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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.
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
The absence of emotional involvement.
"Coldness" shootme10times.com A Photography Project.
_
Model: Matías Vargas
Photo: Kamila Pinto Keith
De los doce molinos que coronan el Cerro Calderico, cuatro de ellos conservan la maquinaria en buenas condiciones: el Sancho, el Rucio, el Bolero y el Espartero.
Entre ellos, el más interesante, sin duda, es el Molino Sancho, que posee toda la maquinaria del siglo XVI en óptimo estado para su funcionamiento. De hecho, durantes la Fiesta de la Rosa del Azafrán -que se celebra el último fin de semana de octubre, el Sancho abre algunos de ventanillos, orienta sus aspas para poner en movimiento su enorme piedra, llamada Catalina, y realiza la Molienda de la Paz, un acto simbólico en el que participan diversas personalidades relevantes en el mundo de la cultura y la comunicación. Allí, una vez convertido el trigo en harina, se reparte en saquitos a los visitantes.
El resto de los molinos cuentan también con apodos de El Quijote, como Chispas, el Caballero del Verde Gabán, Mambrino, Clavileño, Alcancía, Cardeño, Mochilas y Vista Alegre.
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Twelve mills crown the hill Calderico (Consuegra), four of them kept the machinery in good condition: the Sancho, Rucio, Bolero and Espartero.
Among them, the most interesting is the Mill Sancho, who owns all the machinery of the sixteenth century in excellent condition for its operation. In fact, once a year, Sancho open some of scuttles, focuses its blades to set in motion the huge stone, called Catherine, and performs the grinding of the peace, a symbolic act involving various personalities in the world of culture and communication. There, once converted the wheat into flour, is distributed in bags to visitors.
The rest of the mills also have nicknames of Don Quixote, and Sparks, the Knight of the Green Coat, Mambrino, Clavileño, Alcancia, Mochilas (Backpacks) and Vista Alegre.
The Wigwam Motels, also known as the "Wigwam Villages," is a motel chain in the United States built during the 1930s and 1940s. The rooms are built in the form of tipis, mistakenly referred to as wigwams. It originally had seven different locations: two locations in Kentucky and one each in Alabama, Florida, Arizona, Louisiana, and California.
They are very distinctive historic landmarks. Two of the three surviving motels are located on historic U.S. Route 66: in Holbrook, Arizona, and in San Bernardino, California. All three of the surviving motels are listed on the National Register of Historic Places: the Wigwam Motel in Cave City, Kentucky, was listed in 1988 under the official designation of Wigwam Village #2; the Wigwam Motel in Arizona was listed as Wigwam Village #6 in 2002; and the Wigwam Motel in California was listed in 2012 as Wigwam Village #7.
Frank A. Redford developed the Village after adding tipi-shaped motel units around a museum-shop he had built to house his collection of Native American artifacts. He applied for a patent on the ornamental design of the buildings on December 17, 1935, and was granted Design Patent 98,617 on February 18, 1936. The original drawing includes the swastika, at the time a symbol associated with Native Americans or often worn as a good-luck charm.
Seven Wigwam Villages were built between 1933 and 1949.
Wigwam villages
Wigwam Village#1 in Horse Cave, Kentucky (1979)
The first Wigwam Village was built in 1933 by Frank A. Redford. It was located on the corner of US-31E and Hwy 218 in Horse Cave, Kentucky.
The central building and gas pumps are visible on undated postcards. Six more wigwams were built to be used as guest rooms.
Village #1 closed in 1935 when the nearby Wigwam Village #2 was opened, but operated under different names until it was eventually abandoned; it was razed in 1982.
Village #2: Cave City, Kentucky
Wigwam Village #2 was built in 1937 on U.S. Route 31W[6] in Cave City, Kentucky, close to Mammoth Cave National Park and a few miles south of the original Wigwam Village #1. The address is 601 North Dixie Hwy, Cave City, Kentucky. ( 37°08'43.0"N, 85°56'43.8"W )
It consists of 15 wigwams used as guest rooms that are arranged in a semicircle. In the center is a much bigger concrete and steel central structure that originally served as a restaurant, plus a common area with playground, recreation space, and pavilion. Each wigwam has a paved pad to accommodate one car. The restaurant is no longer in operation, but the motel is still open.
The diameter at the base of each tipi is 14 feet (4.3 m), and they are 32 feet (9.8 m) in height. Behind the main room of each unit is a small bathroom with sink, toilet, and shower. In 2008, the rooms contain the original restored hickory furniture and a window-mounted air conditioner. There are no telephones to maintain the original atmosphere of the motel, but the rooms do have cable TV and internet access.
Wigwam Village #2 is listed in the National Register of Historic Places. It achieved this status on March 16, 1988.
Village #3: New Orleans, Louisiana
This wigwam village was built in 1940, on U.S. Route 61 in Metairie, a suburb of New Orleans, Louisiana. It included a restaurant, cocktail bar, souvenir shop, and Esso service station. Village #3 went out of business in 1954, leaving little documentation behind.
Village #4: Orlando, Florida
Wigwam Village #4 was built in 1948, and was located at 700 S. Orange Blossom Trail. The builder, Jerry Kinsley, later served as mayor of Edgewood, Florida.
This relatively large wigwam village consisted of 27 guest rooms, each in a separate wigwam constructed to resemble a horseshoe shape, with four additional wigwams, likely housing offices and a restaurant. A pool was located in the middle of the lot. Village #4 claimed to be "Orlando's largest and finest Motel."
Village #4 was razed in 1974, and replaced with a Days Inn. The only part of the original design that survived was the swimming pool. An attempt to save some of the tipis by using a helicopter to airlift them to a YMCA Summer Camp failed, as they were too heavy to move. A 330-room Vacation Lodge now sits on the site.
Village #5: Bessemer, Alabama
The Wigwam Village #5 was built in 1940 in Bessemer, Alabama. It was located 4 miles (6.4 km) north of downtown Bessemer, on U.S. Route 11, and included 15 guest cabins, arranged in a semicircle around the restaurant, restrooms, and offices. Rather than the steel, lath, and plaster of Redford's original design, the Village #5 structures were made of steel, wood, and felt, then covered in canvas and treated with linseed oil.
Village #5 went out of business in 1964, and was demolished after falling into ruin, although the restaurant reportedly stood until 1970.
Village #6: Holbrook, Arizona
Arizona motel owner Chester E. Lewis built this Wigwam Village in 1950. It is located on the historic Route 66, at 811 West Hopi Drive in Holbrook, Arizona. Nearby places of interest include Petrified Forest National Park, Meteor Crater (Barringer Crater), and the Grand Canyon.
The plans for this motel were based on the original of Frank A. Redford. Lewis first became aware of the distinctive wigwam designs when passing through Cave City in 1938. He purchased the rights to Redford's design, as well as the right to use the name "Wigwam Village," in a novel royalty agreement: coin-operated radios would be installed in Lewis's Wigwam Village, and every dime inserted for 30 minutes of play would be sent to Redford as payment.
The motel is arranged as a square, with 15 concrete and steel wigwams on three sides and the main office on the fourth, flanked by two smaller sized wigwams; there was also originally a gas station on the complex. The individual units are called "wigwams," not "rooms" or "tepees" or "cabins." The units are numbered from 1 to 16, (there is no 13). The base diameter is 14 feet (4.3 m), with each unit 32 feet (9.8 m) in height. Behind the main room of each unit is a small bathroom with sink, toilet and shower. Current rooms contain the original restored hickory furniture, two double beds, satellite TV and a window-mounted air conditioner. In keeping with the authenticity of the restoration, there are no telephones or ice machine. Vintage restored automobiles from the 1960s and earlier are located throughout the parking area. Small green metal benches etched with the words "Wigwam Village #6" are scattered throughout the complex as well.
Lewis operated the motel until closing it in 1974 when Interstate 40 bypassed downtown Holbrook. Two years after his death in 1986, sons Clifton and Paul Lewis and daughter Elinor renovated the motel before reopening it in 1988.
The Lewis family continues to run and maintain Wigwam Village #6. Near the registration desk is a small room that contains much of Chester Lewis's memorabilia, including a collection of petrified wood.
Wigwam Village #6 has been listed in the National Register of Historic Places since May 2, 2002.
Village #7: Rialto/San Bernardino, California
Frank Redford built this complex for himself in 1947–49 and not as a franchise. The address of the motel is Rialto, California, but the motel is physically located in San Bernardino. It is on the boundary between the two cities on historic Route 66, with an address of 2728 East Foothill Boulevard, Rialto, California.
Unlike the one arch of wigwams in other surviving villages, Village #7 has a double row of wigwam guest rooms. They total 20 in number, as well as a base for what seems to be another never-completed wigwam in the back of the property. A central building is currently used as an office, with a lobby that is open 24 hours a day. There is also a swimming pool, a large grass front and palm trees surround the property.
The property had become very run down and rooms were rented by the hour, aggravated by a sign advertising "Do it in a Tee Pee" that is still on site in the back. The complex underwent renovation, for which the National Historic Route 66 Federation awarded the Cyrus Avery Award in 2005. Attention to detail was the main focus during renovation, as the wigwams lost their zigzag pattern.
Since 2012, the motel has been listed on the National Register of Historic Places.
The Tee Pee Motel in Wharton, Texas near Houston, which was built in 1942 by George and Toppie Belcher; George Belcher had the idea while on vacation in Wyoming. It is not of the same design nor heritage as the Wigwam Motels; each of the tipis at the Tee Pee Motel are of different shapes, and line up in a straight line. The Belchers sold the motel in 1955, and it had been in disrepair for decades. A man named Dan Ryan bought it in 1995, but subsequent attempts to locate him failed, and the taxes on the property weren't paid. Then, in July 2003, Bryon Woods, a diesel mechanic, won the Texas Lottery. At his wife's urging, Woods bought the property. Modern conveniences were added, and the Tee Pee Motel reopened for business in October 2006. In March 2012 the motel was the site of a large drugs seizure. It closed in 2017, due to flood damage from Hurricane Harvey.
Similar motels also stood in San Antonio, Port Neches, and Corsicana, Texas.
The motels and their imitators have been parodied many times. Rockstar's 2004 Grand Theft Auto: San Andreas game contains a Tee Pee Motel. In the 2006 Pixar film Cars, one of the characters Sally Carrera runs a "newly refurbished" neon-lit motel that is clearly inspired by Wigwam Village #6. The motel is called the Cozy Cone Motel, and each room is fashioned as a traffic cone.
In 2012 a digitally altered image of Wigwam Village #6 appeared in an advertisement for Microtel Inn and Suites.
Wigwam number 1 of the Holbrook, Arizona, Wigwam Village #6 was featured in the second episode of Oprah and Gayle's Big Adventures on The Oprah Winfrey Show.
Wigwam Village #6 is featured in the 1991 movie The Dark Wind, based on the 1982 Tony Hillerman novel of the same name.
Wigwam Village #7 is featured in Bobcat Goldthwait's 2011 black comedy film God Bless America. Joan Didion mentions #7 in her essay "Some Dreamers of the Golden Dream" in her book, Slouching Toward Bethlehem.
Arizona is a state in the Southwestern region of the United States. Arizona is part of the Four Corners region with Utah to the north, Colorado to the northeast, and New Mexico to the east; its other neighboring states are Nevada to the northwest, California to the west and the Mexican states of Sonora and Baja California to the south and southwest. It is the 6th-largest and the 14th-most-populous of the 50 states. Its capital and largest city is Phoenix.
Arizona is the 48th state and last of the contiguous states to be admitted to the Union, achieving statehood on February 14, 1912. Historically part of the territory of Alta California and Nuevo México in New Spain, it became part of independent Mexico in 1821. After being defeated in the Mexican–American War, Mexico ceded much of this territory to the United States in 1848, where the area became part of the territory of New Mexico. The southernmost portion of the state was acquired in 1853 through the Gadsden Purchase.
Southern Arizona is known for its desert climate, with very hot summers and mild winters. Northern Arizona features forests of pine, Douglas fir, and spruce trees; the Colorado Plateau; mountain ranges (such as the San Francisco Mountains); as well as large, deep canyons, with much more moderate summer temperatures and significant winter snowfalls. There are ski resorts in the areas of Flagstaff, Sunrise, and Tucson. In addition to the internationally known Grand Canyon National Park, which is one of the world's seven natural wonders, there are several national forests, national parks, and national monuments.
Arizona's population and economy have grown dramatically since the 1950s because of inward migration, and the state is now a major hub of the Sun Belt. Cities such as Phoenix and Tucson have developed large, sprawling suburban areas. Many large companies, such as PetSmart and Circle K, have headquarters in the state, and Arizona is home to major universities, including the University of Arizona and Arizona State University. The state is known for a history of conservative politicians such as Barry Goldwater and John McCain, though it has become a swing state since the 1990s.
Arizona is home to a diverse population. About one-quarter of the state is made up of Indian reservations that serve as the home of 27 federally recognized Native American tribes, including the Navajo Nation, the largest in the state and the United States, with more than 300,000 citizens. Since the 1980s, the proportion of Hispanics in the state's population has grown significantly owing to migration from Mexico. A substantial portion of the population are followers of the Roman Catholic Church and the Church of Jesus Christ of Latter-day Saints.
The history of Arizona encompasses the Paleo-Indian, Archaic, Post-Archaic, Spanish, Mexican, and American periods. About 10,000 to 12,000 years ago, Paleo-Indians settled in what is now Arizona. A few thousand years ago, the Ancestral Puebloan, the Hohokam, the Mogollon and the Sinagua cultures inhabited the state. However, all of these civilizations mysteriously disappeared from the region in the 15th and 16th centuries. Today, countless ancient ruins can be found in Arizona. Arizona was part of the state of Sonora, Mexico from 1822, but the settled population was small. In 1848, under the terms of the Mexican Cession the United States took possession of Arizona above the Gila River after the Mexican War, and became part of the Territory of New Mexico. By means of the Gadsden Purchase, the United States secured the northern part of the state of Sonora, which is now Arizona south of the Gila River in 1854.
In 1863, Arizona was split off from the Territory of New Mexico to form the Arizona Territory. The remoteness of the region was eased by the arrival of railroads in 1880. Arizona became a state in 1912 but was primarily rural with an economy based on cattle, cotton, citrus, and copper. Dramatic growth came after 1945, as retirees and young families who appreciated the warm weather and low costs emigrated from the Northeast and Midwest.
In the Mexican–American War, the garrison commander avoided conflict with Lieutenant Colonel Cooke and the Mormon Battalion, withdrawing while the Americans marched through the town on their way to California. In the Treaty of Guadalupe Hidalgo (1848), Mexico ceded to the U.S. the northern 70% of modern-day Arizona above the Sonora border along the Gila River. During the California Gold Rush, an upwards of 50,000 people traveled through on the Southern Emigrant Trail pioneered by Cooke, to reach the gold fields in 1849. The Pima Villages often sold fresh food and provided relief to distressed travelers among this throng and to others in subsequent years.
Paleo-Indians settled what is now Arizona around 10,000 to 12,000 years ago. According to most archaeologists, the Paleo-Indians initially followed herds of big game—megafauna such as mammoths, mastodons, and bison—into North America. The traveling groups also collected and utilized a wide variety of smaller game animals, fish, and a wide variety of plants. These people were likely characterized by highly mobile bands of approximately 20 or 50 members of an extended family, moving from place to place as resources were depleted and additional supplies needed. Paleoindian groups were efficient hunters and created and carried a variety of tools, some highly specialized, for hunting, butchering and hide processing. These paleolithic people utilized the environment that they lived in near water sources, including rivers, swamps and marshes, which had an abundance of fish, and drew birds and game animals. Big game, including bison, mammoths and ground sloths, also were attracted to these water sources. At the latest by 9500 BCE, bands of hunters wandered as far south as Arizona, where they found a desert grassland and hunted mule deer, antelope and other small mammals.
As populations of larger game began to diminish, possibly as a result of intense hunting and rapid environmental changes, Late Paleoindian groups would come to rely more on other facets of their subsistence pattern, including increased hunting of bison, mule deer and antelope. Nets and the atlatl to hunt water fowl, ducks, small animals and antelope. Hunting was especially important in winter and spring months when plant foods were scarce.
The Archaic time frame is defined culturally as a transition from a hunting/gathering lifestyle to one involving agriculture and permanent, if only seasonally occupied, settlements. In the Southwest, the Archaic is generally dated from 8000 years ago to approximately 1800 to 2000 years ago. During this time the people of the southwest developed a variety of subsistence strategies, all using their own specific techniques. The nutritive value of weed and grass seeds was discovered and flat rocks were used to grind flour to produce gruels and breads. This use of grinding slabs in about 7500 BCE marks the beginning of the Archaic tradition. Small bands of people traveled throughout the area, gathering plants such as cactus fruits, mesquite beans, acorns, and pine nuts and annually establishing camps at collection points.
Late in the Archaic Period, corn, probably introduced into the region from central Mexico, was planted near camps with permanent water access. Distinct types of corn have been identified in the more well-watered highlands and the desert areas, which may imply local mutation or successive introduction of differing species. Emerging domesticated crops also included beans and squash.
About 3,500 years ago, climate change led to changing patterns in water sources, leading to a dramatically decreased population. However, family-based groups took shelter in south facing caves and rock overhangs within canyon walls. Occasionally, these people lived in small semisedentary hamlets in open areas. Evidence of significant occupation has been found in the northern part of Arizona.
In the Post-Archaic period, the Ancestral Puebloan, the Hohokam, the Mogollon and Sinagua cultures inhabited what is now Arizona. These cultures built structures made out of stone. Some of the structures that these cultures built are called pueblos. Pueblos are monumental structures that housed dozens to thousands of people. In some Ancestral Puebloan towns and villages, Hohokam towns and villages, Mogollon towns and villages, and Sinagua towns and villages, the pueblo housed the entire town. Surrounding the pueblos were often farms where farmers would plant and harvest crops to feed the community. Sometimes, pueblos and other buildings were built in caves in cliffs.
The Ancestral Puebloans were an ancient Pre-Columbian Native American civilization that spanned the present-day Four Corners region of the United States, comprising southeastern Utah, northeastern Arizona, northwestern New Mexico, and southwestern Colorado. The Ancestral Puebloans are believed to have developed, at least in part, from the Oshara tradition, who developed from the Picosa culture.
They lived in a range of structures that included small family pit houses, larger structures to house clans, grand pueblos, and cliff-sited dwellings for defense. The Ancestral Puebloans possessed a complex network that stretched across the Colorado Plateau linking hundreds of communities and population centers. They held a distinct knowledge of celestial sciences that found form in their architecture. The kiva, a congregational space that was used chiefly for ceremonial purposes, was an integral part of this ancient people's community structure. Some of their most impressive structures were built in what is now Arizona.
Hohokam was a Pre-Columbian culture in the North American Southwest in what is now part of Arizona, United States, and Sonora, Mexico. Hohokam practiced a specific culture, sometimes referred to as Hohokam culture, which has been distinguished by archeologists. People who practiced the culture can be called Hohokam as well, but more often, they are distinguished as Hohokam people to avoid confusion.
Most archaeologists agree that the Hohokam culture existed between c. 300 and c. 1450 CE, but cultural precursors may have been in the area as early as 300 BC. Whether Hohokam culture was unified politically remains under controversy. Hohokam culture may have just given unrelated neighboring communities common ground to help them to work together to survive their harsh desert environment.
The Mogollon culture was an ancient Pre-Columbian culture of Native American peoples from Southern New Mexico and Arizona, Northern Sonora and Chihuahua, and Western Texas. The northern part of this region is Oasisamerica, while the southern span of the Mogollon culture is known as Aridoamerica.
