archetype can be found in the Klingentalmuseum. A mechanic clock and a sundial are located above the archetype. It is remarkable that the sundial of the *Basler Münster* shows the “wrong time” due to the *Basler Zeit*. Below the Georgsturm a monumental picture (1372) can be found which shows knight Georg fighting against a remarkably small dragon.
After a heavy earthquake in 1356 the *Münster* which originally had five steeples was reconstructed with only two steeples remaining. At the older Georgsturm the lower brighter part that has remained untouched can still be seen. In 1500 a gorgeous finial was put on top of the Martinsturm. By using the steep spiral stairs in the southern steeple it is possible to see the old church clock from 1883. The belfry is situated in between the two steeples which are connected through a gallery. Georgturm and Martinsturm can both be accessed by 242 stairs. From there you get an overwhelming view of the city of Basel and the foothills of the Black Forest and the Jura Mountains.
Both of the steeples consist of three lower, undivided storeys and several Freigeschosse. The two lower storeys are simple and block-like. The steeples’ upper storeys soar up the tracery gallery. As those were not constructed simultaneously, they differ slightly in their outer appearance. In contrast to the southern steeple, the octagonally cross-sectioned steeple and the steeple topping attach only over a rectangle storey at the northern steeple. Comparable to the *Freiburger Münster, lank Fialentürme* project at the corners of the octagons.
Main Porch
An empty column, which originally carried a statue of the Virgin Mary, is situated between the doors of the main porch. As it is typical of many other Gothic church porches, the tympanum above is likely to have depicted the Last Judgement. Both were destroyed during the Reformation Era (see: Iconoclasm). In contrast, the curvatures depicting prophets and kings, roses, dancing angels and Abraham have been preserved.
The benefactors Henry II and his wife, Empress Kunigunde, are portrayed left of the main porch. In the portrait the emperor, depicted as a surprisingly young and beardless man, is carrying a church model in his arms, which identifies him as the benefactor. Only after the renovation of the exterior (1880 – 1980), the empress was given a cross as another symbol of identification. Originally, she was carrying gloves.
On the right one can see the pictures of a seducer (“Prince of this World") and a misguided virgin.
While the virgin smiles and starts to undress, toads and snakes crawl in the back of the seducer. The image dates back to roughly 1280. The statues and brickwork of the cathedral consist of red sandstone which was found in Wiesental and Degerfelden.
Kyori models with a diorama piece I found on ebay Germany a few weeks ago, the high definition sofa :)
I really like how it is made, very detailed and true to the original design. It even comes with pillows and a carpet which is nice when you do not have a large fund of diorama pieces :)
And, I must mention how much I like this Kyori, especially when she wears pink ;) Se just photographs sooooo well!
Vintage Clothing Wallpaper High Definition
Vintage Clothing Wallpaper High Definition, 1600 x 904, 545.17 KB,
Black And Red Vintage Wallpaper High Definition
Black And Red Vintage Wallpaper High Definition, 1920 x 1080, 527.64 KB,
wallatar.com/black-and-red-vintage-wallpaper-high-definit...
Definition: “ a ledge projecting from the underside of a hinged seat in a choir stall which, when the seat is turned up gives support to someone standing”. Taken in Wakefield Cathedral. www.wakefieldcathedral.org.uk/
Definition:
1. the act or an instance of traveling from one place to another; trip
2. any course or passage from one stage or experience to another
Kyori models with a diorama piece I found on ebay Germany a few weeks ago, the high definition sofa :)
I really like how it is made, very detailed and true to the original design. It even comes with pillows and a carpet which is nice when you do not have a large fund of diorama pieces :)
And, I must mention how much I like this Kyori, especially when she wears pink ;) Se just photographs sooooo well!
This was in an Asian restaurant in Cuba. I was using the chopsticks.
The other side of the package had instructions for using them.
----------------------------------------
EDIT, Nov 2011: this picture seems to keep getting seen by people Googling "glonous." Since they probably wonder what "glonous" means, I'm giving my theory more clearly: it is a misreading by a type-setter of the (perhaps hand-written) word "glorious." The lower case R and I just fell together.
Definition boredom up in my classroom to be used every time there was a "I'm Bored" exclamation in the room!
of 'style'
rider: simon 'jimmy' pratt
trick: euro table
place: secret
believe it or not, but i was waiting 4years to meet with jimmy for a photosession...
all that wait was absolutely worth it!
published in dirt magazine #138
One definition of a Hot Rod was ‘a car that's been stripped down, souped up and made to go much faster.’ A lot of early Hot Rods were built from old Fords; Model Ts, Model As or Model Bs. Typical modifications were the removal of hoods, bumpers and fenders; chopping and channeling the body; and modifying the engine by tuning and/or replacing with a more powerful type.
