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The municipality of Mongiuffi Melia (ME), not far from Taormina, is made up of two villages, Mongiuffi and Melia, separated by a valley, a bridge joins them, they climb up the opposite ridge of two mountains, looking at each other; in this municipality (defined as a "scattered municipality" for not having a single inhabited center), there are two patron saints, San Sebastian for Melia (his float was built with the money collected by Sicilian soldiers sent to the front, to fight in Greece during the Second World War, hoping in this way to receive His intercession to save their lives), and San Leonard di Noblac (or Abbot) for Mongiuffi; but in this municipality there is also the cult of the "Virgin Mary of the Chain", whose sanctuary attracts pilgrims from everywhere. I have made this description to introduce a singular coincidence that not everyone is aware of, and to do this it is necessary to describe the figure of Saint Leonard (a kind of Saint Francis), and that of the Virgin Mary of the Chain, trying to be concise. Saint Leonard was born in Orléans around 496 (and died in Noblac, on November 6 – the feast day – of 545 or 559), and for most of his life (very interesting) he lived as a hermit; one episode of his life in particular I would like to recall, he received from Clovis, king of the Franks, the privilege of being able to free those prisoners, who he believed had been unjustly imprisoned, so from that moment on, he incessantly committed himself to giving freedom to all those prisoners who were reduced to visibly critical conditions. Let us leave this Saint for a moment, the cult of the “Virgin Mary of the Chain”, this name given to the Blessed Virgin, derives from a prodigious event that occurred in Palermo in 1392, known as the “miracle of the chains”. In short, in August 1392 in Palermo, three men for a glaring miscarriage of justice, were sentenced to death by hanging, shortly before going up to the gallows a violent storm broke out, which forced the three unfortunates and the gendarmes to take refuge in the nearby church of Saint Mary of the Port, close to the sea, also called "Churc of the Chain" due to the presence of a chain that, when positioned, prevented the Saracen pirate ships from accessing the inside of the port; in this holy place, the three condemned, were tied with double chains, in the meantime the door of the church was barred, in fact the storm did not seem to stop and in addition night had come, clearly the execution was now postponed to the next day. The three desperate men, in chains, under the gaze of the gendarmes, approached the painting of the Madonna in tears, imploring her to intercede for them, a voice was heard coming from the painting, which reassured them of their new freedom, this while the chains broke, and the door of the little church was thrown open. From then on, the cult of the Virgin Mary of the Chain spread from Palermo throughout Sicily, and even beyond. Now let's get to the coincidences I mentioned before, both Saint Leonard and the Virgin Mary of the Chain (and also Her Child that She holds in Her arms) carry a long chain in their hands, in fact both the Saint and the Blessed Virgin have given freedom to prisoners, furthermore to access Mongiuffi Melia, coming from Letojanni, you have to pass through a tunnel, called "Gallery of Postoleone" dug in the rock in 1916, with bare hands or with pickaxe blows, as explosives could not be used, by 300 Austrian prisoners, during the First World War (and also on this occasion, in Mongiuffi Melia, there are prisoners forced to do forced labor). Finally, a curiosity, very often from the cult of the Virgin Mary of the Chain, comes a singular name, very common in these parts, both in the masculine with the name of "Cateno" and in the feminine "Catena" (to quote a well-known character, the writer Catena Fiorello). Furthermore, if it rains, whatever the religious procession-feast, with the float carried on the shoulders, the float with the saint does not come out, but if the rain arrives during the event, then the event becomes a source of strong psycho-physical stress for the devotee-bearers (not for the devotee-pullers or devotee-pushers...), as the ground made slippery by the rain (or perhaps, worse, by the presence of mud mixed with water) makes the route risky due to the possibility that one, or more, bearers, could slip, with the possible overturning of the float, and easily imaginable consequences.
The photographic story that I present here was created by assembling photographs taken on November 6, 2022, November 6 and 10 of this year 2024; the heart of the celebration-procession is when the priest hangs a large “cuddurra” (donut) on the hand of Sint Leonard, on that occasion small “cuddure” (donuts) are offered to the population (prepared by hand in the days preceding the procession); there are girls wearing a typical monk's habit-like dress, adorning their head with a veil, they belong to the congregation of the "daughters of Mary" (third order Carmelite); at the end of the procession, with the float that has returned to the church, we witness a rite that has the "affective" purpose of keeping it alive, it is done so as not to lose its memory, even if it has not lost its original meaning, what remains is now only a symbolic fact, it is the ritual of "weighing" (in some centers of Sicily, it has maintained its original meaning) a wooden board is placed "in balance" on one of the two beams that are used to carry the float with the Saint on the shoulders, at the two ends a child is placed on one side, and on the other side a sack with grain, filled until the weight of the grain reaches the weight of the child, and that grain will be given as a gift to the Saint, in reality the symbolic aspect of the procedure remains, and the donation is still made to the Saint, but in paper money.