The Mogollon culture was one of the major prehistoric Southwestern cultural divisions of the Southwestern United States and Northern Mexico. The culture flourished from c. 200 CE, to c. 1450 CE or 1540 CE, when the Spanish arrived.
The Sinagua culture was a Pre-Columbian culture that occupied a large area in central Arizona from the Little Colorado River, near Flagstaff, to the Verde River, near Sedona, including the Verde Valley, area around San Francisco Mountain, and significant portions of the Mogollon Rim country, between approximately 500 CE and 1425 CE. Besides ceremonial kivas, their pueblos had large "community rooms" and some featured ballcourts and walled courtyards, similar to those of the Hohokam culture. Since fully developed Sinagua sites emerged in central Arizona around 500 CE, it is believed they migrated from east-central Arizona, possibly emerging from the Mogollon culture.
The history of Arizona as recorded by Europeans began in 1539 with the first documented exploration of the area by Marcos de Niza, early work expanded the following year when Francisco Vásquez de Coronado entered the area as well.
The Spanish established a few missions in southern Arizona in the 1680s by Father Eusebio Francisco Kino along the Santa Cruz River, in what was then the Pimería Alta region of Sonora. The Spanish also established presidios in Tubac and Tucson in 1752 and 1775. The area north of the Gila River was governed by the Province of Las California under the Spanish until 1804, when the Californian portion of Arizona became part of Alta California under the Spanish and Mexican governments.
In 1849, the California Gold Rush led as many as 50,000 miners to travel across the region, leading to a boom in Arizona's population. In 1850, Arizona and New Mexico formed the New Mexico Territory.
In 1853, President Franklin Pierce sent James Gadsden to Mexico City to negotiate with Santa Anna, and the United States bought the remaining southern strip area of Arizona and New Mexico in the Gadsden Purchase. A treaty was signed in Mexico in December 1853, and then, with modifications, approved by the US Senate in June 1854, setting the southern boundary of Arizona and of New Mexico.
Before 1846 the Apache raiders expelled most Mexican ranchers. One result was that large herds of wild cattle roamed southeastern Arizona. By 1850, the herds were gone, killed by Apaches, American sportsmen, contract hunting for the towns of Fronteras and Santa Cruz, and roundups to sell to hungry Mexican War soldiers, and forty-niners en route to California.
During the Civil War, on March 16, 1861, citizens in southern New Mexico Territory around Mesilla (now in New Mexico) and Tucson invited take-over by the Confederacy. They especially wanted restoration of mail service. These secessionists hoped that a Confederate Territory of Arizona (CSA) would take control, but in March 1862, Union troops from California captured the Confederate Territory of Arizona and returned it to the New Mexico Territory.
The Battle of Picacho Pass, April 15, 1862, was a battle of the Civil War fought in the CSA and one of many battles to occur in Arizona during the war among three sides—Apaches, Confederates and Union forces. In 1863, the U.S. split up New Mexico along a north–south line to create the Arizona Territory. The first government officials to arrive established the territory capital in Prescott in 1864. The capital was later moved to Tucson, back to Prescott, and then to its final location in Phoenix in a series of controversial moves as different regions of the territory gained and lost political influence with the growth and development of the territory.
In the late 19th century the Army built a series of forts to encourage the Natives to stay in their territory and to act as a buffer from the settlers. The first was Fort Defiance. It was established on September 18, 1851, by Col. Edwin V. Sumner to create a military presence in Diné bikéyah (Navajo territory). Sumner broke up the fort at Santa Fe for this purpose, creating the first military post in what is now Arizona. He left Major Electus Backus in charge. Small skirmishes were common between raiding Navajo and counter raiding citizens. In April 1860 one thousand Navajo warriors under Manuelito attacked the fort and were beaten off.
The fort was abandoned at the start of the Civil War but was reoccupied in 1863 by Colonel Kit Carson and the 1st New Mexico Infantry. Carson was tasked by Brigadier-General James H. Carleton, Commander of the Federal District of New Mexico, to kill Navajo men, destroy crops, wells, houses and livestock. These tactics forced 9000 Navajos to take the Long Walk to a reservation at Bosque Redondo, New Mexico. The Bosque was a complete failure. In 1868 the Navajo signed another treaty and were allowed to go back to part of their former territory. The returning Navajo were restocked with sheep and other livestock. Fort Defiance was the agency for the new Navajo reservation until 1936; today it provides medical services to the region.
Fort Apache was built on the Fort Apache Indian Reservation by soldiers from the 1st Cavalry and 21st Infantry in 1870. Only one small battle took place, in September 1881, with three soldiers wounded. When the reservation Indians were granted U.S. citizenship in 1924, the fort was permanently closed down. Fort Huachuca, east of Tucson, was founded in 1877 as the base for operations against Apaches and raiders from Mexico. From 1913 to 1933 the fort was the base for the "Buffalo Soldiers" of the 10th Cavalry Regiment. During World War II, the fort expanded to 25,000 soldiers, mostly in segregated all-black units. Today the fort remains in operation and houses the U.S. Army Intelligence Center and the U.S. Army Network.
The Pueblos in Arizona were relatively peaceful through the Navajo and Apache Wars. However, in June 1891, the army had to bring in troops to stop Oraibi from preventing a school from being built on their mesa.
After the Civil War, Texans brought large-scale ranching to southern Arizona. They introduced their proven range methods to the new grass country. Texas rustlers also came, and brought lawlessness. Inexperienced ranchers brought poor management, resulting in overstocking, and introduced destructive diseases. Local cattleman organizations were formed to handle these problems. The Territory experienced a cattle boom in 1873–91, as the herds were expanded from 40,000 to 1.5 million head. However, the drought of 1891–93 killed off over half the cattle and produced severe overgrazing. Efforts to restore the rangeland between 1905 and 1934 had limited success, but ranching continued on a smaller scale.
Arizona's last major drought occurred during Dust Bowl years of 1933–34. This time Washington stepped in as the Agricultural Adjustment Administration spent $100 million to buy up the starving cattle. The Taylor Grazing Act placed federal and state agencies in control of livestock numbers on public lands. Most of the land in Arizona is owned by the federal government which leased grazing land to ranchers at low cost. Ranchers invested heavily in blooded stock and equipment. James Wilson states that after 1950, higher fees and restrictions in the name of land conservation caused a sizable reduction in available grazing land. The ranchers had installed three-fifths of the fences, dikes, diversion dams, cattleguards, and other improvements, but the new rules reduced the value of that investment. In the end, Wilson believes, sportsmen and environmentalists maintained a political advantage by denouncing the ranchers as political corrupted land-grabbers who exploited the publicly owned natural resources.
On February 23, 1883, United Verde Copper Company was incorporated under New York law. The small mining camp next to the mine was given a proper name, 'Jerome.' The town was named after the family which had invested a large amount of capital. In 1885 Lewis Williams opened a copper smelter in Bisbee and the copper boom began, as the nation turned to copper wires for electricity. The arrival of railroads in the 1880s made mining even more profitable, and national corporations bought control of the mines and invested in new equipment. Mining operations flourished in numerous boom towns, such as Bisbee, Jerome, Douglas, Ajo and Miami.
Arizona's "wild west" reputation was well deserved. Tombstone was a notorious mining town that flourished longer than most, from 1877 to 1929. Silver was discovered in 1877, and by 1881 the town had a population of over 10,000. Western story tellers and Hollywood film makers made as much money in Tombstone as anyone, thanks to the arrival of Wyatt Earp and his brothers in 1879. They bought shares in the Vizina mine, water rights, and gambling concessions, but Virgil, Morgan and Wyatt were soon appointed as federal and local marshals. They killed three outlaws in the Gunfight at the O.K. Corral, the most famous gunfight of the Old West.
In the aftermath, Virgil Earp was maimed in an ambush and Morgan Earp was assassinated while playing billiards. Walter Noble Burns's novel Tombstone (1927) made Earp famous. Hollywood celebrated Earp's Tombstone days with John Ford's My Darling Clementine (1946), John Sturges's Gunfight at the O.K. Corral (1957) and Hour of the Gun (1967), Frank Perry's Doc (1971), George Cosmatos's Tombstone (1993), and Lawrence Kasdan's Wyatt Earp (1994). They solidified Earp's modern reputation as the Old West's deadliest gunman.
Jennie Bauters (1862–1905) operated brothels in the Territory from 1896 to 1905. She was an astute businesswoman with an eye for real estate appreciation, and a way with the town fathers of Jerome regarding taxes and restrictive ordinances. She was not always sitting pretty; her brothels were burned in a series of major fires that swept the business district; her girls were often drug addicts. As respectability closed in on her, in 1903 she relocated to the mining camp of Acme. In 1905, she was murdered by a man who had posed as her husband.
By 1869 Americans were reading John Wesley Powell's reports of his explorations of the Colorado River. In 1901, the Santa Fe Railroad reached Grand Canyon's South Rim. With railroad, restaurant and hotel entrepreneur Fred Harvey leading the way, large-scale tourism began that has never abated. The Grand Canyon has become an iconic symbol of the West and the nation as a whole.
The Chinese came to Arizona with the construction of the Southern Pacific Railroad in 1880. Tucson was the main railroad center and soon had a Chinatown with laundries for the general population and a rich mix of restaurants, groceries, and services for the residents. Chinese and Mexican merchants and farmers transcended racial differences to form 'guanxi,' which were relations of friendship and trust. Chinese leased land from Mexicans, operated grocery stores, and aided compatriots attempting to enter the United States from Mexico after the Mexican Revolution in 1910. Chinese merchants helped supply General John Pershing's army in its expedition against Pancho Villa. Successful Chinese in Tucson led a viable community based on social integration, friendship, and kinship.
In February 1903, U.S. Senator Hamilton Kean spoke against Arizona's statehood. He said Mormons who fled from Idaho to Mexico would return to the U.S. and mix in the politics of Arizona.
In 1912, Arizona almost entered the Union as part of New Mexico in a Republican plan to keep control of the U.S. Senate. The plan, while accepted by most in New Mexico, was rejected by most Arizonans. Progressives in Arizona favored inclusion in the state constitution of the initiative, referendum, recall, direct election of senators, woman suffrage, and other reforms. Most of these proposals were included in the constitution that was rejected by Congress.
A new constitution was offered with the problematic provisions removed. Congress then voted to approve statehood, and President Taft signed the statehood bill on February 14, 1912. State residents promptly put the provisions back in. Hispanics had little voice or power. Only one of the 53 delegates at the constitutional convention was Hispanic, and he refused to sign. In 1912 women gained suffrage in the state, eight years before the country as a whole.
Arizona's first Congressman was Carl Hayden (1877–1972). He was the son of a Yankee merchant who had moved to Tempe because he needed dry heat for his bad lungs. Carl attended Stanford University and moved up the political ladder as town councilman, county treasurer, and Maricopa County sheriff, where he nabbed Arizona's last train robbers. He also started building a coalition to develop the state's water resources, a lifelong interest. A liberal Democrat his entire career, Hayden was elected to Congress in 1912 and moved to the Senate in 1926.
Reelection followed every six years as he advanced toward the chairmanship of the powerful Appropriations Committee, which he reached in 1955. His only difficult campaign came in 1962, at age 85, when he defeated a young conservative. He retired in 1968 after a record 56 years in Congress. His great achievement was his 41-year battle to enact the Central Arizona Project that would provide water for future growth.
The Great Depression of 1929–39 hit Arizona hard. At first local, state and private relief efforts focused on charity, especially by the Community Chest and Organized Charities programs. Federal money started arriving with the Federal Emergency Relief Committee in 1930. Different agencies promoted aid to the unemployed, tuberculosis patients, transients, and illegal immigrants. The money ran out by 1931 or 1932, and conditions were bad until New Deal relief operations began on a large scale in 1933.
Construction programs were important, especially the Hoover Dam (originally called Boulder Dam), begun by President Herbert Hoover. It is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border with Nevada. It was constructed by the Federal Bureau of Reclamation between 1931 and 1936. It operationalized a schedule of water use set by the Colorado River Compact of 1922 that gave Arizona 19% of the river's water, with 25% to Nevada and the rest to California.
Construction of military bases in Arizona was a national priority because of the state's excellent flying weather and clear skies, large amounts of unoccupied land, good railroads, cheap labor, low taxes, and its proximity to California's aviation industry. Arizona was attractive to both the military and private firms and they stayed after the war.
Fort Huachuca became one of the largest nearly-all-black Army forts, with quarters for 1,300 officers and 24,000 enlisted soldiers. The 92nd and 93rd Infantry Divisions, composed of African-American troops, trained there.
During the war, Mexican-American community organizations were very active in patriotic efforts to support American troops abroad, and made efforts to support the war effort materially and to provide moral support for the American servicemen fighting the war, especially the Mexican-American servicemen from local communities. Some of the community projects were cooperative ventures in which members of both the Mexican-American and Anglo communities participated. Most efforts made in the Mexican-American community represented localized American home front activities that were separate from the activities of the Anglo community.
Mexican-American women organized to assist their servicemen and the war effort. An underlying goal of the Spanish-American Mothers and Wives Association was the reinforcement of the woman's role in Spanish-Mexican culture. The organization raised thousands of dollars, wrote letters, and joined in numerous celebrations of their culture and their support for Mexican-American servicemen. Membership reached over 300 during the war and eventually ended its existence in 1976.
Heavy government spending during World War II revitalized the Arizona economy, which was still based on copper mining, citrus and cotton crops and cattle ranching, with a growing tourist business.
Military installations peppered the state, such as Davis-Monthan Field in Tucson, the main training center for air force bomber pilots. Two relocation camps opened for Japanese and Japanese Americans brought in from the West Coast.
After World War II the population grew rapidly, increasing sevenfold between 1950 and 2000, from 700,000 to over 5 million. Most of the growth was in the Phoenix area, with Tucson a distant second. Urban growth doomed the state's citrus industry, as the groves were turned into housing developments.
The cost of water made growing cotton less profitable, and Arizona's production steadily declined. Manufacturing employment jumped from 49,000 in 1960 to 183,000 by 1985, with half the workers in well-paid positions. High-tech firms such as Motorola, Hughes Aircraft, Goodyear Aircraft, Honeywell, and IBM had offices in the Phoenix area. By 1959, Hughes Aircraft had built advanced missiles with 5,000 workers in Tucson.
Despite being a small state, Arizona produced several national leaders for both the Republican and Democratic parties. Two Republican Senators were presidential nominees: Barry Goldwater in 1964 and John McCain in 2008; both carried Arizona but lost the national election. Senator Ernest McFarland, a Democrat, was the Majority Leader of the U.S. Senate from 1951 to 1952, and Congressman John Rhodes was the Republican Minority Leader in the House from 1973 to 1981. Democrats Bruce Babbitt (Governor 1978–87) and Morris Udall (Congressman 1961–90) were contenders for their party's presidential nominations. In 1981 Sandra Day O'Connor became the first woman on the U.S. Supreme Court; she served until 2006.
Retirement communities
Warm winters and low cost of living attracted retirees from the so-called snowbelt, who moved permanently to Arizona after 1945, bringing their pensions, Social Security, and savings with them. Real estate entrepreneurs catered to them with new communities with amenities pitched to older people, and with few facilities for children. Typically they were gated communities with controlled access and had pools, recreation centers, and golf courses.
In 1954, two developers bought 320 acres (1.3 km2) of farmland near Phoenix and opened the nation's first planned community dedicated exclusively to retirees at Youngtown. In 1960, developer Del Webb, inspired by the amenities in Florida's trailer parks, added facilities for "active adults" in his new Sun City planned community near Phoenix. In 1962 Ross Cortese opened the first of his gated Leisure Worlds. Other developers copied the popular model, and by 2000 18% of the retirees in the state lived in such "lifestyle" communities.
The issues of the fragile natural environment, compounded by questions of water shortage and distribution, led to numerous debates. The debate crossed traditional lines, so that the leading conservative, Senator Barry Goldwater, was also keenly concerned. For example, Goldwater supported the controversial Colorado River Storage Project (CRSP). He wrote:
I feel very definitely that the [Nixon] administration is absolutely correct in cracking down on companies and corporations and municipalities that continue to pollute the nation's air and water. While I am a great believer in the free competitive enterprise system and all that it entails, I am an even stronger believer in the right of our people to live in a clean and pollution-free environment. To this end, it is my belief that when pollution is found, it should be halted at the source, even if this requires stringent government action against important segments of our national economy.
Water issues were central. Agriculture consumed 89% of the state's strictly limited water supply while generating only 3% of the state's income. The Groundwater Management Act of 1980, sponsored by Governor Bruce Babbitt, raised the price of water to farmers, while cities had to reach a "safe yield" so that the groundwater usage did not exceed natural replenishment. New housing developments had to prove they had enough water for the next hundred years. Desert foliage suitable for a dry region soon replaced grass.
Cotton acreage declined dramatically, freeing up land for suburban sprawl as well as releasing large amounts of water and ending the need for expensive specialized machinery. Cotton acreage plunged from 120,000 acres in 1997 to only 40,000 acres in 2005, even as the federal treasury gave the state's farmers over $678 million in cotton subsidies. Many farmers collect the subsidies but no longer grow cotton. About 80% of the state's cotton is exported to textile factories in China and (since the passage of NAFTA) to Mexico.
Super Bowl XXX was played in Tempe in 1996 and Super Bowl XLII was held in Glendale in 2008. Super Bowl XLIX was also held in Glendale in 2015.
Illegal immigration continued to be a prime concern within the state, and in April 2010, Arizona SB1070 was passed and signed into law by Governor Jan Brewer. The measure attracted national attention as the most thorough anti-illegal immigration measure in decades within the United States.
Congresswoman Gabrielle Giffords was shot in the head during a political event in Tucson on January 8, 2011. The shooting resulted in six deaths and several injuries. Giffords survived the attack and became an advocate for gun control.
On June 30, 2013, nineteen members of the Prescott Fire Department were killed fighting the Yarnell Hill Fire. The fatalities were members of the Granite Mountain Hotshots, a hotshot crew, of whom only one survived as he was working in another location.
Border crisis: by 2019 Arizona was one of the states most affected by the border crisis, with a high number of migrant crossings and detentions.
Watercolor and gouache on vellum.
Albrecht Dürer was a German painter, printmaker, mathematician, engraver, and theorist from Nuremberg. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Northern Renaissance ever since. His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. His woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavor than the rest of his work.His well-known works include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolors mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium.
Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.
A scene in Rowley station goods yard at Beamish Museum, involving a horse-drawn Pantechnicon in the livery of Edward Hoult and a War Department Ford Model T. [Pole, 3/6 sections (~4m)]
The horse-drawn Pantechnicon dates from 1890, and is similar to the type of vehicle used by Edward Hoult when he started his business in 1920. This vehicle was purchased in 1979 by Fred Hoult (then Hoults Group Managing Director) in London, and it was restored by the company's bodyshop in Newcastle, and subsequently donated to Beamish Museum.
The military vehicle is a Ford Model T, built in 1922 and imported from the USA (hence it has left-hand drive). At some point it had been fitted with a van body, and it was in this guise it arrived at Beamish. When it was due an overhaul, it was decided to convert it to a "Crewe Tractor". These were Ford Model T vehicles built at Trafford Park (Manchester) and adapted by the LNWR at Crewe Works in 1916-17 for use in northern France and Belgium. They could be converted, allegedly in an hour, from road vehicles to rail vehicles to run on the lightly-laid two-foot gauge trench tramways. They did, however, remain numbered as part of the War Department motor transport pool rather than joining the War Department Light Railway fleet. For more information, see the video at www.youtube.com/watch?v=VFhSNI0Cx4o.