Replacing the 1928-31 Model A was the Model B both with a 4 cylinder engine.. Introduced in 1932 was a V8 version, the 221 cu in Flathead V8 Model 18, built on the same platform, they shared body, chassis and trim. Again available in Standard or Deluxe and in a wide variety of body styles. The 3 window or Deluxe Coupe got rear hinged or 'suicide' doors
This 32 Coupe is a replica of the hotrod featured in the 1973 movie 'American Graffiti'
"The Brewers Association (BA)—the not-for-profit trade group representing small and independent craft brewers— released its annual lists of the top 50 producing craft brewing companies and overall brewing companies in the U.S., based on beer sales volume. Companies are ranked in order of volume produced or sold in the US (including imports). Of the top 50 overall brewing companies, 40 were small and independent craft brewing companies."
— [U.S.] Brewers Association
14 March 2018.
***************
☞ "Footnotes from brand lists are illustrative, and may not be exhaustive – ownership stakes reflect greater than 25% ownership:
(a) Anheuser-Busch, Inc includes 10 Barrel, Bass, Beck’s, Blue Point, Bud Light, Budweiser, Breckenridge, Busch, Devils Backbone, Elysian, Four Peaks, Golden Road, Goose Island, Karbach, King Cobra, Landshark, Michelob, Natural, Rolling Rock, Shock Top, Wicked Weed, Wild Series brands, and Ziegenbock brands. Does not include partially owned Coastal, Craft Brew Alliance, Fordham, Kona, Old Dominion, Omission, Red Hook, and Widmer Brothers brands.
(b) MillerCoors includes A.C. Golden, Batch 19, Blue Moon, Colorado Native, Coors, Hamms, Hop Valley, Icehouse, Keystone, Killian’s, Leinenkugel’s, Mickey’s, Milwaukee’s Best, Miller, Olde English, Revolver, Saint Archer, Steel Reserve, Tenth & Blake, and Terrapin brands.
(c) Constellation Brewing Co includes domestic brands Ballast Point, Funky Buddha, and Tocayo Brands; it also includes imported brands Corona, Modelo, Pacifico, and Victoria.
(d) Heineken Brewing Co includes domestic brand Lagunitas Brewing Co as well as imported brands Dos Equis and Tecate.
(e) Pabst Brewing Co includes Ballantine, Lone Star, Pabst, Pearl, Primo, Rainier, Schlitz, and Small Town brands.
(f) North American Breweries includes Dundee, Genesee, Labatt Lime, Mactarnahan’s, Magic Hat, Portland and Pyramid brands as well as import volume.
(g) Diageo Brewing Co includes both domestically produced and imported Guinness brands.
(h) Boston Beer Co includes Alchemy & Science and Sam Adams brands. Does not include Twisted Tea or Angry Orchard brands.
(i) New Belgium Brewing Co includes Magnolia Brewing Brands (partial year).
(j) Craft Brew Alliance includes Kona, Omission, Red Hook and Widmer Brothers brands.
(k) Duvel Moortgat includes Boulevard, Firestone Walker, and Ommegang brands.
(l) Gambrinus includes BridgePort, Shiner, and Trumer brands.
(m)Founders ownership stake by Mahou San Miguel.
(n) Bell’s Brewery, Inc includes Bell’s and Upper Hand brands.
(o) Sapporo USA includes Anchor Brewing Co (partial year), Sapporo, and Sleeman brands as well as export volume.
(p) CANarchy includes Cigar City, Oskar Blues Brewing Co, Perrin, and Utah Brewers Cooperative brands.
(q) Minhas Craft Brewery includes Huber, Mountain Crest, and Rhinelander brands as well as export volume.
(r) Artisanal Brewing Ventures includes Victory and Southern Tier brands.
(s) Matt Brewing Co includes Flying Bison, Saranac, and Utica Club brands.
(t) Stevens Point Brewery includes James Page and Point brands.
(u) August Schell Brewing Co includes Grain Belt and Schell’s brands.
(v) Shipyard Brewing Co includes Casco Bay, Sea Dog, and Shipyard brands.
(w) Long Trail Brewing Co includes Long Trail, Otter Creek, and The Shed brands."
***************
☞ "The Brewers Association (BA) is the not-for-profit trade association dedicated to small and independent American brewers, their beers and the community of brewing enthusiasts. The BA represents 4,000-plus U.S. breweries."
☞ "An American craft brewer is small, independent and traditional. Small: Annual production of 6 million barrels of beer or less (approximately 3 percent of U.S. annual sales). Beer production is attributed to the rules of alternating proprietorships. Independent: Less than 25 percent of the craft brewery is owned or controlled (or equivalent economic interest) by an alcoholic beverage industry member that is not itself a craft brewer. Traditional: A brewer that has a majority of its total beverage alcohol volume in beers whose flavor derives from traditional or innovative brewing ingredients and their fermentation. Flavored malt beverages (FMBs) are not considered beers."
***************
▶ Image uploaded by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on web: YoursForGoodFermentables.com.
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
Added today: Use the generic form if the brand is uncertain. Don't use verbs like tasered. Exception: When verb forms appear in direct quotations, use lowercase.