Postscript: Our Lady of the Chain and Saint Leonard freed from chains, these as such, are not only physical, there are also psychic ones, and perhaps they are the worst….
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Il comune di Mongiuffi Melia (ME), non molto distante da Taormina, è formato da due borghi, Mongiuffi e Melia, separati da una vallata, un ponte li congiunge, essi si inerpicano sul crinale opposto di due monti, guardandosi l’un l’altro; in questo comune (definito “comune sparso” per non avere un centro abitato unico), si hanno due santi patroni, San Sebastiano per Melia (la sua vara fu costruita con i soldi racimolati dai soldati Siciliani mandati al fronte, a combattere in Grecia durante la seconda guerra mondiale, sperando così facendo di ricevere la Sua intercessione per avere salva la vita), e San Leonardo di Noblac (o Abate) per Mongiuffi; ma in questo comune vi è anche il culto per la “Madonna della Catena”, il cui santuario attira pellegrini da ogni dove. Ho fatto questa descrizione, per introdurre una singolare coincidenza della quale non tutti sono a conoscenza, e per far questo è necessario descrivere la figura di San Leonardo (una specie di San Francesco), e quella della Madonna della Catena, cercando di essere sintetico. San Leonardo nasce ad Orléans nel 496 circa (e morto a Noblac, il 6 novembre – giorno della festa – del 545 o 559), per gran parte della sua vita (interessantissima) visse da eremita; un episodio della sua vita in particolare desidero ricordare, egli riceve da Clodoveo, re dei Franchi, il privilegio di poter rendere liberi quei prigionieri, che egli riteneva fossero stati incarcerati ingiustamente, egli così, da quel momento, si impegna incessantemente a dare la libertà a tutti quei prigionieri che erano ridotti in condizioni visibilmente critiche. Lasciamo per un attimo questo Santo, il culto della “Madonna della Catena”, questo nome dato alla Beata Vergine, deriva da un evento prodigioso avvenuto a Palermo nel 1392, conosciuto come “miracolo delle catene”. In breve, nell’agosto del 1392 a Palermo, tre uomini per un eclatante errore giudiziario, furono condannati a morte per impiccagione, poco prima di salire sul patibolo si scatenò un violento temporale, che costrinse i tre malcapitati ed i gendarmi a riparare nella vicina chiesa di S. Maria del Porto, a ridosso del mare, detta anche “Chiesa della Catena” per la presenza di una catena che, quando posizionata, impediva alle navi pirata Saracene di accedere all’interno del porto; in questo luogo santo, i tre condannati, furono legati con doppie catene, nel mentre la porta della chiesa veniva sbarrata, infatti il temporale non accennava a smettere ed in più era subentrata la notte, chiaramente l’esecuzione era oramai rimandata al giorno dopo. I tre disperati, in catene, sotto lo sguardo dei gendarmi, si avvicinarono in lacrime al quadro della Madonna implorandola di intercedere per loro, dal quadro si udì provenire una voce, che li rassicurava sulla sopraggiunta libertà, questo mentre le catene si spezzavano, e la porta della chiesetta si spalancava. Da allora il culto per la Madonna della Catena si diffuse da Palermo in tutta la Sicilia, ed anche oltre. Veniamo adesso alle coincidenze di cui accennavo prima, sia San Leonardo che la Madonna della Catena (ed anche il suo Bimbo che regge in braccio) recano in mano una lunga catena, infatti sia San Leonardo che la Beata Vergine hanno dato la liberà a dei prigionieri, inoltre per accedere a Mongiuffi Melia, provenendo da Letojanni, si deve passare necessariamente da una galleria, chiamata “Galleria di Postoleone” scavata nel 1916 nella roccia, a mani nude o con colpi di piccone, in quanto non si poteva usare l’esplosivo, da parte di 300 prigionieri austriaci, durante la prima guerra mondiale (ed anche in questa occasione, a Mongiuffi Melia, si ha la presenza di prigionieri costretti ai lavori forzati). Infine una curiosità, molto spesso dal culto della Madonna della Catena, proviene un singolare nome, molto comune da queste parti, sia al maschile col nome di “Cateno” che al femminile, “Catena” (per citare un personaggio noto, la scrittrice Catena Fiorello). Inoltre, se piove, qualsiasi sia la processione-festa religiosa, con la vara portata in spalla, la vara col santo non esce, se invece la pioggia arriva durante la manifestazione, allora l’evento acquista per i devoti-portatori (non per i devoti-tiratori o devoti-spingitori…) un motivo di forte stress psico-fisico, in quanto il terreno reso scivoloso dalla pioggia (o magari, peggio, dalla presenza di fango misto ad acqua) rende rischioso il percorso per la possibilità che uno, o più portatori, possano scivolare, con il possibile ribaltamento della vara, e conseguenze facilmente immaginabili.