Using the pole allowed more of the main station building to be visible, as well stop the crane on the goods dock growing out of the back of the black horse! Unfortunately, my preferred version of this view - with two re-enactors stood by the car rather than on the goods dock by the crane, and with the black NER warning sign between the gate post and the lamppost rather than behind the latter, had some normal visitors on the platform which were harder to remove than I'd hoped (although I have now done that satisfactorily, and will upload it in due course).
Taken during a Timeline Events / David Williams photo charter.
To see my non-transport pictures, visit www.flickr.com/photos/137275498@N03/.
Source: en.wikipedia.org/wiki/Hoover_Dam
Hoover Dam is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border between the U.S. states of Nevada and Arizona. Constructed between 1931 and 1936, during the Great Depression, it was dedicated on September 30, 1935, by President Franklin D. Roosevelt. Its construction was the result of a massive effort involving thousands of workers, and cost over 100 lives. In bills passed by Congress during its construction, it was referred to as the Hoover Dam, after President Herbert Hoover, but was named Boulder Dam by the Roosevelt administration. In 1947, the name Hoover Dam was restored by Congress.
Since about 1900, the Black Canyon and nearby Boulder Canyon had been investigated for their potential to support a dam that would control floods, provide irrigation water, and produce hydroelectric power. In 1928, Congress authorized the project. The winning bid to build the dam was submitted by a consortium named Six Companies, Inc., which began construction in early 1931. Such a large concrete structure had never been built before, and some of the techniques used were unproven. The torrid summer weather and lack of facilities near the site also presented difficulties. Nevertheless, Six Companies turned the dam over to the federal government on March 1, 1936, more than two years ahead of schedule.
Hoover Dam impounds Lake Mead and is located near Boulder City, Nevada, a municipality originally constructed for workers on the construction project, about 30 mi (48 km) southeast of Las Vegas, Nevada. The dam's generators provide power for public and private utilities in Nevada, Arizona, and California. Hoover Dam is a major tourist attraction, with 7 million tourists a year. The heavily traveled U.S. Route 93 (US 93) ran along the dam's crest until October 2010, when the Hoover Dam Bypass opened.
Source: hoover.archives.gov/hoovers/hoover-dam
85 years after its completion, Hoover dam is still considered an engineering marvel. It is named in honor of President Herbert Hoover, who played a crucial role in its creation.
For many years, residents of the American southwest sought to tame the unpredictable Colorado River. Disastrous floods during the early 1900’s led residents of the area to look to the federal government for aid, and experiments with irrigation on a limited scale had shown that this arid region could be transformed into fertile cropland, if only the river could be controlled. The greatest obstacle to the construction of such a dam was the allocation of water rights among the seven states comprising the Colorado River drainage basin. Meetings were held in 1918, 1919 and 1920, but the states could not reach a consensus.
Herbert Hoover had visited the Lower Colorado region in the years before World War I and was familiar with its problems and the potential for development. Upon becoming Secretary of Commerce in 1921, Hoover proposed the construction of a dam on the Colorado River. In addition to flood control and irrigation, it would provide a dependable supply of water for Los Angeles and Southern California. The project would be self-supporting, recovering its cost through the sale of hydroelectric power generated by the dam.
In 1921, the state legislatures of the Colorado River basin authorized commissioners to negotiate an interstate agreement. Congress authorized President Harding to appoint a representative for the federal government to serve as chair of the Colorado River Commission and on December 17, 1921, Harding appointed Hoover to that role.
When the commission assembled in Santa Fe in November 1922, the seven states still disagreed over the fair distribution of water. The upstream states feared that the downstream states, with their rapidly developing agricultural and power demands, would quickly preempt rights to the water by the “first in time, first in right” doctrine. Hoover suggested a compromise that the water be divided between the upper and lower basins without individual state quotas. The resulting Colorado River Compact was signed on November 24, 1922. It split the river basin into upper and lower halves with the states within each region deciding amongst themselves how the water would be allocated.
A series of bills calling for Federal funding to build the dam were introduced by Congressman Phil D. Swing and Senator Hiram W. Johnson between 1922 and 1928, all of which were rejected. The last Swing-Johnson bill, titled the Boulder Canyon Project Act, was largely written by Hoover and Secretary of the Interior Hubert Work. Congress finally agreed, and the bill was signed into law on December 21, 1928 by President Coolidge. The dream was about to become reality.
On June 25, 1929, less than four months after his inauguration, President Herbert Hoover signed a proclamation declaring the Colorado River Compact effective at last. Appropriations were approved and construction began in 1930. The dam was dedicated in 1935 and the hydroelectric generators went online in 1937. In 1947, Congress officially "restored" Hoover's name to the dam, after FDR's Secretary of the Interior tried to remove it. Hoover Dam was built for a cost of $49 million (approximately $1 billion adjusted for inflation). The power plant and generators cost an additional $71 million, more than the cost of the dam itself. The sale of electrical power generated by the dam paid back its construction cost, with interest, by 1987.
Today the Hoover Dam controls the flooding of the Colorado River, irrigates more than 1.5 million acres of land, and provides water to more than 16 million people. Lake Mead supports recreational activities and provides habitats to fish and wildlife. Power generated by the dam provides energy to power over 500,000 homes. The Hoover Compromise still governs how the water is shared.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "美国" "미국" "Estados Unidos" "États-Unis"
(Nevada) "نيفادا" "内华达州" "नेवादा" "ネバダ" "네바다" "Невада"
(Arizona) "أريزونا" "亚利桑那州" "एरिजोना" "アリゾナ州" "애리조나" "Аризона"
(Hoover Dam) "سد هوفر" "胡佛水坝" "हूवर बांध" "フーバーダム" "후버 댐" "Гувера" "Presa Hoover"
Paul drew himself giving his father his medication at home. Adults praised children's home-based involvement with TB medication. Paul's mother and father showed pride in Paul's attentiveness to his father's medicine.
**This drawing is part of the Children as Caregivers art gallery.
Learn more about the Children as Caregivers project in Jean Hunleth's book, Children as Caregivers: The Global Fight against Tuberculosis and HIV in Zambia.
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.
The heavy lift vessel Anne-Sofie is seen here discharging a 350 ton unit. The cargo was loaded in Taragonna and is destined for the Total refinery. It is part of a 1 billion investment by Total in the Antwerp refinery which is the second largest refinery in Europe. The total project will involve 5 ship loads that will be brought in over the ABES Terminal of which this is the first.
Type 176 Heavy lift vessel
Length over all : 159,80m
Beam : 24.34m
Maximum draught : 9,00m
Gross registered tonnage : 12950
Nett tonnage : 4647
Built : 2008 (april)
Yard : JJ Sietas KG
Gear : 2 cranes eacht 700 tons SWL, 1 crane 350 tons SWL
Hold (LWH) : 107,10m x 17,00m x 13,29m
Engine : MAN B&W 9L58/64
Power output : 12600 kW
The cargo is being loaded on a Goldhofer 4 file unit self propelled modular Transporter (SPT) to get it to a temporary storage further up the terminal.
Details Goldhofer SPT :
Length : loading deck 16,50m (+4,00m for the engine)
Width : 6,29m
Height : 1,175m(+/- 0,3m)
Carrying capacity : 61,4 ton per axle (x 8 axles)
Each axle had 55° steering
Legoland Windsor Resort, styled and also known as Legoland Windsor, is a theme park and resort in Windsor, Berkshire in England, themed around the Lego brand. The park opened on 17 March 1996 and is currently operated by Merlin Entertainments. The park's attractions consist of a mixture of Lego-themed rides, models, and building workshops targeted at children between three and twelve.
In 2019, the park had 2.43 million visitors, making it the most visited theme park in the United Kingdom. However, in 2020 the park had a very limited operating season due to the COVID-19 pandemic and limited capacity. As a result of this Legoland Windsor had a huge drop in attendance and was the fourth-most visited park in the UK in 2020. Overall, attendance has steadily risen since 2005. Legoland Windsor regularly draws more attendees than the original Legoland Billund Resort in Denmark; in 2011, it became the tenth-most popular theme park in Europe, a position it has held every year since. Legoland Windsor typically opens from March to January, with closures on some days.
History
In 1989, The Lego Group began research for the development of a second Legoland park after Legoland Billund with over 1000 sites considered. In January 1992, Windsor Safari Park went into receivership and the 150-acre (0.61 km2) site was chosen for the second development. Between 1992 and 1994, planning, design, site preparation and the design and construction of models began. New accommodations were created for the safari animals and services, foundations and infrastructures were installed at the park. In 1995, a scale replica of Big Ben was installed in Miniland whilst other buildings and attractions were becoming established. In September, advance bookings were opened for entrance tickets. Final installations were completed by the beginning of 1996 and at this point, the Legoland Windsor staff-base was recruited. Legoland Windsor opened on 17 March 1996. During its first season, the park attracted over 1.4 million visitors.
In April 2005, The Lego Group decided to sell Legoland parks following losses across the company. On 13 July 2005, Legoland was acquired by the Blackstone Group and control of the parks passed to Merlin Entertainments.
During the 2020 season, the resort closed on 20 March 2020 due to the COVID-19 pandemic. It reopened on 4 July 2020 following a lockdown in the UK. The resort remained open until 5 November when due to government guidance it was forced to close. It reopened for a shortened period over the Christmas period on 4 December 2020 however was again forced to close when the Royal Borough of Windsor and Maidenhead, where the resort is located, was placed in Tier 4 restrictions on 19 December 2020 under which theme parks could not open.
The resort announced in January 2021 that the resort would not hold its "Brick Week" event in February due to the continuing lockdown in England. It then was announced in February 2021 the resort would open on 12 April 2021 when lockdown restrictions in England allowed theme parks to open. However, it announced its indoor rides and attractions would open later in the year due to government guidelines.
In May 2021, the resort opened a new land titled Lego Mythica: World of Mythical Creatures which includes the United Kingdom's first flying theater ride, called Flight of the Sky Lion. Mythica is the first time a Legoland resort has launched a Lego intellectual property not first released as a Lego set. Also included in the land is a drop tower ride called Fire and Ice Freefall and the rebranded Hydra's Challenge previously known as S.Q.U.I.D Surfer. This land saw the Adventure Land name discontinued for this area of the resort.
In September 2022, the resort opened a new event titled Brick or Treat's Halloween Party. It included a 4D movie, The Great Monster Chase!, and ran until the end of the 2022 Halloween season.
On the 25th September 2023, the Viking River Splash river rapids ride permanently closed after 16 years of operation.
Areas
The park is split into 11 themed lands, incorporating various attractions, restaurants and shops: The Beginning, Duplo Valley, Knight's Kingdom, Lego City, Miniland, Lego Ninjago World, Pirate Shores, Heartlake City, Kingdom of the Pharaohs, Bricktopia, and Lego Mythica: World of Mythical Creatures.
The Beginning
The Beginning is the entrance area to the park. It is composed of a plaza area containing entrance turnstiles, ticket sales, and toilets and stretches to contain a small part of the resort at the bottom of the funicular railway. It has a view of the area surrounding the resort including the nearby town of Windsor, Heathrow Airport, and parts of London.
The main resort shop, The BIG Shop, is located at The Beginning and is the largest Lego store in the UK. Picsolve operates the Photo Shop, which sells photographs of visitors aboard rides and attractions in the resort.
Food and beverage outlets located at The Beginning include the Hill Top Cafe, a coffee outlet, and the Sweet Stop.
The only ride located in The Beginning is the Hill Train, a 3 ft 6 in (1,067 mm) narrow gauge funicular railway down a curved slope. It is the only ride or attraction to be retained from Windsor Safari Park, being refurbished when the park opened with stained glass windows made from translucent Lego bricks by local school children. It travels 300 metres (980 ft) between two stations, with a height difference between the top and bottom stations of approximately 27 metres (89 ft).
The Creation Centre opened at The Beginning in 2000. The building has housed a number of attractions since it has opened; the first main attraction it contained was Lego Racers in which customers created virtual Lego vehicles and raced them against others. The attraction suffered from reliability issues and closed at the end of 2004. It was revived in 2009 by members of the original team under the new name of Rocket Racers. Reliability issues remained and it closed at the end of the weekend of 8–9 October 2011. In 2012 the attraction space was repurposed for Star Wars Miniland which was based on the Star Wars franchise. Unlike Lego Racers and Rocket Racers, it was classed as a walkthrough attraction with no queue. In 2016, a large model of the Death Star was installed as the centrepiece of the attraction. Following the end of a licensing deal between Lucasfilm and Merlin Entertainments, the attraction closed on 31 December 2019.
The Creation Centre is also home to Legoland Windsor's model makers who display busts of famous figures as well as a view of their studio in a space on the second floor of the centre. On the ground floor of the centre is Apocalypseburg which was part of the Lego Movie 2 set.
Duplo Valley
Duplo Valley is a land aimed at smaller children based on the Duplo toy bricks, with the majority of rides being family rides. Since the resort's opening the land has rotated through a number of different names including Explore Land, Duplo Gardens, and Duplo Land.
At the beginning of the 2020 season, Duplo Valley was reopened following a refurbishment and the construction of a new ride, the Duplo Dino Coaster. The ride, originally planned to be called the Duplo Dream Coaster, became the resort's third rollercoaster after The Dragon and the Dragon's Apprentice. Aimed to be a "my first coaster" it saw a soft opening before the park's temporary closure due to the COVID-19 pandemic. It was designed by Mack Rides and manufactured by ART Engineering GmbH. Alongside the opening of the new ride was the re-theming of three rides and attractions: Duplo Express (previously Duplo Train), Duplo Airport (previously Duplo Valley Airport, Chopper Squadron, and Whirly Birds) and Duplo Playtown (previously Brickville). Also located in Duplo Valley is Fairy Tale Brook, a boat ride which takes visitors on a course containing models of fairy tale characters.
Duplo Valley is home to the resort's water park which consists of two separate rides and attractions: Drench Towers and Splash Safari. Drench Towers is a water splash area with multiple slides which was placed on land previously occupied by Mole-in-One Mini Golf. Splash Safari is a smaller splash area for toddlers which consists of water features made of Duplo models and is located below Drench Towers.
The Duplo Valley Theatre, a puppet theatre showing classic fairy tales, is located in the valley adjacent to Fairy Tale Brook. A family restaurant, Farmer's Joe Chicken Company, is located opposite the theatre.
Knights' Kingdom
Knight's' Kingdom (originally Castleland and previously NEXO Knight's Kingdom) features The Dragon roller coaster, which starts inside the castle themed station, passing Lego tableaux, before travelling outside reaching a speed of around 30 mph (48 km/h). Other rides in the land are the flat carousel ride Merlin's Challenge (previously known as Knight's Quest) and Dragon's Apprentice, a smaller rollercoaster acting as an alternative for shorter visitors not permitted to ride The Dragon.
In previous years, the land has assumed a role as Christmas Kingdom when open in the winter months and houses a grotto in the ride area of The Dragon.
Lego City
Lego City (formerly known as Traffic), is themed around transport. It features the Balloon School (a simulated hot air balloon ride), Coastguard HQ (a boat school ride for children), Fire Academy, L-Drivers (driving school for children aged 3–5) and City Driving School (driving school for children over 1.1 metres (3 ft 7 in). In 2019, a Vekoma "mad-house" attraction called Haunted House Monster Party was added to the area and in 2020, Atlantis Submarine Voyage by Sea Life (which features "submarine" vehicles used to travel through the tank) was rethemed to become Lego City Deep Sea Adventure.
Miniland
Miniland is a miniature park in Lego form, depicting towns and cities from around the world, using nearly 40 million Lego bricks. The area features a number of animated models interacting with each other. Motor vehicles use cables under the paths emitting radio wave signals to steer and allow charging when required. The train system runs on tracks, slowing for stations using slow-down bars, and the boats use underwater motor-driven rubber loops as well as sensors to operate bridges and locks. The system, with lights and sounds, is run by 14 computers using 300 kilometres (190 mi) of underground cabling.
The land is divided into different areas as they are depicted, including the UK and mainland Europe. In 2018, Miniland saw an expansion called "Explore the World" which added more Lego models of global sites including the Sydney Opera House, Forbidden Palace, and Saint Basil's Cathedral. The same year various site from the USA were added.
Lego Ninjago World
Lego Ninjago World opened in May 2017 based upon the Ninjago TV series. The centrepiece attraction is a 4D interactive ride, Ninjago: The Ride manufactured by Triotech. The zone features the relocated and rebranded ride Destiny's Bounty, a Rockin' Tug ride based on the ship in the TV series. The ride was previously known as Longboat Invader, and opened in 2008.
Pirate Shores
Pirate Shores features a log flume, Pirate Falls, a play area, a pirate ship ride named the Jolly Rocker and the Spinning Spider (a teacups-style ride where visitors ride in log-style gondolas as an animatronic Lego spider gnashes its jaws and breathes smoke on a web above).. From 1996 to 2010, this area was known as Wild Woods.
Heartlake City
Heartlake City (formerly Lego City until redecoration in 2015), based on the Lego Friends product range, includes two rides: The Legoland Express (a railway ride around Kingdom of the Pharaohs), and a Disk'O coaster called Mia's Riding Adventure. Return to Skeleton Bay (a pirate stunt show) and Lego Friends to the Rescue (a live music concert) take place around the harbour performed by the Lego Friends.
The Kingdom of the Pharaohs
The Kingdom of the Pharaohs contains Laser Raiders, an interactive dark ride through an Egyptian tomb where visitors shoot targets to gain points. Also in this area are Scarab Bouncers, Aero Nomad, Desert Chase, and Thunder Blazer. The latter three rides are fairground based attractions such as a carousel, a Ferris wheel and a chair-o-planes rides.
Bricktopia
Bricktopia (previously called Imagination and Imagination Centre) is an area themed around education through Lego. The centre piece is the Legoland Learning Academy (previously Lego Education Centre) which offers National Curriculum workshops. In 2019 the academy was awarded Best Venue for STEM Learning.
The only ride in Bricktopia is Sky Rider, which is an elevated track ride opened in March 1996 and refurbished between the 2001 and 2002 seasons.[50] The ride gives visitors views of Miniland.
Bricktopia includes Lego Studios 4D (previously known as the Imagination Theatre) which shows Lego-themed films. In the 2020 season, these were Lego City 4D – Officer in Pursuit, Lego Ninjago – Master of the 4th Dimension, and Lego Dreamzzz 4D - Z-Blob Rescue Rush.
In 2023, the Lego Reef was replaced with LEGO Ferrari Build and Race.
Lego Mythica: World of Mythical Creatures
Opening in 2021, Mythica is a land based where Adventure Land was previously located. The centrepiece is Flight of the Sky Lion, a flying theatre ride. Also in the land are two drop towers and the re-themed S.Q.U.I.D. Surfer ride known as Hydra's Challenge.
Annual attendance at Legoland Windsor
YearAttendanceRef
20051,400,000
20061,480,000
20071,650,000
20081,815,000
20091,900,000
20101,900,000
2011 1,900,000
20122,000,000
20132,050,000
20142,200,000
20152,250,000
20162,183,000
20172,200,000
20182,315,000
20192,430,000
Resort hotels
Legoland Windsor Resort currently has two hotels.