The image on Flickr is NOT "true" high dynamic range. The youtube video youtu.be/1dVNZY_p96w contains a still of this image in "true" HDR, which is not the same thing as photography's definition of HDR. (You need to view the YouTube video on an HDR TV/monitor in order to see the proper colors for the wide color gamut and contrast)
This YouTube video is unlike HDR in normal photography where wide colors and highlights are compressed into an SDR image, instead in true HDR the large ranges are kept.
This still image was created as a YouTube video due to many HDR TVs not supporting any HDR image formats but most smart TVs support YouTube with its HDR video content...
Raw DNG image from the camera to the processed HDR conversion was performed using DaVinci Resolve color grading software.
The R|Z568M Nixie Tube is a revival of an antique technology: rediscovered, hand crafted, and made brand new by Dalibor Farny. Previously, no one was making any nixie tubes and the process was becoming a lost art. Thankfully due to much interest by hobbyists and enthusiasts both with and without technical knowledge of high voltage electronics, the nixie tube has made a comeback due to it's beautiful aesthetics and the fun of learning the design of power electronics. One can be a teenager or even an adult with an interest and buy a premade kit, or one can be an expert at electronics and design their own clock circuit & power supply from scratch. That is the beauty of such a simple yet complex device. Nowadays most use micro-controllers to run such nixie tube clocks allowing for people to learn programming too and for more features to be packed into such displays.
The R|Z568M Nixie Tube is one of the largest known nixie tubes measuring in at a symbol height of 50 mm (2 inches) and a glass diameter of 50 mm (2 inches). The total height including the glass and the base is 125 mm (4.9 inches) and the total diameter is 53 mm (2.1 inches). This is a huge beast of a nixie tube: both suitably bright and large enough for someone like me to read it across their room without their glasses on. The pleasant orange glow of the neon dimly lights a small room at night in darkness. There is a beautiful halo of blue almost bordering on purple violet light around each lit digit. This is from the mercury vapors being excited by the high voltage which helps ignite the neon around the metal digits. The mercury allows the nixie tube to last a long life: over 20 years or 200.000 hours running 24/7. To see the manufacturing process watch it here: www.youtube.com/watch?v=wxL4ElboiuA Also visit Dalibor Farny's website (which is a work of art in and of itself with it's animated nixie tubes as you scroll to read): www.daliborfarny.com/
This nixie tube is being used in a single digit Nixie Tube clock and being run at just under 1 watt. It works by cycling through the tens place of the hours, then then ones place of the hours, then the tens place of the minutes, and finally the ones place of the minutes. There is a brief pause between the start and end of the cycle allowing you to tell which numbers are at the beginning. The use of the single digit nixie tube clock is twofold: mostly to save money (the R|Z568M costs €135.00 without shipping or taxes!) and because it allows for more thorough cycling through all the available digits within the bulb thereby reducing the risk of cathode poisoning. In a multiple digit nixie tube clock, the tens place for the hours only alternates between the numbers 0, 1, and 2 leading to much higher uneven wear and tear on the device.
This photo is in 3D parallel view. More Instructions for viewing 3D images: www.3dphoto.net/text/viewing/technique.html
Stereo Viewer for all my photos: jongames.com/stereophoto/
a starling at the back of the garden in poor light .stilltrying to get my head round how to get consistent shots from this baby ,but its falling into place
Have to break the seal to take the top off the first time (on the left). The torque arrow is inside the bottle on the right. Now a cross view of each side. That should be fun.
(from IMDB.com):
Kermit: You know what you are, Gonzo?
Gonzo: What?
Kermit: Distinct.
And that's the best definition of Haba, our Dachs... He's not just peculiar, he's distinct...
He's 12 now, so he was already pretty grown up when Panda came along. As any first-born, he lost all he had conquered so far. She was small, but spacious... and didn't care at all about his barking (that is... his rather loud barking).
Her "roominess" didn't matter, though... still doesn't... It didn't take long for him to fall for the Lady and take her under his short "wings"... He protects and cares for her non-stop. He licks her wounds, cleans her ears... and when he stops before she's had enough, he'll obey her nudging and finish the job.
At times he's a little irascible and we all carry our souvenirs from his sharp little teethy tantrums... But he's there and has been there for all of us... even if you're carrying a camera and taking unflattering pics such as this one... Now, what can I do... he's our Muppet... the one with the great faces...
And a last one by Gonzo...
Gonzo: Photography's an art. You gotta have the right film, you gotta have the right exposure, and you gotta scream just before they get the food to their mouth.
This picture gives the definitions of product, price, place, and promotion, which are the 4 P's of Marketing.
Vintage Backgrounds Tumblr High Definition
Vintage Backgrounds Tumblr High Definition, 1600 x 1000, 422.76 KB,
–noun
1. the act of defining or making definite, distinct, or clear.
2. the formal statement of the meaning or significance of a word, phrase, etc.
3. the condition of being definite, distinct, or clearly outlined.
4. Optics . sharpness of the image formed by an optical system.
Not trying to add gasoline to the acquisition fire (I support it), it's just a dictionary definition. I got my new "Shorter" Oxford English Dictionary today (yes, I'm excited) and was thinking of words to look up. This one came to mind, and I hadn't seen those definitions before.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.