Il racconto fotografico che qui presento, è stato realizzato assemblando fotografie fatte il 6 novembre del 2022, il 6 ed il 10 novembre di quest’anno 2024; il fulcro della festa-processione è quando il sacerdote appende una grande cuddurra (ciambella) sulla mano di San Leonardo, in quella occasione piccole cuddure vengono offerte alla popolazione (preparate ed intrecciate a mano nei giorni precedenti la processione); sono presenti delle ragazze che indossano un tipico vestito “tipo saio di monaco”, adornando il capo con un velo, appartengono alla congregazione delle “figlie di Maria” (terz’ordine carmelitano); alla fine della processione, con la vara che ha fatto rientro in chiesa, si assiste ad un rito che ha lo scopo “affettivo” di tenerlo in vita, viene fatto per non disperderne la memoria, pur non avendo perso il suo significato originario, quel che resta è oramai solamente un fatto simbolico, è il rito della “pesatura” (in alcuni centri della Sicilia, esso ha mantenuto il suo significato originario) un asse di legno viene messo “in equilibrio” su di una delle due travi che servono a portare in spalla la vara col Santo, alle due estremità si pongono da un lato un bimbo/a, e dall’altro lato un sacco con del grano, riempito fino a quando il peso del grano raggiungerà il peso del bimbo/a, e quel grano verrà dato in dono al Santo, in realtà resta l’aspetto simbolico della procedura, la donazione viene ugualmente fatta al Santo, ma in cartamoneta.
P.S. La Madonna della Catena e San Leonardo liberavano dalle catene, queste in quanto tali, non sono solo fisiche, ci sono anche quelle psichiche, e forse sono le peggiori….
……………………………………………………………….
يقول علماء النفس إن 99 بالمائة من مخاوفنا وهمية
لا توجد إلا بخيالنا و ليس لها أي أساس من الصحة
الخوف ليس إلا مجرد حالة ذهنية و الحالة
الذهنية قابله للسيطرة و التوجيه إذا وجدت الدوافع
نجد هذا الطفل دوافعه للركوب كانت أكبر من مخاوفه
ربي يحفظه وهو كاتب وصيته بجيبه
خخخخخ
Members of Women’s Strike for Peace picket in front of the Selective Service headquarters at 1724 F Street in Washington, D.C. July 10, 1968 protesting the sentencing of Dr. Benjamin Spock and three others for conspiracy to aid and abet draft resistance.
Spock, a prominent pediatrician and antiwar activist; Rev. William Sloane Coffin; Michael Goodwin, a writer and college instructor; and Michael Ferber, a college graduate student were all sentenced to two years in prison the same day. Another defendant, a founder of the Institute for Policy Studies Marcus Raskin, had been acquitted in the earlier trial.
They were also fined $5,000 except Ferber who was fined $1,000.
All five men joined a rally by about 1,000 people at Boston Commons, near where the sentencing took place, and vowed to continue their antiwar activities.
Federal Judge Francis J. W. Ford had no tolerance for the men saying the charge against the men “amounts to rebellion against the law Rebellion against the law is in the nature of treason. The law demands obedience.”
The judge further said that it would be “preposterous” if the four convicted of inciting draft evasion should “escape under the guise of free speech.”
The men never served jail time as their convictions were overturned on appeal.
The case was one of many conspiracy trials that took place during the Vietnam War as the federal government targeted those they perceived to be leaders of the antiwar movement. Nearly all of those conspiracy trials resulted in either acquittals, hung juries or convictions overturned on appeal.