Legoland Hotel
The Legoland Hotel opened in March 2012. it is located at the back of the park, in the Adventure land section, on the old site of the Jungle Coaster. Visitors enter the hotel on the ground floor but enter the park on the second floor. The hotel is home to the Bricks Restaurant (a buffet) and the Skyline Bar, both on the second floor. The resort has featured various Lego themed rooms. Customers of the hotels have access to the pirate-themed indoor pool and fitness facility (located at the Legoland Hotel), a treasure hunt in each room, and access to select park attractions before the general public enters the park. The second floor includes a loft where Lego video games can be played on PlayStation 4 consoles. The ground floor features a Lego store and bins of bricks for building.
Castle Hotel
The Legoland Castle Hotel opened on 1 July 2017. The hotel was opened by competition winner James Waine who designed a model that was built by professional model makers and put outside the hotel. The hotel offers wizard- and knight-themed rooms. The hotel is only accessible from the park; visitors must check-in at the Legoland Hotel and travel through the hotel and the park to reach the Castle Hotel. The Castle Hotel is located next to the Legoland Hotel, and includes the Tournament Tavern restaurant.
Woodland Village
In Legoland Windsor's ten-year plan, the park expressed interest in building a holiday village of 450 lodges ranging from barrel-style glamping to large family lodges. This idea culminated in the Woodland Village. Opening on the 24th May 2024, will be "a haven to retreat to after a busy day at the Park". According to the official website, it will feature 150 lodges (much less than the planned 450), a Clubhouse with a restaurant, bar and live entertainment and the chance to become a LEGOLAND ranger. What the latter will involve is unknown at time of writing.
A visit to Coughton Court in Warwickshire, on the Spring Bank Holiday Weekend in late May 2018. A National Trust property, it was the home of the Throckmorton family.
Coughton Court is an English Tudor country house, situated on the main road between Studley and Alcester in Warwickshire. It is a Grade I listed building.
The house has a long crenelated façade directly facing the main road, at the centre of which is the Tudor Gatehouse, dating from 1530; this has hexagonal turrets and oriel windows in the English Renaissance style. The gatehouse is the oldest part of the house and is flanked by later wings, in the Strawberry Hill Gothic style, popularised by Horace Walpole.
The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family. Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London. The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King. Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon. Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton. In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr. The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.
After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Queen Elizabeth I. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth I of England, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.
The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.
The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.
The gatehouse at Coughton was built at the earliest in 1536, as it is built of stones which came from Bordesley Abbey and Evesham Abbey after the Dissolution of the Monasteries Act in 1536. As with other Tudor houses, it was built around a courtyard, with the gatehouse used for deliveries and coaches to travel through to the courtyard. The courtyard was closed on all four sides until 1651, when Parliamentary soldiers burnt the fourth (east) wing, along with many of the Throckmorton's family papers, during the English Civil War.
After the Roman Catholic Relief Act was passed in 1829, the Throckmorton family were able to afford large-scale building works, allowing them to remodel the west front.
Grade I Listed Building
Listing Text
COUGHTON
SP06SE
1/144 Coughton Court
10/02/56
GV I
Country house, Gatehouse late C15, and after 1518; early and late C16; late C17
additions; west front remodelled 1780; additions and remodelling of 1835(VCH).
Limestone ashlar gatehouse. Timber framed with lath and plaster infill; brick;
imitation stone render. Tile and lead roofs; brick stacks, U-plan, formerly
courtyard. 2 and 3 storeys; 13-window range. Entrance (west) front symmetrical.
3 storey central gatehouse range has moulded plinth and double string course.
Square ground floor with corner turrets. C19 Gothic panelled part-glazed
double-leaf doors in 4-centred moulded arch with square head, hood mould and
carved spandrels. Stone mullioned and transomed windows with arched lights
throughout. Upper floors of different coloured stone. 2-storey canted oriel with
flanking lights and glazed octagonal turrets; 2 transoms on first floor, one on
second. Shield of arms on each floor. Turrets continued up another floor'; left
turret unglazed. Remainder 2 storeys only. Single 5-light window with transom
and hood mould. Clasping buttresses with quatrefoil panels projecting above
roof. Crenellated parapets with string course throughout. Remainder of front of '
scored imitation ashlar with stucco hood moulds. Ground floor has leaded 2-light
casements, 3 slightly recessed bays have Gothick sashes and moulded surrounds on
first floor. Projecting end bays with clasping buttresses. First floor: leaded
cross windows. String course above first floor. Attic with quatrefoil panels,
some part glazed. String course and crenellated parapet. Right return side of
thin bricks. Two C17 shaped gables with stone coping. Left gable between 2
external brick stacks; right gable has ball finials. 5-window range, mostly C17
stone cross windows. Narrow gabled wing set back. High single-storey range with
early C20 window, and plaster eaves cove. East front of gatehouse has unglazed
turrets and inscription over entrance. Irregular ranges to courtyard. Timber
framed with brick ground floor. Corresponding small 4-centred door. Irregular
fenestration with moulded stone mullioned windows ground floor, wood mullions
and casements above; some with transoms. 2 storey south range has close studding
with middle rail. Left section breaks forward and has 4 framed gables with
brackets. Entrance in recessed bay below third gable has 4-centred moulded
doorway with square head, hood mould and carved spandrels. Paired 6-panelled
doors with Gothick overlight. Right section has 2 large gables, and another
behind and above in roof, with decorative panel framing. Elaborately carved
scrolled bargeboards with finials and openwork pendants. End wall has gable.
Ground floor has 2 stone cross windows with arched lights. Blocked arches above
and in centre. 2-storey and attic north range. Close studding. 3 large framed
gables and smaller end gable all with casements and brackets. Ground floor has
four 3-light mullioned and transomed windows. First floor projects on plaster
cove. Blank gabled end wall. Left return side: range of c.1690. Scored render
with quoins. 3 projecting bays with hipped roofs. 4-centred doorway. Slightly
projecting first floor. Irregular fenestration with wood mullioned and transomed
windows. Interior: Entrance Hall with plaster fan vault. Late C18 open well
cantilevered staircase with moulded soffit and simple handrail; Gothick
plasterwork cornice. Drawing Room has simple early Cl6 stone fireplace. Windows
with C16,C17 and C19 armorial glass. Gothick plasterwork cornice. 6-panelled
doors. Little Drawing Room has C18 style carved wooden fireplace. Newel
staircase to roof. Tower Room has moulded 4-centred fireplace with carved
spandrels and projecting top. Two 4-centred doorways. North east turret has 2
hiding places. Dining Room and Tribune have fine C16 panelling possibly with
later work, turned balusters, grotesques and medallions with heads. Fine marble
chimneypiece with paired Ionic and Corinthian columns, cartouche and coat of
arms, Saloon, formed 1910, has arcaded panelled screen c.1660 (VCH) to Tribune.
C16 double-flight staircase from Harvington hall with heavy turned balusters and
square newel posts with finials. Study has fine C17 panelling with pilasters.
Ground floor with broad-chamfered ceiling beams. North range has part of a fine
C16 panelled timber cieling with moulded ribs and carved bosses. Dog-leg
staircase with C17 turned balusters. The Throckmortons were Catholics, and were
deeply involved in the Throckmorton plot of 1583. In 1605 the wives of the
Gunpowder Plotters awaited news at Coughton. In 1688 the east wing was destroyed
by a Protestant mob, and was finally cleared away in 1780.
(V.C.H.: Warwickshire, Vol.III, pp.75-78; Buldings of England: Warwickshire,
pp.245-6; Coughton Court; The National Trust 1984).
Listing NGR: SP0831160624
This text is from the original listing, and may not necessarily reflect the current setting of the building.
View of the house from within the house.
The North Wing from The South Wing. Couldn't go into The North Wing as it was private.
this is not my work...I am just a photographer taking hdr pictures.
LEGAL DISCLAIMER: I Do Not Condone Any Acts Of Vandalism Nor Do I Participate In Such Criminal Activity. I Am Simply An Observant and Take Photos Of This Graffiti You Have Come Across. ALSO I Will Not Condone Any Usage Of My Photos To Support Any Legal Matter Involving These Acts Of Vandalism Therefore YOU ARE NOT WELCOME TO VIEW OR TAKE THIS MATERIAL For ANY Purpose...
After the events involving starbase Yorktown and the success of the USS Franklin, Starfleet recognized the need for smaller more maneuverable ships. As a result the Wasp class was created.
Ship grounding is a type of marine accident that involves the impact of a ship on seabed or waterway side. It may result in the damage of the submerged part of the ship’s hull and in particular the bottom structure, potentially leading to water ingress, which may compromise the ship's structural integrity, stability and finally safety. Severe grounding applies extreme loads onto ship structures. In less severe accidents, it might result only in damage to the hull; however, in most serious accidents, it might lead to hull breaches, cargo spills, total loss of the vessel, and, in the worst cases, human casualties.
From a global perspective, grounding accounts for about one-third of commercial ship accidents all over the world and it has the second rank in frequency, after ship–on–ship collision.
Grounding, depending on the maneuvers of the master before the impact, may result in the ship being stranded. Depending on the nature of the relief of the seabed at the location, i.e., being muddy or rocky, different measures have to be taken to release the ship and transport it to a safe harbor.
Investigating the causality of grounding accidents, there are many factors that are believed to contribute to the accident, such as current, darkness, tide, visibility, wave, wind,depth and geometry of the waterway; age, size and type of the vessel; speed, and human and organizational factors; However, the effects of most of the causal factors have been considered anecdotal, without evidential support.
Wirral Peninsular 2014
I really do like ’Suzanne Walking’ by Julian Opie.
Back in 2008 four of Opie’s animated figures - Sara, Julian, Jack and Suzanne – were displayed walking on O’Connell Street in the direction of Parnell Square where Sara danced outside the Gallery. While moving signs and images are familiar in all cities and towns these works, inspired by popular culture, went beyond the obvious with a compelling contemporary aesthetic.
Julian Opie is widely recognised as one of the pre-eminent artists working with public sculpture today. His images are elemental in appearance though amongst the most complex and sophisticated in contemporary art practice. His highly stylised work involves the reduction of photographs or short films into figurative reproductions. His unique portraiture is characterised by black outlines with flat areas of colour and details are reduced to his linear elemental style that captures the subject’s entire personality.
Mother Shipton's Cave (or "Old Mother Shipton's Cave") is at Knaresborough, North Yorkshire, England, near the River Nidd. Nearby is a petrifying well, also known as a dropping well. The latter is the oldest tourist attraction to charge a fee in England, and has been operated since 1630. The water of the well is so rich in sulphate and carbonate that artefacts may be put in the well to be "petrified" (encrusted) as a tourist attraction.
The place is associated with the legendary soothsayer and prophetess Mother Shipton (c. 1488–1561), born Ursula Southeil, and reportedly the wife of Toby Shipton. According to legend, she was born in the cave. The cave and dropping well, together with other attractions, remain open to visitors and are run privately by Mother Shipton's Cave Ltd.
Ursula Southeil (c. 1488 – 1561; also variously spelt as Ursula Southill, Ursula Soothtell or Ursula Sontheil), popularly known as Mother Shipton, was an English soothsayer and prophetess according to English folklore.
She has sometimes been described as a witch and is associated with folklore involving the origin of the Rollright Stones of Oxfordshire, reportedly a king and his men transformed to stone after failing her test. William Camden reported an account of this in a rhyming version in 1610.
The first known edition of her prophecies was printed in 1641, eighty years after her reported death. This timing suggests that what was published was a legendary or mythical account. It contained numerous mainly regional predictions and only two prophetic verses.
One of the most notable editions of her prophecies was published in 1684. It gave her birthplace as Knaresborough, Yorkshire, in a cave now known as Mother Shipton's Cave.[a] The book reputed Shipton to be hideously ugly, and that she had married Toby Shipton, a local carpenter, near York in 1512, and told fortunes and made predictions throughout her life.
Personal life
Mother Shipton was born Ursula Sontheil, in 1488 to 15-year-old Agatha Soothtale, allegedly in a cave outside the town of Knaresborough in North Yorkshire. The earliest sources of the legends of her birth and life were collected in 1667 by author and biographer Richard Head and later by J. Conyers in 1686.
Both sources—1667 and 1686—state that Shipton was born during a violent thunderstorm, and was deformed and ugly, born with a hunchback and bulging eyes. The sources also state that Shipton cackled instead of crying after having been born, and as she did so, the previously raging storms ceased.
The sources report Ursula's mother Agatha as a poor and desolate 15-year-old orphan, left with no means to support herself; having fallen under the influences of the Devil, Agatha engaged in an affair, resulting in the birth of Ursula. Variations of this legend claim Agatha herself was a witch and summoned the Devil to conceive a child.
The true origin of Ursula's father is unknown, with Agatha refusing to reveal him; at one point, Agatha was forcibly brought before the local magistrate, but still refused to disclose his identity. The scandalous nature of Agatha's life and Ursula's birth meant the two were ostracised from society and forced to live alone, in the same cave Ursula was born, for the first two years of Ursula's life. Rumours that Agatha was a witch and Ursula the spawn of Satan were perpetuated, due to the cave's well-known skull-shaped pool, which turned things to stone. The cave is known today as Mother Shipton's Cave; though the effects of the cave's pool are not those of true petrification, they closely resemble the process by which stalactites are formed, coating objects left in the cave with layers of minerals, and in essence hardening porous objects until they become hard and stone-like.
According to 17th-century sources, after two years living alone in the Forest of Knaresborough, the abbot of Beverley intervened. The abbot removed them from the cave and secured Agatha a place in the Convent of the order of St. Bridget in Nottinghamshire, and Ursula a foster family in Knaresborough. Agatha and Ursula would never see each other again.
Developed from contemporary descriptions and depictions of her, it is likely Ursula had a large crooked nose and suffered from a hunchback and crooked legs. Physical differences acted as a visual reminder of the secretive events of her birth and the townspeople never forgot. She found acceptance with her foster family and a few friends, but Ursula was ultimately ostracised from the larger portion of people in town. She found sanctuary in the woods like her mother had and spent most of her childhood learning of plants and herbs and their medicinal properties.
Legends of her childhood
It was claimed that when Ursula was two years old, she was left alone at home while her foster mother left to run errands. Her mother returned to find the front door wide open. Afraid of what might still be in the house, she called to her neighbours for assistance, and the group heard a loud wailing, like "a thousand cats in consort" throughout the house. Ursula's cradle was found empty. After a frantic search throughout the house, her mother looked up to see Ursula naked and cackling, perched on top of the iron bar where the pot hooks were fastened above the fireplace.
The source dating to 1686 tells of an event where the chief members of the parish were gathered together in a meeting. Ursula walked past the group running an errand for her mother, and the men stopped to mock her, calling out "hag face" and "The Devil's bastard". Ursula kept walking to continue her errands but as the men sat back down, the ruff on the neck of one of the principal yeomen transformed and a toilet seat clapped down around his neck. The man next to him began to laugh, and as he did the hat he was wearing was suddenly replaced with a chamber pot. The gathered members of the parish began to laugh loudly enough that the Master of the house came running to see what was happening; when he tried to run through the door, he found himself blocked by a large pair of horns that had grown suddenly from his head. The source reports that the strange occurrences reverted to normal shortly afterwards, and that the townspeople took them as a sign not to publicly mock Ursula.
Adulthood
As Ursula grew so did her knowledge of plants and herbs and she became an invaluable resource for the townspeople as a herbalist. The respect she earned from her work gave her the opportunity to expand her social circle and it was then she met the local carpenter Toby Shipton.
When Ursula was 24 years old she and Toby Shipton were married. From this point on Ursula adopted her husband's surname and became Mother Shipton. The people in town were shocked at their union and whispered of how he must have been bewitched to marry her.
About a month into her marriage a neighbour came to the door and asked for her help, saying she had left her door open and a thief had come in and stole a new smock and petticoat. Without hesitation Mother Shipton calmed her neighbour and said she knew exactly who stole the clothing and would retrieve it the next day. The next morning Mother Shipton and her neighbour went to the market cross. The woman who had stolen the clothing couldn't stop herself from putting the smock on over her clothes, the petticoat in her hand, and marching through town. When she arrived at the market cross she began dancing and danced straight for Mother Shipton and her neighbour all the while singing "I stole my Neighbours Smock and Coat, I am a Thief, and here I show't." When she reached Mother Shipton she took off the smock, handed it over, curtsied and left.
Two years later, in 1514, Toby Shipton died, and the town believed Ursula to have been responsible for his death. The grief of losing her husband and the harsh words of the town prompted Ursula Shipton to move into the woods, and the same cave she had been born in, for peace. Here she continued to create potions and herbal remedies for people. Mother Shipton's name slowly became more and more well known, and people would travel far distances to see her and receive potions and spells.
As her popularity grew she grew bolder and revealed she could see the future. She started by making small prophecies involving her town and the people within, and as her prophecies came true she began telling prophecies of the monarchy and the future of the world. In 1537 King Henry VIII wrote a letter to the Duke of Norfolk where he mentions a "witch of York", believed by some to be a reference to Shipton.
Prophecies
River Ouse
"Water shall come over Ouse Bridge, and a windmill shall be set upon a Tower, and a Elm Tree shall lie at every man's door".
The River Ouse was the river next to York, and Ouse Bridge was the bridge over the river. This prophecy meant nothing to the people of York until the town got a piped water system. The system brought water across Ouse Bridge in pipes to a windmill that drew up the water into the pipes. The pipes they used were made out of Elm trees and the pipes came to every man's door delivering water throughout the town.
"Before Ouse Bridge and Trinity Church meet, what is built in the day shall fall in the night, till the highest stone in the church be the lowest stone of the bridge."
Not long after Mother Shipton uttered this prophecy did a huge storm fall on York. During the storm the steeple on the top of Trinity Church fell and a portion of the Ouse Bridge was destroyed and swept away by the river. Later when making repairs to the bridge, pieces that had previously been the steeple of the church were used as the foundation of the new section of the bridge. Effectively making Trinity Church and the Ouse Bridge what was built in the day and fell in the night, and the steeple from Trinity Church, the highest stone, be the foundation of the bridge, the lowest stone of the bridge.
Prophecy of the end of times
The most famous claimed edition of Mother Shipton's prophecies foretells many modern events and phenomena. Widely quoted today as if it were the original, it contains over a hundred prophetic rhymed couplets. But the language is notably non-16th century. This edition includes the now-famous lines:
The world to an end shall come
In eighteen hundred and eighty one.
This version was not published until 1862. More than a decade later, its true author, Charles Hindley, admitted in print that he had created the manuscript.
This fictional prophecy was published over the years with different dates and in (or about) several countries. The booklet The Life and Prophecies of Ursula Sontheil better known as Mother Shipton (1920s, and repeatedly reprinted) predicted the world would end in 1991. (In the late 1970s, many news articles were published about Mother Shipton and her prophecy that the world would end—these accounts said it would occur in 1981.)
Technology
Among other well-known lines from Charles Hindley's fictional version (often quoted as if they were original) are:
A Carriage without a horse shall go;
Disaster fill the world with woe...
In water iron then shall float,
As easy as a wooden boat.
These lines hint at inventions not known in Shipton's time—but a reality in Hindley's—such as trains and iron ships, as well as at events such as wars and conflicts.
Historicity
Based on contemporary references to her and countless resources detailing the events of her life, historians believe Mother Shipton was a real woman, born in 1488 to an orphan fifteen-year-old girl named Agatha Soothtale in a cave in North Yorkshire outside of the town Knaresborough. Based on how every contemporary record of her from the time references her appearance, she probably suffered from a hunchback and a large crooked nose, although much else regarding her appearance is conjecture. She made potions, herbal remedies, cast spells and prophesied the future.
In a possible reference to her existence, in 1537 Yorkshire, while Catholic people were rebelling against the dissolution of Catholic monasteries, Henry VIII wrote a letter to the Duke of Norfolk where he refers to a "witch of York". It is believed that this letter is the earliest reference to the real Mother Shipton who would have been prophesying about Henry VIII at this time. In 1666 Samuel Pepys recorded in his diaries that, whilst surveying the damage to London caused by the 1666 Great Fire in the company of the Royal family, he heard them discuss Mother Shipton's prophecy of the event.
The earliest account of Mother Shipton's prophecies was published in 1641, eighty years after her death. The story goes that the document of Mother Shipton's life was recorded by a woman named Joanne Walker[10] who heard the story as a young girl and transcribed it as Mother Shipton spoke of her life. Mother Shipton never wrote anything down or published anything during her lifetime.
The cave where she lived is known as England's oldest tourist attraction and for hundreds of years people have trekked to see the cave where she was born. This cave's water has a mineral content so high anything placed in the pool will slowly be covered in layers of stone. Tourists will place items in the pool to later return and see it turned to stone. It is assumed that many of her prophecies were never written down, and many legends and prophecies accredited to her were created after her death to enhance the folk legend she had become.
Legacy
The figure of Mother Shipton accumulated considerable folklore and legendary status. Her name became associated with many tragic events and strange goings-on recorded in the UK, North America and Australia throughout the 17th, 18th and 19th centuries. Many fortune-tellers used her effigy and statue, presumably for purposes of association marketing. Many English pubs were named after her. Only two survive, one near her purported birthplace in Knaresborough and the other in Portsmouth. The latter has a statue of her above the door.
A caricature of Mother Shipton was used in early pantomime. Her appearance in pantomime was mentioned in a song from Yorkshire that was transcribed in the 18th century, and which reads (in part): "Of all the pretty pantomimes/ That have been seen or sung in rhimes,/Since famous Johnny Rich's times,/There's none like Mother Shipton."
The Mother Shipton moth (Callistege mi) is named after her. Each wing's pattern resembles a hag's head in profile.
A fundraising campaign was started in 2013 to raise £35,000 to erect a statue of Shipton in Knaresborough. Completed in October 2017, the statue sits on a bench in the town's Market Square close to a statue of John Metcalf, an 18th-century road engineer known as Blind Jack.
Mother Shipton is referred to in Daniel Defoe's A Journal of the Plague Year (1722), referring to the year 1665, when the bubonic plague erupted in London:
"These terrors and apprehensions of the people led them into a thousand weak, foolish, and wicked things, which they wanted not a sort of people really wicked to encourage them to: and this was running about to fortune-tellers, cunning-men, and astrologers to know their fortune, or, as it is vulgarly expressed, to have their fortunes told them, their nativities calculated, and the like... And this trade grew so open and so generally practised that it became common to have signs and inscriptions set up at doors: 'Here lives a fortune-teller', 'Here lives an astrologer', 'Here you may have your nativity calculated', and the like; and Friar Bacon's brazen-head, which was the usual sign of these people's dwellings, was to be seen almost in every street, or else the sign of Mother Shipton...."
Knaresborough is a market and spa town and civil parish on the River Nidd in North Yorkshire, England. It is three miles (five kilometres) east of Harrogate and was in the Borough of Harrogate until April 2023.
History
The Knaresborough Hoard, the largest hoard of Romano-British copper-alloy vessels discovered to date in Britain, dates to the 4th century and indicates wealthy Roman presence in the area. It was probably discovered near Farnham near where two important Roman roads ran: Cade’s Road on the eastern side and Dere Street to the west, a major route to York and Hadrian’s Wall. There were a number of wealthy Roman villas in the area and the hoard may have come from one of these.
Knaresborough is mentioned in the Domesday Book of 1086 as Chenaresburg, meaning "Cenheard's fortress", in the wapentake of Burghshire, renamed Claro Wapentake in the 12th century. Knaresborough Castle is Norman; around 1100, the town began to grow. It provided a market and attracted traders to service the castle. The parish church, St John's, was established around this time. The earliest identified Lord of Knaresborough is around 1115 when Serlo de Burgh held the Honour of Knaresborough from the King.
Hugh de Morville was granted the Honour of Knaresborough in 1158. He was constable of Knaresborough and leader of the group of four knights who murdered Archbishop Thomas Becket at Canterbury Cathedral on 29 December 1170. The four knights fled to Knaresborough and hid at the castle. Hugh de Morville forfeited the lands in 1173, not for his implication in the murder of Thomas Becket, but for "complicity in the rebellion of Henry the Young King", according to the Early Yorkshire Charters.
The Honour of Knaresborough then passed to the Stuteville family. When the Stuteville line was broken with the death of Robert the 4th (son of Robert 3rd) in 1205, King John effectively took the Honour of Knaresborough for himself. The first Maundy Money was distributed in Knaresborough by King John on 15 April 1210. Knaresborough Forest, which extended far to the south of the town, is reputed to have been one of King John's favourite hunting grounds.
Although a market was first mentioned in 1206, the town was not granted a Royal Charter to hold a market until 1310, by Edward II. A market is still held every Wednesday in the market square. In Edward II's reign, the castle was occupied by rebels and the curtain walls were breached by a siege engine. Later, Scots invaders burned much of the town and the parish church. In 1328, as part of the marriage settlement, Queen Philippa was granted "the Castle, Town, Forest and Honour of Knaresborough" by Edward III and the parish church was restored. After her death in 1369, the Honour was granted by Edward to their younger son, John of Gaunt, the Duke of Lancaster and since then the castle has belonged to the Duchy of Lancaster. After the accession of Henry IV the castle lost much of its importance in national affairs, but remained a key site in regional administration for another century.
In the English Civil War, following the Battle of Marston Moor in 1644, the castle was besieged by Parliamentary forces. The castle eventually fell and in 1646 an order was made by Parliament for its destruction (but not carried out till 1648). The destruction was mainly done by citizens looting the stone. Many town centre buildings are built of castle stone.
The railway age began in Knaresborough in 1848 with the opening of a railway station on Hay Park Lane; this was replaced with the current one three years later in 1851. The town had a railway line to Boroughbridge until it closed to passengers in 1950; it was dismantled in 1964.
Historically in the West Riding of Yorkshire, Knaresborough became part of North Yorkshire in 1974.
Culture and community
Knaresborough House on the High Street houses Knaresborough Town Council and the Yorkshire Federation of Young Farmers' Clubs.
Knaresborough hosts the annual Bed Race, organised by the Knaresborough Lions Club. It is held on the second Saturday of June. The event was first staged in 1966.
An annual town centre arts summer festival, the Festival of Entertainment and Visual Arts, has run since 2001.
Knaresborough hosts a parkrun, Conyngham Hall parkrun, which started in May 2019. It takes place every Saturday at Conyngham Hall, with the exception of Bed Race day.
The town was used in the opening election sequence in the first episode of the ITV comedy series The New Statesman and some exterior shots for the series were filmed around Knaresborough. The town also featured in the 2019 American television film A Very British Christmas, for which it was a principal shooting location.
The Frazer Theatre is just off High Street.
Landmarks
Sights in the town include the remains of Knaresborough Castle, the Courthouse Museum in the castle grounds, Mother Shipton's Cave, the House in the Rock, St Robert's Cave (dating from the Middle Ages), and the railway viaduct over the River Nidd.
The House in the Rock, also known as Fort Montague, is a local Knaresborough curiosity. In the early 19th century, a strange child appeared in the Hill family. This child had abnormal very blonde woolly hair resembling the fleece of a sheep and was known as the Woolly-Headed Boy of Fort Montague. He conducted visitors around the house and was a great curiosity himself.
The Chapel of Our Lady of the Crag on Abbey Road is a Grade I listed shrine dedicated to the Virgin Mary. It was built in 1408 by John the Mason after his son, who was presumed dead in a rockfall in a local quarry, was found alive, with the son's escape having been attributed to the mason's frequent prayers to Mary.
Knaresborough is the site of the oldest chemist shop in England, opened in 1720.
The principal areas of public open space are the Knaresborough Castle grounds, Horseshoe Field, the King George V Playing Field and Jacob Smith Park, a 30-acre (12-hectare) parkland on the edge of the town, bequeathed to Knaresborough by Miss Winifred Jacob Smith in 2003. Wildlife is protected in the former flooded quarry, Hay-a-Park Gravel Pit.
Conyngham Hall is close to the town centre. Until the 1980s there was a small zoo in the grounds.
Near to the castle are Bebra Gardens, formerly the Moat Gardens, renamed after Knaresborough's twin town in Germany.
The Commercial (formerly Borough Bailiff) public house, owned by the Samuel Smith Brewery, was the oldest pub in Knaresborough until it closed.
The old Town Hall
In the UK parliament the town is in the Harrogate and Knaresborough constituency. This is further divided for council purposes, the town spans four wards, "Knaresborough, Aspin and Calcutt", "Knaresborough Castle" "Knaresborough Eastfield" and "Knaresborough Scriven Park".
From 1974 to 2023 Knaresborough was administered as part of a two tier council system by Harrogate Borough Council, one of the seven district councils in North Yorkshire. The borough council was a non-metropolitan district, responsible for housing, planning, leisure and recreation, waste collection, environmental health and revenue collection. Above the Borough council was North Yorkshire County Council, which was a non-metropolitan county providing education, transport, highways, fire, waste disposal, social and library services.
In April 2023 both councils were replaced by North Yorkshire Council along with all district councils in North Yorkshire. The unitary authority now provides all the services previously provided separately by the two councils.
At the lowest level of governance Knaresborough has a town council which, for election and administrative purposes.
Transport
Knaresborough is served by Knaresborough railway station, on the Harrogate Line between Leeds and York. The town is four miles (six kilometres) from junction 47 of the A1(M) motorway (Great North Road), and on the A59 which links York and Wallasey. It is also served by Transdev and Connexions who both run buses in the area that centre around Knaresborough bus station on the High Street. The closest airport is Leeds Bradford Airport with bus links from neighbouring Harrogate.
Economy
Knaresborough is mostly a commuter town but it also serves as a local centre for the surrounding rural villages. The town has a small tourism industry and service sector. There is a small industrial estate on Manse Lane in the east of the town. Knaresborough has a local weekly newspaper; the Knaresborough Post, although it borrows content heavily from neighbouring publications. Flying Colours Flagmakers, who hold a Royal Warrant to supply flags to the Royal Household, are based in Knaresborough.
The town has a large supermarket, Lidl, which is located on the site of a former Co-Op store in Chain Lane, as well as smaller supermarkets in the town centre. The St James retail park on the outskirts of the town, off Wetherby Road, has retail chain units. The town has fifteen public houses, a wine bar, two working men's clubs and several restaurants. There are a number of national retailers with branches in the town centre, mostly around the High Street, Market Place and Castle Courtyard (a shopping arcade in the old Town Hall). The town has a small public swimming pool.
Media
Local news and television programmes are provided by BBC Yorkshire and BBC North East and Cumbria on BBC One & ITV Yorkshire and ITV Tyne Tees on ITV1. Television signals can be received from either Emley Moor or Bilsdale TV transmitters.
The town's local radio stations are BBC Radio York, Greatest Hits Radio Yorkshire, Heart Yorkshire and 'Your Harrogate' which broadcast from Harrogate.
Local newspapers that serve the town are Knaresborough Post, Harrogate Advertiser and The Press.
Religion
The town has two Church of England churches, a Roman Catholic church, St. Mary's, and Methodist and United Reformed churches.
Knaresborough Primitive Methodist Chapel on High Street was built in the 1850s. The date of closure is not known; a plaque on the building states that it was built in 1851 but there is some debate about this. The chapel premises were used by a coat manufacturer for a good part of the 20th century. In 2001 the premises were converted into four flats.
Ecumenical services take place at Our Lady of the Crag Shrine (1408).
A plaque in Market Place, placed by the Knaresborough Civic Society, commemorates the 13th century Synagogue to the rear of the Market Place. The plaque indicates that in the 13th century a Jewish community lived and worshipped in Knaresborough. The synagogue was situated at the exit to Synagogue Lane, the exact location of which is unknown. It is believed the Knaresborough Jewish community was dissolved in 1275, before people of the Jewish faith were expelled from England in 1290 on the orders of Edward 1.
Education
Knaresborough has five primary schools and one secondary school; King James' School. There is a further education college in nearby Harrogate and universities in Leeds and York. The town has a two-storey library in the Market Place.
Sport
Knaresborough Town F.C. is based at Manse Lane; they play in the Northern Counties East League Division 1. Youth football is catered for by Knaresborough Celtic with junior teams from Under 6s to Under 17s. Scotton Scorchers offer youth football for boys from the under 6s to under 12s and girls to under 17's. Knaresborough Town are developing youth football.
Knaresborough Rugby Club play in the Yorkshire Leagues. The club was formed in 1982 and play at their Hay-a-park ground which opened in 2014.
The town has two cricket clubs. Knaresborough Forest Cricket Club were Nidderdale League Division 3 winners in 2005, afterwards promoted from Division 2 as runners-up in the following season. Knaresborough Cricket Club have a ground on Aspin Lane, where adult teams play in the Airedale & Wharfedale Senior Cricket League and junior teams play in the Nidderdale Junior Cricket League.
On 6 July 2014, Stage 2 of the 2014 Tour de France from York to Sheffield, passed through the town.
Each June, the town hosts the Great Knaresborough Bed Race.
Notable people
William de Vesci (ca.1125 – 1184), Anglo-Norman feudal lord, born at Knaresborough Castle
St. Robert (ca.1160–1218), 12th-century hermit whose cave is near the River Nidd
Ursula Southeil (ca.1488–1561), known as Mother Shipton, a medieval seer, may have been born in a cave south of the town.
Robert Byerley (1660–1714), soldier and politician, lived at Goldsborough Hall
Eugene Aram (1704-1759), scholar and murderer lived here.
John Metcalf (1717–1810), known as "Blind Jack", lost his sight in childhood; a violin player, local guide, bridgebuilder and roadmaker.
John Walton (1784–1862), entomologist
William Hargrove (1788–1862), historian of York, owner of the York Herald
Richard Popplewell Pullan (1825-1888), architect, discovered the Lion of Knidos.
William Stubbs (1825–1901), English historian and Anglican bishop.
Charles Farrar Forster (1848–1894), the first vicar of Beckwithshaw Church.
Squadron Leader James Harry Lacey, DFM & Bar (1917–1989), WWII RAF fighter pilot, attended school in Knaresborough.
Robert Aagaard (1932–2001), local furniture maker, founded the youth movement Cathedral Camps
Gorden Kaye (1941–2017), actor and singer, best known for playing René Artois in the British comedy series 'Allo 'Allo!.
Grant Kirkhope (born 1962), musician and composer best known for his work with Rareware, was raised here and attended King James's School.
Tim Kellett (born 1964), trumpeter and keyboardist from Simply Red and Olive
Bill Callahan (born 1966), American singer-songwriter and guitarist
The Paul Mirfin Band (formed in 2015), a local folk rock band
Sport
Jonathan Joy (1826–1889) first-class cricketer
Francis Prentice (1912–1978), first-class cricketer who played 241 matches
Darren Manning (born 1975), motor racing driver
Dan Linfoot (born 1988), former Grand Prix motorcycle road racer now competing in the British Superbike Championship
Greg Minikin (born 1995), rugby league footballer with 173 caps
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.
Jack Becker, an expert in documenting vessels for the Historic American Engineering Record (HAER), is taking RIPTIDE's lines via photogrammetry, which involves using computer software to develop a three-dimensional drawing of the vessel's lines from photography.
(RIPTIDE is at the Port Townsend Shipwright's Co-Op for repairs to her keel and strut in the area of her aft cockpit).
The office of Heritage Documentation Programs within the National Park Service administers the Historic American Buildings Survey (HABS), the Federal Government's oldest preservation program, and its companion programs: the Historic American Engineering Record (HAER) and Historic American Landscapes Survey (HALS). Documentation produced through the programs constitutes the nation's largest archive of historic architectural, engineering, and landscape documentation, and includes well over a half million documents. The HABS/HAER/HALS Collection is housed at the Library of Congress. www.nps.gov/hdp/
The Historic American Engineering Record (HAER) was established in 1969 by the National Park Service, the American Society of Civil Engineers and the Library of Congress to document historic sites and structures related to engineering and industry. Appropriate subjects for documentation are individual sites or objects, such as a bridge, ship, or steel works; or larger systems, like railroads, canals, electronic generation and transmission networks, parkways and roads.
From its inception, HAER focused less on the building fabric and more on the machinery and processes within, although structures of distinctly industrial character continue to be recorded. In recent years, maritime documentation has become an important program focus. www.nps.gov/hdp/haer/
RIPTIDE was built in 1927 by the Schertzer Brothers Boat and Machine Company, then located on the north end of Lake Union near the foot of Stone Way in Seattle. She is 47 feet 1-inch long with a beam of 11 feet 10-inches and a draft of four feet. She is planked in port orford cedar riveted to white oak frames over an apitong backbone with western red cedar houses. She displaces about 10 tons, relatively light for a boat this size.
She was originally named NEREIAD, then, shortly thereafter, NOKARE. Her trunk cabin (the raised cabin aft of the pilothouse) was reportedly added (or extended) in 1933. By 1936, when owned by Russell G. Gibson, a Director of the Seattle Yacht club, she had been named RIPTIDE.
Mr Gibson owned her through at least 1960. After a few years, she was bought in 1965 by Richard Billings, who used her as a cruiser and live-aboard in Alaska. In 1968 Richard sold her to his brother Roger, who owned her through 2014. RIPTIDE is fortunate to have been owned by knowledgeable and caring owners throughout her long life.
RIPTIDE is a Coast Guard documented vessel. She carries documentation number 226242 carved into the interior face of both port and starboard bilge stringers. She is documented at 17 net tons and 21 gross tons.
Her original engine may have been a Hall-Scott gasoline engine, but is as yet unknown. By 1959 she had an eight cylinder Chrysler Crown gas engine, a common engine of the time, most likely added in the late 1940's. That engine was removed in 1967 when RIPTIDE was re-powered by a 1967 Volvo MD-70A diesel engine. The Volvo engine was removed in early June 2015 and was replaced by Cummins 5.9 liter diesel of 210hp. While her top speed is over 14 knots at 2400 rpm, her cruising speed is a much more sedate 9 knots at 1500 rpm. She carries 300 gallons of diesel fuel.
She was overhauled by the Port Townsend Shipwright's Co-Op in Port Townsend WA between April 8th and September 16th, 2015. The Co-Op replaced 35 frames, then replanked much of her hull above the waterline. They installed a new transom and decks, replaced her engine and exhaust system, and installed a modern electrical system. Finally, a new anchor windlass and chain was installed.
Diane Salguero of Salguero Marine Services varnished the transom and pilothouse windows and painted the vessel.
RIPTIDE's hailing port is Port Ludlow WA. She is usually moored in Port Madison, on Bainbridge Island, WA.
Appreciation of Beauty and Excellence involves noticing and appreciating these attributes in various domains, from nature to art, to mathematics, to science, to everyday experiences. Appreciation of beauty and excellence refers to the ability to find, recognize, and take pleasure in the existence of goodness in the physical and social worlds. People high in this strength frequently feel awe and related emotions, including admiration and wonder, while walking in the woods or in a city, while reading novels, while learning about people’s lives, and while watching sports or movies. They are responsive to all forms of beauty and are able to see beauty where many people overlook it. Another type of beauty that this strength engenders is moral beauty; when goodness displayed as kindness, compassion, forgiveness, etc. is observed, this character strength leads to the transcendent emotion of elevation in which the person feels struck by the goodness he or she has witnessed and experiences a motivation to act virtuously and good because of it.