For more information and related images, see www.flickr.com/gp/washington_area_spark/Q034FH
The photographer is unknown. The image is a United Press International photograph housed in the D.C. Library Washington Star Collection.
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9 habits of the mind
9 habits of extreme productivity
9 habits of world class startups
What's a sentence?
How can you go wrong with a ghost in a book store? The most accessible book by her yet!!!! Read it!
(Studio Amsterdam)
This sentence is a lie.
Who can’t but be intrigued by this 'truth'? I certainly am.
"we hoed in like a horde of hungry locusts"
It’s like I have stopped writing. This is something I will have to get over, get beyond, I mean. It’s that feeling of dependency on others, on a correspondent, someone I feed off and attempt to feed. That principal someone has been, for 25 years, the eponymous Rack of ‘Rack and Ruin’. Image making is also directed towards ‘the other’, that ‘responder’ out there, the resplendent ‘Seven’, or whoever. It speaks of a ‘failing’. I don’t know if it might speak of a lack of imagination as well. But in ‘truth’, I don’t care. I am not sure I want to write like that anyway, that ‘showing’ rather than ‘telling’ Rack speaks of.
I certainly couldn’t describe places, in New York or wherever, through memories, details of a place that might bring those places alive. They would be fictional. Perhaps I could re-find them through Google ‘streetview’ walks, but they have so changed since last century. I sometimes try to Google-walk some of them, those streets, ones I knew well even, such as that stroll from my 27th Street loft to my 28th street studio, in Chelsea, but it is now somewhere else. But that’s not really how I want to tell a story. It’s the convoluted interior walks I want to re-find and pillage, and that seems more doable. This, perhaps, takes one more into fiction, perhaps not. If it is, it’s another type of fiction, more comprising of the lies I have always told to myself. I don’t see this as a problem, there is always the possibility that one might have lied to oneself extravagantly, but I am more of the mind that these lies were more or less the commonplace prevarications that any and everyone might engender in their own lives to make moving forward possible. Life’s ‘drives’, and ‘drivers’, might be at the engineering of these same lies, through us, to move itself instinctively forward, to evolve, to be constantly growing through decay. Again, we are back to that kernel, the embracing of one’s own mulch. That marriage of then and now, and the inherent fertilised bed of the self, that relentless and lifelong ‘hoeing in’ (and how I have hoed), in its own time as the possible seedbed for what is to come. I don’t mean to say that this makes one exceptional in any way, mulch being mulch and all that wondrous palaver, it just speaks of a blinding equality, an absorption into that clay.
I don’t think I could describe Amsterdam, though I am in, shared and voluntary, quarantine, living here blissfully even. But then I wouldn’t want to attempt such a description. Amsterdam is perfectly capable of describing itself. It doesn’t need a pale echo of itself, ditto New York, London, Paris, wherever.
I haven’t stopped writing, but I have stopped writing that way.
Hoe (hoed, past tense)
verb
gerund or present participle: hoeing
1.
use a hoe to dig (earth) or thin out or dig up (plants).
"we were out in the fields, planting crops and hoeing weeds"
2.
INFORMAL•AUSTRALIAN
eat eagerly.
"we hoed in like a horde of hungry locusts"
I lied. I don't just like that marriage, I love it.
I just learned that Violet Hobaugh, who lived in the house I documented in the set "conviction" passed away this week.
© laura kicey
Arvid Pettersen (b. 1943) - Den nye broen [The new bridge] (1973). In the collection of KODE, Art Museums of Bergen, Norway.
As oil revenues started flooding the Norwegian state coffers in the 1970's, there was a big push by the political and economic establishment to develop the country's transportation infrastructure which, given the particular morphology of Noway with numerous mountains and fjords, inevitably meant lots of bridges, tunnels and tree felling. Like many fellow artists in Norway in that period, Arvid Pettersen was committed to intervene through his art in the political debates on issues such as the over-exploitation of natural resources, the environmental impact of development and the integration into the European Common Market.
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.
live from hand to mouth
(verb) to satisfy one’s basic needs because of a lack of money
Example Sentences:
The University students are living from hand to mouth because they don’t have a lot of money from their part-time jobs.
Jana lived from hand to mouth while studying for her Masters.
While Rebecca is unemployed she willlive from hand to mouth, so she decided to cancel her vacation.