“The meaning of life is to find your gift. The purpose of life is to give it away.”
- Pablo Picasso
Don't sell yourself short, maximise your presence in life by making use of your top strengths. But first, you need to know what they are. To take the only free scientifically backed personality test available today visit www.revisedperception.com/
David Luddy
Revised Perception
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.
A visit to Powis Castle, another National Trust property. A look around the gardens at Powis Castle.
Powis Castle (Welsh: Castell Powys) is a medieval castle, fortress and grand country mansion near Welshpool, in Powys, Wales.
It is known for housing the treasures that were brought home by Robert Clive and his son, Edward Clive from India. The Clives obtained them during their service with the British East India Company.
The castle has also been known as Castell Coch, Castell Pool, Castell Pola, Castell Pole, Castell Trallwng, Red Castle, Redde Castle and Castel Cough.
The seat of the Earl of Powis, the castle is known for its extensive, attractive formal gardens, terraces, parkland, deerpark and landscaped estate. The property is under the care of the National Trust.
Princess Victoria (later Queen Victoria) visited the castle as a child when her mother took her to tour England and Wales in 1832.
Fountain Garden
sundial
Grade II Listed
Sundial in Fountain Garden at Powis Castle
Exterior
History: The Fountain Garden was laid out by Violet, Lady Powis c1911-12. The sundial was probably erected here at that time, but may have been re-sited from elsewhere in the gardens.
Description: The stone base has engaged shafts on each side of a square central pier, with continuous ring moulding at base and capital, and a central band. It carries a round plate supporting the engraved copper dial which retains its blade. The dial is enriched with scrolled decoration and inscribed with the Herbert Arms and motto, and signed by Bennett, Crow Court, Soho, London.
A finely detailed sundial which forms a focal point of the Fountain Garden.
Reference: The National Trust, Powis Castle, 1988, pp.44-45.
The direction of the castle.
Grade I listed building
History
Introduction: The castle was a Welsh stronghold, probably of Owain Cyfeiliog and his heirs, from c1170, and parts of the surviving structure are thought to date from the late C12- early C13. The castle was sacked c1275, and in 1286, Owain ap Gruffydd ap Gwenwynwyn, Prince of Powys, paid homage to Edward I as Baron de la Pole. A substantial programme of rebuilding followed - the layout, and much of the structure of the present buildings were determined in this work of c1300.
Sir Edward Herbert acquired the castle in 1587, and initiated the creation of a country house from a castle. The first phase of a substantial Baroque remodelling was begun immediately following the restoration of Charles II (Powis had fallen in a siege of 1644 and was not returned to the Herbert family until the Restoration). William, Third Lord Powis who inherited the title in 1867 (and was created Earl in 1674
Marquis in 1685), was exiled with James II in 1688 - and although the Herbert's were not formally re-instated at Powis until 1722, a major programme of work on the castle and gardens was initiated by the family during this period, extending the scope of the Baroque remodelling.
Minor works were carried out during the C18, but the castle was suffering from neglect by the latter years of the century: in 1771, Thomas Farnolls Prichard, architect, of Shrewsbury, was commissioned to report on improvements, and he was responsible for the remodelling of the SW range as a ball-room wing in 1775-7 (for George Herbert, second Earl of Powis). In 1801, the castle was inherited by Edward, second Lord Clive, and the Powis Earldom was re-created for him (for the third time) in 1804. As heir to the Clive fortune, he was able to commission Robert Smirke to carry out improvements to the castle, between 1820 and 1830. Thereafter, the final major alterations to the castle were carried out by G.F. Bodley, c1904, for the Fourth Earl. On his death in 1952, the property was given to the National Trust.
The Medieval Castle: By c1300, the castle comprised an outer bailey to the W, with curtain walls to the N and W at least, and an inner ward built around a courtyard, with twin gate towers to its W. It had previously been assumed that the SE angle tower constituted the earliest surviving part of the medieval castle, but recent research has shown that the curved section of the S wall of the inner ward pre-dates it and may represent the remains of a late C12 shell keep, which was subsequently substantially rebuilt when the buildings were extended northward in c1300; the gate towers are probably contemporary with this c1300 phase, together with the N curtain wall of the outer bailey, with the lower storey of the accommodation on its inner face (the present ball-room range). The N range of the inner ward has not yet been investigated in detail, but it is thought to represent the hall range of the C13 castle: the walls appear to be substantially of medieval masonry. The E gate tower may have been added in the C15, when the castle was owned by the Grey Family.
The C16-C17: Major remodelling of the castle followed its acquisition by Edward Herbert in 1587, though largely within the confines of the medieval structure: he added the long gallery on the N and W sides of the inner courtyard, and perhaps the portal on its E side; there are fragments of C16 decoration in other rooms, and documentary evidence for much more, suggesting that the establishment of the interior layout of rooms en filade may date from this time. Most of the present pattern of fenestration was established in the C16-C17 period, although the window details have been several times renewed. While the internal layout of rooms as it survives on the first floor may be late C16, most of their detail and decoration is no earlier than the later C17, with much work of c1660. It now seems likely that a major Baroque remodelling was initiated after the Restoration, and as part of this, new entrances were designed: new pavilions flanking the W entrance were added in 1668, and the main portal at the E (with a corresponding portal at the W, subsequently re-sited), also appears to be late C17. The Baroque programme used local craftsmen at first, but under the direction of William Winde from the 1670's, it attained a greater sophistication of design and planning. The insertion of the grand staircase between 1674 and 1685 (attributed to Winde) entailed further alteration to the internal layout and it may be that the inner walls of the NW drum tower were cut-down at this time to accommodate it.
The C18: Documentary sources record work carried out at Powis between 1748 and 1754, by William Burke, but it is not known what this entailed. However, it is known that further refenestration took place during the C18 (largely probably using existing openings); illustrations of the castle record some sash windows, and in 1856, the Third Earl remembered the draughty 'French sashes' which were replaced by Smirke. Thomas Farnolls Pritchard was responsible for the remodelling of the ball-room range, which had been detached from the castle following a fire in 1725.
Smirke's Restoration: Some sources suggest that Smirke was working at Powis between 1815 and 1818: but others suggest 1820-1830, and Paul Sandby Munn's water-colours of the castle in 1816 clearly pre-date Smirke's involvement. He refenestrated the castle, re-instating stone mullioned and transomed windows, and also raised the E gate tower by an additional storey to enhance its picturesque status. He also added new embattling, and made some alterations to the internal layout, including enclosing the loggia underneath the long gallery.
Bodley's Restoration: G.F.Bodley made minor alterations to the external appearance of the castle (for example removing the curved angle turret to the N of the E gate tower and replacing it with a canted oriel, and renewing windows, largely in earlier openings), and considerable alterations to the interior, including changes to the layout of rooms (notably the creation of the dining room from two smaller rooms), and an extensive programme of redecoration.
Exterior
Red sandstone rubble throughout, with freestone dressings. Main entrance between the two spurred drum towers of c1300, approached up steps with balustraded parapet which were added c1670 (the twisted urns on the parapet appear to be later additions). The original arched entrance with its tiers of stepped-out mouldings was re-exposed when Bodley re-sited a C17 portal which had previously obscured it. In the S elevation, the central section curves slightly in plan (the possible vestigial C12 shell keep), with a rectilinear tower at the SE angle.This retains some (partially recut) C13 flat- headed lancet windows (one with relieving arch); the rest of the fenestration was established in the C16-C17, including the oriel window of the long gallery immediately right of the W drum tower, but the detail is largely C19-C20 renewal of the earlier mullioned and transomed windows. N elevation has corbelled angle turret (medieval?) to NW; fenestration largely on the C16-C17 pattern, as renewed by Bodley. The stair tower towards the left of this elevation may have been added by Smirke when he moved the kitchens into the outbuildings on the N side of the castle.
E elevation is dominated by the projecting gate tower, probably added in the C15. Rectangular in plan, with curved angle turrets. Fine lierne vaulted ceiling to gate-house passage. Its E portal is late C17: ashlar, with engaged Doric columns flanked by niches with restored statues of Kings Offa and Edgar and surmounted by a balustraded parapet (the portal at the W entrance to the castle, removed by Bodley to the orangery, was originally similarly detailed).The tower was given an additional storey and stair turret by Smirke, and re- fenestrated, presumably at the same time. Some blocked earlier windows are visible, and illustrations suggest that there had previously been sash windows over the entrance. The S portal onto the garden may be by Bodley, reworking an existing feature. Fenestration in the flanking walls also largely renews a pattern of openings set in the C16-C17, but the canted oriel in the right hand angle of the gate tower was added by Bodley, replacing an earlier curved turret.
Inner courtyard is well coursed and squared rubble and balustraded parapet to S and W - associated with the construction of the long gallery, which is lit by a series of wide sash windows. Loggia below the gallery - 4 bays with Doric columns carrying semi-circular arches - was filled-in and glazed by Smirke. The N and E walls of the courtyard appear to be largely late C19-early C20 work: the N wall at least associated with Bodley's work to create the dining room; E portal however is probably late C16 or early C17 (perhaps contemporary with the long gallery?): lozenge rusticated arch carried on Doric columns on high bases; entablature surmounted by twisted urns.The W portal into the courtyard post-dates the long gallery and may be an early C18 interpretation of the classical.
Old kitchen and servants quarters: These buildings form a continuation of the building line of the N curtain wall, immediately N of the main body of the castle. The 2 sections to the E are rubble-faced with brick dressings, and seem to be substantially of C17 date; the rubble embattled wall to the W conceals an earlier layout of buildings - this refronting was probably carried out by Smirke, who moved the domestic offices into these buildings during his restoration of 1820-30. Heavily detailed with bold roll mouldings, and corbelled crenellations.
Interior
Gate passage is canted in plan, with stone vaulted ceiling and two portcullis slots. The two flanking towers retain their internal layout and structure substantially intact, but elsewhere (with the exception of the E gate tower), the internal arrangement owes more to the C16-C17 than to the medieval period. The long gallery is the principle surviving feature of the late C16 period: its wainscoting is painted with trompe l'oeil panels, and the plasterwork of the deep frieze, overmantles and ceiling, all belong to this period. There are other surviving traces of this period in the plaster relief ceilings in window embrasures in the dining room and oak drawing room. Similar plasterwork in SW tower bedroom, with its wall panelling, may also be late C16-early C17.
The late C17 baroque remodelling was probably begun immediately after the Restoration, but its richer later character probably reflects the involvement of William Winde. The state bedroom for instance is largely c1660, although the balustrade which separates the bed alcove from the rest of the room may be slightly later - contemporary with the great staircase, and the panelled lower room in the N tower may also be c1660. The great staircase is attributed to William Winde, and was probably installed between 1673 and 1685, by the First Earl, William Herbert, whose coronet appears in the painted ceiling. The staircase is richly worked, and the symmetrically grouped doorcases at first floor, with enriched pulvinated friezes and scrolled volutes to pediments form part of a single composition with it. The ceiling over the staircase was painted by Antonio Verrio, and has been dated to 1673- 1685, while the wall paintings are by Lanscroon, and are dated 1705. Other late C17-early C18 interiors include the library with its ante-room, both with painted ceilings by Lanscroon (although the rest of the room was re-ordered by Smirke), and the panelled blue drawing room which opens off the head of the great staircase.
Smirke re-ordered the S range of the castle, moving the kitchens, and creating bedrooms in what are now the private apartments. The dining room and oak drawing room were re- modelled by Bodley in 1902-1904, in a Neo-Elizabethan idiom that drew on surviving earlier features in the house (the frieze of the long gallery forms the source for the oak drawing room frieze, for example), as well as sources from elsewhere.
Reasons for Listing
Powis Castle is an outstanding monument which charts a progression from medieval fortress to country house: the extensive survival of the medieval external structure forms the framework for a remarkable series of later interiors, amongst which those of the late C16, and the late C17 Baroque are of exceptional importance.
River Dargle Flood Defence Scheme.
These images were taken during the third week of August, 2016.
Adjacent to The People's Park, a large compound is the site of continuing work along this section of the river. Some of the works are nearing completion.
Access is quite restricted here, and involves shipping material in/out via the entrance further upriver, adjacent to The Slang.
A temporary soil shelf has been laid along this wall-side, to allow better access for vehicles moving materials in and out.
Work here along the riverbank, between Glenwood and The Maltings, involves stabilisation measures (digging out a channel, and dropping in large boulders) intended to reinforce this newly constructed/shaped length of bank.
At the side of the Glenwood Road housing is a little strip of land, which previously culverted a stream. They laid new drainage piping last year. And now, they've neatly finished over with a little waterfall feature. Very pleasing aesthetically. I wonder whether there wlil be public access to a pathway on that opposite bank at some stage, running on towards Killarney Glen?
British Rail involvement in Sheffield Joint Omnibus Committee meant the JOC was in a position to choose the products of Bristol and ECW during the 20 year period when sales were restricted by legislation to nationally owned undertakings. Although no Bristols were added to the Sheffield fleet, five ECW double deck bodies were specified for Leyland Titan PD2/20 chassis in 1957 and five coach bodies, of the style usually mounted on Bristol MWs, were bought on Leyland Leopard L1 chassis in 1961.
1910WA was one of the Leopards and is shown here in Sheffield's Central Bus Station in May 1972, after being modified to facilitate one person operation. The original one piece coach door had been replaced by a two piece power operated folding door, a driver's cash tray and ticket machine mount installed, and an illuminated pay on entry sign fitted to the front panel. By this time, the upheavals following formation of the National Bus Company in 1969 had seen the Joint Omnibus Committee wound up and its assets shared between the City Transport Department and NBC. NBC passed its share of the buses to other Yorkshire towns, in which British Rail had been involved, and to its Yorkshire Woollen subsidiary.
This photo was taken on the corner of Seventh Avenue South, and west 10th Street, in Greenwich Village.
The picture speaks for itself...
Note: I chose this as my "photo of the day" for Oct 28, 2013.
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
This involves both pre and post sliding, and requires some explanation.
Background: When the confusion center moved to a new building, some exam glove dispensers were left unfilled. One doctor used only medium sized gloves; the large and small dispensers in his room were still unfilled months after the move.
Pre-sliding: I photographed the blue (medium) gloves, changed the colors in Photoshop Elements, printed the photos, and taped the prints inside the other two openings.
Post-sliding: Two lovely nurses posed for me beside the "doctored" dispensers. Back in Elements, I slid mid-tone contrast all the way right. Surprisingly, that turned the lovely nurses into 1950s ad-campaign models.
Post- post-sliding puzzle: I'd like the caption to evoke a 1950s motivational ad campaign designed to get doctors to wear gloves. Thanks to [http://www.flickr.com/photos/27357821@N00] , GAPHIKER and ~ Blu ~ for improvements on my original attempt.
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.
SBB CFF FFS: the train IR 503 from Zürich HB to Lausanne headed by the electric locomotive Re 4/4 II 11167. This replaces an ICN RABDe 500 set of the St.Gallen-Genève Aéroport service, since all the series was decommissioned precipitously to review the bogies, since some weeks before there were two incidents involving the transmission. (Image scanned from an original paper).
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.
Not widely known is railroad involvement in early development of plotter and printer technology. Shown at work on the Atlantic Coast Line around 1930, in “G” scale, it was necessary to recruit dwarf Chinese elves to operate this equipment. Many lost their lives performing the hazardous labor. Given the high-pressure atmosphere of industrial design, boiler explosions were common. Unlike Irish leprechauns, the Chinese were considered expendable by railroad robber barons. ACL management had hoped to eliminate a draftsman position in the Engineering Department with this innovation. The ramifications for the industry would be much, much more.
The idea caught on. Always looking for new ways to reduce forces, a brash young VP-Engineering, D. W. Brosnan, was so impressed that he ordered 1000 Baldwin File Drivers for use on Southern Railway. He later experimented with having SR's Pegram Shops modify one to take shorthand, so he could fire his secretary, who had mistakenly put sugar in his coffee one morning. (He wanted his coffee to reflect his management style—cold and bitter.) Unfortunately, Chinese characters kept popping up in File Driver output documents, especially when drawing curves, causing an unacceptably high error rate. (As evidenced by erasers in foreground.) World War II brought rationing of rubber, which caused most File Drivers to be mothballed for its duration. However, many saw European service under Lend-Lease, drafting war plans. Secretary of State George Marshall praised File Drivers' invaluable contribution to the war effort in drawing up plans for the D-Day invasion.
The postwar period between 1945-1950 proved to be the high water mark in File Driver development and use. Anxious to recover from wartime constraints on improvements to infrastructure and rolling stock, railroads seemed to have an insatiable need for engineering plans.
Not everyone was in love with File Drivers, however. One returning veteran, who prior to the war had been an apprentice draftsman on the Chesapeake & Ohio, vowed not to share a drafting table with what he derisively called, “that tinker toy.” Before doing so, he insisted he would, “Die with my pencil in my hand!” In a contest hastily arranged by C&O public relations, he took on one of the road’s File Drivers. This time man beat machine, turning out an incredible 23 blueprints in an eight-hour period, compared to the File Driver’s 19, but it was a pyrrhic victory. By the end of the shift, the young draftsman suffered from a case of writer’s cramp so intense that co-workers had to pry loose his fingers from his pencil. The next day, company physicians pronounced it the worst case of carpal tunnel in medical history. His drafting career was over.
This period also saw the pinnacle in File Driver design evolution. Determined to stay on the cutting edge, the Pennsylvania Railroad looked for ways to squeeze ever more productivity out of their vast fleet of File Drivers. Realizing that some managers were reluctant to fully utilize File Drivers because of their dowdy appearance, famed industrial designer Raymond Loewy was enlisted to give them a facelift. The design he chose, based upon the natural contours and flow of the human hand, was breathtaking to behold, and so lifelike that it was said to be the source of inspiration for Charles Addams’ character, “Thing,” in his “Addams Family” series. But crews found the design ergonomically impossible to digest, and faced with their intractable opposition, Pennsy had no choice but to stay with the traditional File Driver look.
Pennsy engineers did achieve a breakthrough in one area—the pencil itself. Managers had longed for a solution to the persistent problem of short lead life. Early stopgap attempts at rectification via ever sharper and longer points proved futile, since any gains were offset by an increase in broken point incidence. This had been particularly vexing for the Pennsylvania, given its well-deserved reputation for high-speed drafting. Designers in Altoona finally arrived at a solution: the world’s first workable “mechanical” pencil.
When unveiled in early 1947 (see, “Pennsy Engineers Discover New Way To Put Lead In Their Pencils,” March 1947 “Choo-Choo” magazine), among the first to see the handwriting on the wall were officials of the International Brotherhood of Sharpeners United, who foresaw the loss of hundreds of jobs at the Juniata Pencil Turning Works. A union-sanctioned slowdown followed, and thousands of hours of productivity simply evaporated while crews whiled away whole days working on the New York Times Sunday Crossword Puzzle. Some were even so brazen as to play tic-tac-toe. After an incensed President Harry S. Truman complained to Congress that the union was, “Doodling with America’s future,” he asked for sweeping legislation granting authority to use the Army Corps of Engineers to seize control of railroad engineering operations. A Presidential Emergency Board ultimately ruled in management’s favor, but tossed a bone to the brotherhoods by requiring carriers to maintain one of two Pencil Loaders assigned to File Driver crews. This flagrant featherbedding soon became fodder for political pundits and comedians, consequently the epithet “Pencil Pusher” entered our American lexicon.
File Driver action was not confined to east of the Mississippi. Western roads also maintained stables of the little workhorses, adding their own flavors to the already quirky File Driver personality.
Union Pacific was determined to achieve what its rivals had not: equip File Drivers with fountain pens. The obstacles seemed insurmountable. New York Central had worked on the splatter problem for years, and pointed to a disastrous ink well spill that blackened the Hudson River for days as evidence that the liabilities outweighed any potential benefits. UP countered that the characteristics of its road, with long stretches of prairie right-of-way, meant that a high percentage of its plans consisted of straight lines, thereby minimizing the risk of splatter. Another sticky problem—the harsh Nebraska climate—was overcome when UP chemists developed an oil-based India ink imported from Bombay. Logistical supply problems were resolved when General American Tank Car Company modified a portion of its wartime oil tanker fleet, making them available to UP for ink-hauling service under the special reporting mark “INKX.”
A related problem proved fatal to the UP’s plans, however: viscosity, i.e., getting the ink onto the paper. Union Pacific designers tried wick systems utilizing cotton waste, but this proved unsatisfactory since friction generated by high drawing speeds necessitated frequent repacking. Teaming with Timken Roller Bearing Company, experiments were made with ball-bearing delivery of ink to paper, but again without success. A frustrated UP management finally dropped the idea. It would be almost ten years later that the French conglomerate BIC, under contract with SNCF, would make what they termed, “Le pen de balle,” commercially viable.
After the war, Japan National Railways had “borrowed” U. S. File Driver technology, adapting it for use as a method of attaching erasers to pencil ends, a novel idea that proved to be a marketing sensation. This ensured Japanese domination of world pencil production until well into the 1990s, when, in an ironic twist, they were surpassed by the Chinese. New File Drivers continued to be turned out by China's Datong Works until the mid-1980s. At the turn of the 21st century, Lionel, with additional financial backing from Ross Rowland, made a valiant effort at getting America back into the game, producing an “O” gauge model that incorporated mini compressed air cartridges and microchip technology in place of steam and dwarf elf labor. (See, “Making Its Mark,” June 2001 “Miniature Railroader,” and “Graph Fight,” July 2001 “Choo-Choo” magazines.) Alas, it was to no avail. PCs and CAD software had so decimated U.S. rail employment that there simply weren't any forces left to reduce. The need for File Drivers had passed, another page of American rail history had turned.
The last hurrah for Class I steam-powered mechanical drawing took place, predictably, on the Norfolk & Western, when home-built N&W streamlined Z-class File Driver No. 13 saw helper duty on plans to upgrade public restrooms at the Hotel Roanoke in March 1954. O. Winston Link chronicled this final chapter in his best-selling book, “Flushed With Success: The Little Draftsman Who Could Didn't Stall on the Stalls.”
But not all File Drivers were destined for the landfill. Eleven chapters of the National Office Supplies Historical Institute of Technology boast of having one or more File Drivers in their collections, although few are in working condition. Some have been fitted with electric motors, despite the aesthetically-unpleasing presence of a power cord. The objections of purists notwithstanding, some industry insiders quietly speculated that an aggressive electrification program might have ensured a File Driver presence on some Class Is, notably the Pennsy and Virginian, for at least for a few more years. Although that is debatable, there can be no doubt that a new generation of civil engineers did not have the same appreciation for cinder burns on blueprints as did their predecessors.
Noted rail author and bon vivant Lucius Beebe convinced Brosnan's successor as SR President, W. Graham Claytor, Jr., to part with Southern's experimental dictation-equipped unit, which had been gathering dust in long-term storage on a shelf at Pegram. The Smithsonian wanted the unit for display in their Museum of Science and Technology, but negotiations had bogged down, and fan groups were begging SR to allow the old machine out on the road with Link to autograph copies of his book. In the end, Beebe won out, primarily because, as SR historian Jim Bistline said, “We just got tired of being pestered about the damn thing!”
Beebe re-christened his unit the “Graphite Queen,” and used it to handle personal correspondence right up until his death. Beebe was frequently heard to say, "Nothing helps me write like my little Queen!" As provided in Beebe's estate, “The Queen,” as she is still affectionately known, now resides at the California Museum of Transportation, where she earns her keep by tracing silhouettes of delighted museum visitors.
Marines of 1st Battalion, 2nd Marine Regiment, Battalion Landing Team, 24th Marine Expeditionary Unit wait to be extracted by helicopter during a rehearsal of the final exercise at Exercise Africa Lion 2012 April 16. AL-12 is a U.S. African Command-sponsored, Marine Forces Africa-led exercise involving various types of training including command post, live-fire and maneuvering, peace keeping operations, an intelligence capacity building seminar, aerial refueling/low-level flight training, as well as medical and dental assistance projects. The annual exercise is designed to improve interoperability and mutual understanding of each nation's military tactics, techniques and procedures.
Chassis n° TN1568
Les Grandes Marques du Monde au Grand Palais
Bonhams
Parijs - Paris
Frankrijk - France
Estimated : € 400.000 - 500.000
Delivered in 1927, this 3-Litre is one of only 15 built by Bentley Motors to 'Speed Weymann' specification. From the records, 14 out of the cars produced were built as saloons and this example, chassis number 'TN1568', is believed to be the only Speed Weymann Coupé ever built.
The following description draws heavily on the typically thorough illustrated report on 'TN1568' compiled in March 2017 by renowned marque authority, Dr Clare Hay (perusal recommended). Bonhams would like to extend its thanks to Dr Hay for her assistance.
As the 1920s progressed, the demand for sporting cars diminished and customers increasingly ordered closed cars. Bentley Motors responded to this trend by adapting their very successful Speed Model to accommodate Weymann coachwork. Using the 9' 9½" late-pattern 3/16"-gauge chassis frame, featuring dropped engine bearers for rubber block suspension at the rear of the Speed Model engine, the company further included a double silencer exhaust system and a lower-ratio rear axle to suite the closed coachwork.
The Weymann type of body construction took its name from its inventor - Charles Terres Weymann - a Frenchman whose background in aviation led to him using a lightweight wooden framework for motor bodies, which was held together by steel plates and covered with fabric. The principal advantage of the Weymann system was its inherent flexibility, which meant that it was free of the squeaks, creaks, and rattles that hitherto had affected all traditional coachbuilt bodies. It was an immediate success; as well as making bodies at its factories in France and (later) England, Weymann licensed production to numerous independent coachbuilders.
The coachbuilder of choice for 'TN1568' was none other than Freestone & Webb, Bentley's North London neighbours. One of the finest of British coachbuilders, Freestone & Webb had been associated with quality marques from its earliest days, particularly Rolls-Royce, Mercedes-Benz and, of course, Bentley. The drophead coupé coachwork was designed to be a closed body that could be opened rather than an open body that could be closed. While this design can accommodate four, the short wheelbase gives the car an elegant line, which makes it stand out as something a little different.
'TN1568' was sold new via Garner, the Bentley agent in Birmingham. The registration allocated was 'OP 4536', a Birmingham number. The first recorded owner is W Carr of Myton, Warwick, who appears to have kept the Bentley until 1938 when it was offered for sale by Brooklands Motors Ltd of Bond Street, London. The asking price was £95, as per Brooklands Motors' advertisement in The Autocar of 22nd November 1938, reproduced in the Hay Report. Invoices on file show that it was bought for the full price by Peter Littlewood Hainsworth of Farsley, near Leeds, on 1st December 1938. Central Garage Ltd of Bradford were the main Bentley agents for Yorkshire from 1926/27 onwards, and invoices on file show that they worked on 'TN1568' for Mr Hainsworth in December 1946 when the Bentley was probably being re-commissioned after the war.
According to correspondence on file, Mr Hainsworth sold his Bentley to his father-in-law, William Bateson, who kept 'TN1568' for a short period before selling it on. Later owners are listed in the BDC records as W B Gibb in 1948, P Barker-Mill in 1952, B W Harrison in 1955, and Warren E Lovesey in 1964. Mr Lovesey restored the Bentley and showed it at Blenheim in 1965.
There is then a gap in the records until 1983, when the Bentley was registered by Charles Russett. By this date the DVLA had computerised their registration system, so the V5 forms erroneously show Mr Russett as the first owner. Given that computerisation started in the late 1970s, it is likely that 'TN1568' was off the road by the early 1970s at the latest, and quite possibly from 1966. Either way, there can be no doubt about the continuity of this Bentley's history.
Shortly afterwards, 'TN1568' was sold to Colin Pettitt, manager of the Stratford Motor Museum, who had the Bentley restored by James E Pearce, as seen in the Hay Report photographs taken at the BDC Kensington Gardens concours in 1988. The car was then sold through Stanley Mann to Dr Peter David Wilson, the owner from 1989 through to 1997. In 1998 the Bentley was owned briefly by Owen Corrigan, and was bought by John MacRae at Brooks' Olympia auction in December 1998 (Lot 760). Mr MacRae sold the car to Robert Ian Harley in 2004, who in turn sold it to Andrew Maurice Gibbs in 2005.
'TN1568' has been serviced and inspected by renowned marque specialists William Medcalf Ltd and during their subsequent ownership was developed and proven to be most reliable, so much so that it competed at a Goodwood Sprint in 2017. That same year the Bentley was invited to participate at The City of London Concours held at The Honourable Artillery Company's Headquarters in City Road.
'TN1568' has recently been completely restored, benefiting from marque specialist involvement in key areas as noted in the extensive history file. Invoices contained within the file show that it has benefited from approximately £150,000 of expenditure with marque specialists including Elmdown Engineering (approximately £40,000), James E Pearce (approximately £15,000), and Vintage Bentley Engineering (approximately £26,000). A unique car from a limited series, 'TN1568' represents a wonderful opportunity for the discerning collector.
Students got a chance to explore some of Lafayette’s organizations, clubs, and programs during the Involvement Fair on the Quad. The College boasts more than 200 opportunities for students to become involved in campus life, including academic honor societies, cultural and social organizations, community outreach, arts programs, sports clubs, and living groups. The fair is sponsored by Student Government and the Office of Student Leadership and Involvement.
Photos by Zachary Hartzell
Sept. 8, 2015
An LAPD Squad Car was involved in a Traffic Collision on Los Feliz Boulevard JWO Riverside Drive in Los Feliz. According to authorities, the officers were trying to conduct a Traffic Stop when they lost control of their car and it struck a light standard. The two officers suffered minor injuries and were not trapped inside the vehicle after the crash. There were no other vehicles involved.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
After the Falklands War, Argentina was not only left with a much reduced aerial strike force – budget restraints, inner and external political pressure as well as delivery boycotts plagued the country for years in its efforts to rejuvenate the air force. Recent years were troublesome, too. In early 2005 the top seventeen brigadiers of the Air Force, including the Chief of Staff, Brigadier General Carlos Rohde, were sacked by President Néstor Kirchner following a scandal involving drug trafficking through Ezeiza International Airport. The primary concerns of the Air Force as of 2010 were the establishment of a radar network for control of the country's airspace, the replacement of its older combat aircraft (Mirage III, Mirage V) and the incorporation of new technologies. The possibility of purchasing surplus French Air Force Mirage 2000C fighters, like the option chosen by the Brazilian Air Force, had been considered.
As of 2010, budgetary constraints continued, leading to the disbanding of the Boeing 707 transport squadron and maintenance problems for half of the C-130 Hercules fleet. In August 2010 a contract was signed for two Mi-17E helicopters, plus an option on a further three, to support Antarctic bases. All the time, though, the FAA had been seeking to replace its ageing force with a more capable and more serviceable modern aircraft. Argentina’s Super Étendard fighters, which had been used to launch Exocet missiles in the 1980s and still served, come from France. Its Mirage III/ V/ “Nesher” fighters were originally bought second-hand from Israel and Peru, but they had deteriorated badly. Its A-4P Skyhawk models were originally sold to Argentina by the USA but phased out in 1999, the more modern A-4AR “Fightinghawks” were rebuilt and modernized ex USMC A-4Ms. What was left of those deliveries made up the bulk of the Argentinian jet fleet.
The acquisition of Spanish Mirage F1Ms, IAI Kfir Block 60s from Israel and Saab Gripen E/Fs from Sweden was considered, but all of those deals stalled, for various reasons. The Mirage F1 deal was scrapped by the Spanish government after pressure of the UK to not assist in FAA modernization over tensions between the countries over the Falkland Islands. The UK also managed to successfully veto the sale of Gripen E/Fs, as 30% of the Gripen's parts were manufactured there. British diplomacy furthermore worked to delay Argentina’s proposed Super Étendard modernization. To make matters worse, despite steadily worsening relations with Britain under the Obama administration, the USA would neither sell Argentina any jet fighters, nor supply spare parts or engines.
This only left Argentina with the original source for its Nesher/Dagger/Finger fighters as a reliable and (moreover) affordable option: Israel. The (realistic) object of desire was the successor of the Nesher, the Kfir, which entered service with the IAF in 1975. The Kfir was, like the Nesher, a Mirage III/V derivative, but a major improvement. Substantial structural changes had been made and IAI replaced the original Atar 9C of French origin with a more powerful J79 turbojet, which had been used at the time by IDF F-4 Phantom IIs of American origin, too. The Kfir received during its career progressive modifications to its airframe (in the form of canards which improved the fighter’s handling considerably), radar, electronics, and weapons, and these upgrades continued even after the Kfirs were retired from Israeli service in the late 1990s, on behalf of export customers like Colombia, Ecuador, and Sri Lanka.
The Kfir’s retirement in Israeli service led to a great number of surplus airframes with considerable flying hours left, so that the Kfir C.10/Block 60, a dedicated export variant with many updates, was developed on their basis and offered to foreign customers. These machines carried modern multi-mode radars and electronics on par with contemporary F-16 Block 40/50s, giving them the ability to use beyond visual range aerial weapons, advanced short range AAMs, and a variety of precision strike weapons. However, it would take a brave Kfir pilot to face a Eurofighter Typhoon in single combat… even so, the late an updated Kfirs were capable and redoubtable fighters.
Their combat radius was a bit short, though, due to the thirsty and somewhat outdated J79 engine, but their aerial refueling capability compensated for this flaw and made them well-suited to intimidation and presence patrols. The Kfir’s relatively small price tag made it, despite the airframe’s overall age, very attractive for small nations with limited defense budgets – and consequently it attained Argentinian interest.
Argentinian negotiations went so far that Israel not only agreed to sell 18 revamped Kfir fighters from ex-IDF overstock, IAI also offered to adapt the airframes to a different engine, the French Atar 9K-50 afterburning turbojet, which were not part of the deal, though. This appeared like a backward roll, since the Kfir was originally constructed to replace the French Atar 9C with the American J79 in Israel’s Mirage III/V copy – but this move was the only way to provide Argentina with a suitable engine that was freely available on the Western world market without British or American bans and interventions.
The result of this deal became the so-called Kfir C.9, even though this was just an internal designation at IAI and never officially adopted in order to avoid political problems. In the course of 2013 and 2014, the engine-less Kfir airframes were delivered as knocked-down kits via ship to Argentina. At Argentina’s nationalized aircraft manufacturer Fábrica Argentina de Aviones SA (FAdeA) in Córdoba they were mated with the new engines, imported separately from France, and equipped with imported and domestic avionics. In Argentinian service and to the public, the aircraft became known as FAdeA “IA-96A” and was, keeping up the FAA’s tradition to christen its fleet of various Mirage III derivatives after domestic animals, called “Quique” (lesser grison).
The IA-96A/Kfir C.9 was specifically tailored to the Argentinian needs and restrictions. Despite wishes to buy Kfirs according to the more versatile and capable C.10 export standard with a modern Elta EL/M-2032 multi-mode radar, Argentina’s highly limited defense budget and other equipment constraints imposed by foreign suppliers and governments only allowed the procurement of what basically was a re-engined Kfir C.7 with some minor updates.
In contrast to the Kfir C.10, the older C.7 was only outfitted with the Elta EL/M-2021B radar. This was a multi-mode radar, too, which still offered air-to-air and air-to-surface capability, but it was less powerful than the C.10 standard and offered only a relatively short range of max. 46 mi/74 km.
Like the Israeli C.7, the C.9 had inflight refueling capability through a fixed but removable probe, and it featured a HOTAS-configured cockpit. Individual updates were a new, frameless wrap-around windshield for a better field of view, two 127×177mm MFDs in the cockpit, full HMD capability, a simple TAV38 laser rangefinder in a small fairing under nose, and improved avionics to deploy state-of-the-art guided weapons of Israeli and French origin (see below).
Outwardly, the C.9’s biggest difference to the original C.7 configuration – even though it was not very obvious – was the modified rear fuselage, which had to be changed in order to cover the longer and more slender Atar 9K-50 engine and its afterburner. In fact, the original IAI Nesher blueprints and toolings had been dusted off and used to produce these new parts.
Since the lighter Atar 9K-50 would not need the J79’s extra cooling and had a lower air mass flow, the Kfir’s characteristic auxiliary air intake at the fin’s root as well as several prominent air scoops along the fuselage disappeared, giving the aircraft a more streamlined look. As a positive side effect, this measure, together with the slimmer fuselage, improved aerodynamics, compensating for the slight reduction of overall thrust through the engine swap, and the longer fuselage made the aircraft directionally more stable, so that no fin fillet was necessary anymore. With the resulting short fin, the IA-96’s profile resembled that of the South African Atlas Cheetah E a lot, even though the latter were modernized Mirage IIIs and not converted IAI Kfirs. Compared with the Kfir C.7, top speed and service ceiling were slightly reduced, but the Atar 9K-50 consumed considerably less fuel, so that the unrefueled range of the short-legged Kfir with its thirsty J79 was markedly improved. The new engine was furthermore more responsive, so that overall performance and agility of the IA-96A remained on par with the Kfir or became even slightly better.
Beyond the aircraft order, Argentina also procured a modernized weapon arsenal from Israel for its new multi-role fighter generation. This included an undisclosed number of Derby medium range air-to-air missiles with an active-radar seeker, BVR capability and a range of 28 mi (45 km), Gabriel III anti-ship missiles with fire-and-forget capabilities and a range of more than 40 mi (60 km), as well as Griffin LGB guidance sets that could be added to various standard iron and cluster bombs. Furthermore, ten second-hand Thomson-CSF ATLIS II laser/electro-optical targeting pods were procured from France. Even though these pods lacked FLIR capabilities and were limited to being primarily a daylight/clear-weather system, they gave the Quique, in combination with the Griffin LGBs, full precision strike capability, esp. against ship targets – a clear political statement into the British direction.
The Quique fleet was supposed to replace all the older FAA types. With the roll-out of the first IA-96A in early 2015, all vintage FAA Mirages were officially decommissioned in November of the same year. Furthermore, all FAA’s A-4 Skyhawks were grounded as of January 2016, too (also for the lack of spares), even though a handful A-4ARs remained airworthy as a reserve and the rest in storage. Quique deliveries ended in September 2017 with the eighteenth machine, and all of them were allocated to FAA’s Grupo 5 de Caza at Villa Reynolds, 200 km (125 ml) in the South of Córdoba, where they had been assembled. However, since becoming operational, the aircraft were frequently deployed to other Argentinian air bases, including El Plumerillo Military Air Base in the Mendoza Province at the Chilean border and Rio Gallegos in Patagonia, in reach of the Malvinas/Falklands Islands.
If future budgets allow it, ten more IA-96A/Kfir C.9 might be ordered soon in order to replace the Argentinian Navy’s vintage Super Étendard fleet (which has been, since the decommissioning of ARA Veinticinco de Mayo in the late Eighties, land-based, anyway). The acquisition of four to six two-seaters, also modernized ex-IDF aircraft following the IA-96A pattern, with full attack capability and tentatively designated IA-96B, has been under consideration, too.
General characteristics:
Crew: 1
Length: 15.65 m (51 ft 4 in)
Wingspan: 8.22 m (27 ft 0 in)
Height: 4.55 m (14 ft 11 in)
Wing area: 34.8 m² (375 ft²)
Empty weight: 7,285 kg (16,061 lb)
Gross weight: 11,603 kg (25,580 lb)
Max takeoff weight: 16,200 kg (35,715 lb)
Powerplant:
1× SNECMA Atar 9K50C-11 afterburning turbojet engine,
49.2 kN (11,100 lbf) dry thrust and 70.6 kN (15,900 lbf) with afterburner
Performance:
Maximum speed: 2,350 km/h (1,460 mph, 1,270 kn) / Mach 2.2 at high altitude
1,390 km/h (860 mph; 750 kn) at sea level
Combat range: 1,300 km (810 mi, 700 nmi), clean, with internal fuel only
Ferry range: 2,600 km (1,600 mi, 1,400 nmi) w. three 1,300 l (340 US gal; 290 imp gal) drop tanks
Service ceiling: 17,000 m (56,000 ft)
Rate of climb: 233 m/s (45,900 ft/min)
Armament:
2× Rafael-built 30 mm (1.18 in) DEFA 553 cannon with 140 RPG
Nine external hardpoints for a maximum payload of 5,775 kg (12,732 lb) and a wide range of ordnance, including bombs such as the Mark 80 series, unguided air-to-ground rocket pods, Paveway and Griffin series of LGBs, guided air-to-ground missiles like the AGM-65 Maverick, and AIM-9 Sidewinders, Shafrir/Python/Derby-series AAMs
The kit and its assembly:
This what-if model was inspired by a short entry about the IAI Kfir I had found at Wikipedia: a proposed C.9 variant for Argentina, as a revamped and re-engined C.7, even though the entry lacked any further details and I was not able to dig anything about the C.9 up in the WWW. However, I tried to interpret this scarce basis and deduct a model from it, because the story was/is so good. Having recently read a lot about the Argentinian Mirage III/Nesher fleet and the Malvinas/Falklands conflict helped a lot, too. With many import limitations imposed by Great Britain and the USA as well as Argentina’s highly restricted budget, I eventually settled upon the idea of a rather simple, re-engined Kfir of C.7 standard, so that outwardly not much had to be changed – a better radar would have been desirable (Block 60 standard), but I’d assume that this would not have been possible with Argentina’s highly limited funds that already prevented updates to the existing and rather vintage (if not outdated) aircraft fleet.
The basis for the model is a Hasegawa Kfir, which I bought without box (and it turned it to lack the dashboard). The Hasegawa Kfir is a C.2 and the model is very similar to the Italeri kit (a C.7, but it is virtually identical), but it has a much better fit, goes together more easily and calls for considerably less PSR. As another bonus, the Hasegawa kit comes with a wider range of ordnance and also has the construction benefit of a connecting ventral “floor”, which makes the fuselage more stable and therefor suitable for my modification (see below).
The different engine for the C.9 variant was the biggest challenge – the Kfir’s rear fuselage is wider and shorter than the Mirage III’s with the Atar engine. These are just subtle differences at 1:72 scale, but not easy to realize: I needed a completely new rear fuselage! As a convenient solution, I dug out a PM Model Nesher (which is no Nesher at all, just a poor Mirage III at best) from the donor bank and let the saw sing. This kit is horrible in many ways (really, stay away!), but it’s tail section and the jet nozzle, pimped with an afterburner interior, were acceptable as conversion fodder.
Blending the (crappy!) Mirage III parts into the crisp Hasegawa Kfir took some serious PSR, though, including the need to fill 3mm wide gaps along the delta wing roots and bridging disparate fuselage shapes and diameters at the implant’s intersections. The Kfir’s fin was re-transplanted and lost its characteristic auxiliary air intake for the J79 engine, so that the profile became more Mirage III/V-esque. Due to the longer afterburner section, the brake parachute fairing had to be extended, too. The longer (just 3-4mm), more slender tail section and the cleaner fin change the Kfir’s look markedly – for the better, IMHO, and the model could also depict an Atlas Cheetah E!
Further minor mods include an in-flight refueling receptacle, scratched from wire and white glue for the tip, the modified windshield (the OOB part was simply sanded smooth and polished back again to transparency) and the ordnance; the Gabriel ASMs were created on the basis of a photograph, and they once were AIM-54 Phoenix AAMs from a Matchbox F-14, modified with new wings, a blunted tip and a pitot made from thin wire. Their pylons were once parts of F-14 wing root pylons from an Italeri F-14, with launch rails made from styrene profiles. The Derby AAMs are heavily modified Matchbox Sidewinders with an extended, pointed tip, mounted onto the OOB pylons. The ventral drop tank comes from the Hasegawa kit.
Painting and markings:
This was quite a challenge, because I wanted to apply something modern and plausible, yet avoid standard paint schemes. In fact, a realistic Argentinian Kfir C.9 from the late 2010s would probably have been painted in an overall pale grey or in two pale shades of grey with little contrast (as applied to the very late Mirage IIIs and the A-4ARs), with subdued low-viz markings and no roundels at all. I found this boring, but I also did not want to apply a retro SEA scheme, as used on the Nesher/Dagger/Finger during the Falklands War.
After turning over many options in my mind, I settled upon a two-tone grey livery, somewhat of a compromise between air superiority and attack operations, esp. over open water. The pattern was inspired by the livery of late Turkish RF-4Es, which were supposed to be painted in FS 36118 over an FS 36270 (or 36375, sources are contradictive and pictures inconclusive) overall base with a rising waterline towards the rear and the light undersides color spilling over to the wings’ upper surfaces. This scheme is simple, but looks pretty interesting, breaks up the aircraft’s outlines effectively, and it could be easily adapted to the delta-wing Kfir.
However, I changed two details in favor of an IMHO better camouflage effect at height. Firstly, the fin’s upper section was painted in the light grey (it’s all dark grey on the Turkish Phantoms), what IMHO reduces the strong contrast against the sky and the horizon. For a similar reason I secondly raised the underside’s light grey waterline towards the nose, so that the upper dark grey area became an integral anti-glare panel in front of the windscreen and the aircraft show less contrast from a frontal point of view. On the Turkish F-4s, the dark grey slopes downwards for a wrap-around area directly behind the radome.
I used Humbrol 125 (FS 36118, a pretty bluish interpretation of “Gunship Gray”) and 126 (FS 36270, US Medium Grey) as basic colors. The Gunship Gray was, after a light washing with black ink, post-shaded with FS 35164 (Humbrol 144), giving the dark grey an even more bluish hue, while the Medium Grey was treated with FS 36320.
The cockpit was painted in Camouflage Grey (Humbrol 156), the landing gear with the wells as well as the air intake ducts in standard gloss white (Humbrol 22). The Derby AAMs became light grey (Humbrol 127) with a beige radome tip, while the Gabriel ASM received a multi-color livery in black, white and light grey.
Decals and markings are purely fictional - as mentioned above, I’d assume that a real-world FAA Kfir would these days only carry minimal national markings in the form of a simple fin flash, no roundels at all and just a tiny tactical code (if at all), and everything toned-down or black. However, I wanted the model to be identified more easily, so I added some more markings, including small but full-color FAA roundels on fuselage and wings as well as full-color fin flashes, all procured from an Airfix Pucará sheet. The “Fuerza Aérea Argentina” inscription on the nose came from a Colorado Decals Mirage III/V sheet. The tactical code was taken from an Airfix sheet for an Argentinian Mirage III – it’s actually “I-016”, just turned upside down for a (much) higher/later number. 😉
After shading effects, the model only received little weathering in the form of graphite around the jet nozzle and the guns under the air intakes. Then it was sealed with matt acrylic varnish.
In the end a rather subtle conversion – even though the different rear fuselage was a major PSR stunt! The most obvious modification is probably the intake-less fin? The transplanted, different rear fuselage is hard to recognize and only true Mirage/Kfir experts might tell the changes – or the model is directly mistaken for a Mirage V fighter bomber? And even though the model carries a grey-in-grey scheme which I originally wanted to avoid, I think that the bluish touch and the integral, wavy pattern still look interesting?
However, I also like the story behind this whif that has real life roots – the real Kfir C.9 just failed to materialize because of lack of funding, and its introduction would certainly have had severe consequences for the unstable Argentinian-British relationships, since this capable aircraft would certainly pose a serious threat to the shaky peace in the Southern Atlantic and have stirred up the more or less dormant Falklands/Malvinas conflict again.
Students got a chance to explore some of Lafayette’s organizations, clubs, and programs during the Involvement Fair on the Quad. The College boasts more than 200 opportunities for students to become involved in campus life, including academic honor societies, cultural and social organizations, community outreach, arts programs, sports clubs, and living groups. The fair is sponsored by Student Government and the Office of Student Leadership and Involvement.
Photos by Zachary Hartzell
Sept. 8, 2015
Maybach has historic roots through the involvement of Wilhelm Maybach, who was the technical director of the Daimler-Motoren-Gesellschaft (DMG) until he left in 1907. On 23 March 1909 he founded the new company, Luftfahrzeug-Motorenbau GmbH (literally "Aircraft Engine Building Company"), with his son Karl Maybach as director. In 1912 they renamed it to Maybach-Motorenbau GmbH ("Maybach Engine Construction Company"). The company originally developed and manufactured diesel and petrol engines for Zeppelins, and then rail cars. The Maybach Mb.IVa was used in aircraft and airships of World War I.
Captured Maybach T3 Assault Gun (Sturmgeschütz III), made on the basis of medium tank Maybach T3 (Panzer III). National Museum of Military History (Bulgaria)
The company first built an experimental car in 1919, with the first production model introduced two years later at the Berlin Motor Show. Between 1921 and 1940, the company produced various classic opulent vehicles. The company also continued to build heavy duty diesel engines for marine and rail purposes. During the second world war, Maybach produced the engines for Nazi Germany's medium and heavy tanks.
After WW II the factory performed some repair work, but automotive production was never restarted, and some 20 years later, the company was renamed MTU Friedrichshafen. Daimler-Benz purchased the company in 1960.
Pre-war Models
1919 Maybach W1: Test car based on a BMW chassis
1921 Maybach W3: First Maybach, shown at Berlin Motor Show. Featured a 70 hp (52 kW) 5.7L inline six.
1926 Maybach W5: 7L inline six, 120 hp (89 kW)
1929 Maybach 12: V12 precursor to DS7/8
1930 Maybach DSH: Doppel-Sechs-Halbe ("half a twelve cylinder") 1930-37
1930 Maybach DS7 Zeppelin: 7L V12, 150 hp (112 kW)
1931 Maybach W6: Same engine as W5, longer wheelbase. 1931-33
1931 Maybach DS8 Zeppelin: 8L V12, 200 hp (150 kW)
1934 Maybach W6 DSG: Featuring a twin overdrive transmission system.
1935 Maybach SW35: 3.5L 140 hp (104 kW) I6
1936 Maybach SW38: 3.8L 140 hp (104 kW) I6
1939 Maybach SW42: 4.2L 140 hp (104 kW) I6
1945 Maybach JW61: 3.8L 145 hp (108 kW) I6
(Wikipedia)
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Der erste Maybach von 1919 war ein Prototyp, der „Wagen“ W 1, aufgebaut auf ein angekauftes Daimler-Chassis. Er trug schon die charakteristische Kühlermaske. W 2 war ein Motor. Der W 3 war 1921 der erste Serienwagen, mit Sechszylinder-Reihenmotor und angeblocktem Planetengetriebe, im Angebot als Typ 22/70 PS. Die erste Zahl bezeichnet die früheren „Steuer-PS“, eine vom Fiskus seit 1909 aus Leistung und Hubraum errechnete Kennzahl; die zweite die Motorenleistung.
1926 folgte W 5 als Typ 27/120 PS, der 1928 ein Schnellgang-Getriebe erhielt und daher W 5 SG hieß. 1930 kam, parallel zum „Zeppelin“, der W 6, den es ab 1934 auch mit Doppel-Schnellgang-Getriebe gab und so als W 6 DSG in den Annalen steht. Die Weiterentwicklung von 1934 war ein DSH, ein „Doppel-Sechs-Halbe“, was auf den 130 PS starken 5,2-Liter-Reihensechszylinder hinwies, eine vom „DS“-Zwölfzylinder abgeleitete, einfachere Konstruktion.
Die Zeppelin-DS-Modelle, von Karl Maybach 1930 erstmals offeriert und ab 1931 geliefert, gab es als Typen DS 7 und DS 8. Es waren die ersten Modelle von Maybach mit einem V-12-Motor. DS 7 bedeutet Doppel-Sechs-7-Liter. DS 8 bedeutet Doppel-Sechs-8-Liter. Der DS 7 leistete 150 PS. Der DS 8 leistete 200 PS. Er war mit einem 7922 Kubikzentimeter großen Motor ausgerüstet. Die Aufbauten lieferten Spohn und Erdmann & Rossi. Im Vergleich zum 1931 gebauten Bugatti Royale Typ 41 mit einem Preis von 100.300 Reichsmark war die Karosserie vom Zeppelin DS 8 geradezu günstig: 33.200 Reichsmark.
Maybach W 1, Versuchswagen, um 1919
Maybach W 3, 5,7 l Hubraum, 70 PS, ab 1921
Maybach W 5, 7 l Hubraum, 120 PS, 1926–1929
Maybach W 6, ab 1929
Maybach SW 35 (SW = Schwingachsenwagen), 3,5 l Hubraum, ab 1935 nur 50 Exemplare gebaut
Maybach SW 38, 3,8 l Hubraum, um 1936–1939
Maybach SW 42, 4,2 l Hubraum, um 1939–1941
Maybach „Zeppelin“ Sport, um 1938
Maybach „Zeppelin“ DS 8 Cabriolet, 1930–1937, sechs- bis siebensitzig
(Wikipedia)
Maybach has historic roots through the involvement of Wilhelm Maybach, who was the technical director of the Daimler-Motoren-Gesellschaft (DMG) until he left in 1907. On 23 March 1909 he founded the new company, Luftfahrzeug-Motorenbau GmbH (literally "Aircraft Engine Building Company"), with his son Karl Maybach as director. In 1912 they renamed it to Maybach-Motorenbau GmbH ("Maybach Engine Construction Company"). The company originally developed and manufactured diesel and petrol engines for Zeppelins, and then rail cars. The Maybach Mb.IVa was used in aircraft and airships of World War I.
Captured Maybach T3 Assault Gun (Sturmgeschütz III), made on the basis of medium tank Maybach T3 (Panzer III). National Museum of Military History (Bulgaria)
The company first built an experimental car in 1919, with the first production model introduced two years later at the Berlin Motor Show. Between 1921 and 1940, the company produced various classic opulent vehicles. The company also continued to build heavy duty diesel engines for marine and rail purposes. During the second world war, Maybach produced the engines for Nazi Germany's medium and heavy tanks.
After WW II the factory performed some repair work, but automotive production was never restarted, and some 20 years later, the company was renamed MTU Friedrichshafen. Daimler-Benz purchased the company in 1960.
Pre-war Models
1919 Maybach W1: Test car based on a BMW chassis
1921 Maybach W3: First Maybach, shown at Berlin Motor Show. Featured a 70 hp (52 kW) 5.7L inline six.
1926 Maybach W5: 7L inline six, 120 hp (89 kW)
1929 Maybach 12: V12 precursor to DS7/8
1930 Maybach DSH: Doppel-Sechs-Halbe ("half a twelve cylinder") 1930-37
1930 Maybach DS7 Zeppelin: 7L V12, 150 hp (112 kW)
1931 Maybach W6: Same engine as W5, longer wheelbase. 1931-33
1931 Maybach DS8 Zeppelin: 8L V12, 200 hp (150 kW)
1934 Maybach W6 DSG: Featuring a twin overdrive transmission system.
1935 Maybach SW35: 3.5L 140 hp (104 kW) I6
1936 Maybach SW38: 3.8L 140 hp (104 kW) I6
1939 Maybach SW42: 4.2L 140 hp (104 kW) I6
1945 Maybach JW61: 3.8L 145 hp (108 kW) I6
(Wikipedia)
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Der erste Maybach von 1919 war ein Prototyp, der „Wagen“ W 1, aufgebaut auf ein angekauftes Daimler-Chassis. Er trug schon die charakteristische Kühlermaske. W 2 war ein Motor. Der W 3 war 1921 der erste Serienwagen, mit Sechszylinder-Reihenmotor und angeblocktem Planetengetriebe, im Angebot als Typ 22/70 PS. Die erste Zahl bezeichnet die früheren „Steuer-PS“, eine vom Fiskus seit 1909 aus Leistung und Hubraum errechnete Kennzahl; die zweite die Motorenleistung.
1926 folgte W 5 als Typ 27/120 PS, der 1928 ein Schnellgang-Getriebe erhielt und daher W 5 SG hieß. 1930 kam, parallel zum „Zeppelin“, der W 6, den es ab 1934 auch mit Doppel-Schnellgang-Getriebe gab und so als W 6 DSG in den Annalen steht. Die Weiterentwicklung von 1934 war ein DSH, ein „Doppel-Sechs-Halbe“, was auf den 130 PS starken 5,2-Liter-Reihensechszylinder hinwies, eine vom „DS“-Zwölfzylinder abgeleitete, einfachere Konstruktion.
Die Zeppelin-DS-Modelle, von Karl Maybach 1930 erstmals offeriert und ab 1931 geliefert, gab es als Typen DS 7 und DS 8. Es waren die ersten Modelle von Maybach mit einem V-12-Motor. DS 7 bedeutet Doppel-Sechs-7-Liter. DS 8 bedeutet Doppel-Sechs-8-Liter. Der DS 7 leistete 150 PS. Der DS 8 leistete 200 PS. Er war mit einem 7922 Kubikzentimeter großen Motor ausgerüstet. Die Aufbauten lieferten Spohn und Erdmann & Rossi. Im Vergleich zum 1931 gebauten Bugatti Royale Typ 41 mit einem Preis von 100.300 Reichsmark war die Karosserie vom Zeppelin DS 8 geradezu günstig: 33.200 Reichsmark.
Maybach W 1, Versuchswagen, um 1919
Maybach W 3, 5,7 l Hubraum, 70 PS, ab 1921
Maybach W 5, 7 l Hubraum, 120 PS, 1926–1929
Maybach W 6, ab 1929
Maybach SW 35 (SW = Schwingachsenwagen), 3,5 l Hubraum, ab 1935 nur 50 Exemplare gebaut
Maybach SW 38, 3,8 l Hubraum, um 1936–1939
Maybach SW 42, 4,2 l Hubraum, um 1939–1941
Maybach „Zeppelin“ Sport, um 1938
Maybach „Zeppelin“ DS 8 Cabriolet, 1930–1937, sechs- bis siebensitzig
(Wikipedia)
PACIFIC OCEAN (Sept. 4, 2021) Sailors assigned to amphibious transport dock ship USS John P. Murtha (LPD 26) combat a simulated fire during a general quarters (GQ) drill as a part of exercise Freedom Banner 2021. John P. Murtha is participating in Freedom Banner, an annual exercise that involves strategic projection of the Maritime Prepositioning Force (MPF) and associated combat forces. (U.S. Navy photo by Mass Communication Specialist 2nd Class Curtis D. Spencer)