Devil Beside You
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Devil Beside You
Devil Beside You (Chinese: 惡魔在身邊; pinyin: Èmó zài shēnbiān) is a 2005 Taiwanese drama starring Mike He, Rainie Yang and Kingone Wang. It is based on Japanese manga Akuma de Sourou, The Devil Does Exist (悪魔で候 Akuma de Sōrō?), written by Mitsuba Takanashi. It was produced by Comic Ritz International Production (可米瑞智國際藝能有限公司) with Chai Zhi Ping (柴智屏) as producer and directed by Lin He Long (林合隆). The series was first broadcast in Taiwan on free-to-air China Television (CTV) (中視) from 26 June to 18 September 2005 and cable TV Eastern Television (ETTV) (東森) for 20 episodes.Characters[edit]
Major characters[edit]
Drama characterActorManga characterCharacteristics
Qi Yue (齊悅)Rainie YangKayano SaitouShe is a sweet and innocent sophomore in college who lives with her widowed mother. She is shy and sometimes clueless, but has a loyal and kind heart that shines even through the toughest of times. She harbors a crush on the captain of the basketball team, Yuan Yi, but her life is turned upside-down by Ah Meng. Eventually, she falls out of love with Yuan Yi and starts developing feelings for Ah Meng. She constantly worries about him and their relationship being discovered. Qi Yue is also one of the managers of the basketball team. Although it hurts for her to accept that Jiang Meng is her future brother, she still continues to love the devil boy.
Jiang Meng aka Ahmon (江猛)Mike HeTakeru EdogawaHe is the son of the president of the school. He is a freshman at the college, yet he has power over his teachers due to his father's position. Ah Meng is also frightening to a lot of people and is known to bully girls, yet he is also known as the "prince of seduction." Despite his cool composure and "bad" attitude, Ah Meng has a gentle side and often sticks up for what is right. Li Xiang has a crush on him, which he does not reciprocate, but Ah Meng has feelings for Qi Yue. Although she is his future stepsister (elder), he does love her and enjoys teasing her. He knows that she loves him but gets jealous when he finds out that there are new people that are pursuing her. Ah Meng also joins the basketball team and has faster reflexes than rival Yuan Yi's. Ah Meng also has a little brother.
Shang Yuan Yi (尚源伊)Kingone WangKamijou YuuichiHe is a boy in Qi Yue's class (teasingly nicknamed "Ah Yi (Auntie in Chinese)", and is the captain of the basketball team. Qi Yue is initially in love with Yuan Yi for his gentle personality. Yuan Yi reciprocates her feelings and they become a couple. When Qi Yue falls in love with Ah Meng, she breaks up with Yuan Yi, wishing not to lead him on. Yuan Yi is angry and hostile towards Ah Meng at first, but gets over it and realizes his feelings for Qing Zi after she kisses him and he admits that he has feelings towards Qi Yue but he also knows he has no more chance because of Ah Meng.
Qing Zi (晴紫)Tsai Pei Lin (蔡裴琳)Harukawa KyokoShe is Qi Yue's outspoken best friend. She and Xiao Cai are the ones who encourages Qi Yue to confess her love to Yuan Yi, even though Qing Zi herself had a crush on him. Qing Zi cares for Qi Yue a lot and spends a lot of effort in helping her. After Qi Yue and Yuan Yi break up, Qing Zi starts dating Yuan Yi. Qing Zi and Yuan Yi's relationship is tested when Qing Zi feels that Yuan Yi is spending more time playing basketball than being with her. Feeling dejected, she meets with a stranger she chatted with online. She later gets into a tussle with him and Yuan Yi comes to her rescue instead of playing in the team's basketball match. When her father gets a new job, he forces her to emigrate with him, taking her away from Yuan Yi and her friends. Yuan Yi, in order to keep her with him, challenges her father, a skilled swordsman.
Xiao Cai (小彩)Fu Xiao Yun (傅小芸)NanachanShe is Qi Yue and Qing Zi's friend. She and Qing Zi were the ones who supported Qi Yue to confess her love to Yuan Yi. Unlike Qing Zi, Xiao Cai appears to be more calm. She also alerted Yuan Yi of Qing Zi's escapade with the stranger because she was worried about Qing Zi's safety.
Xin Li Xiang (辛莉香)Fan Hsiao Fun (范筱梵)Rika MoroboshiIn high school, she was an anti-social girl and acted snotty to all the girls in the class. Whenever she got bullied, Ah Meng would protect her. Li Xiang has also developed a crush on Ah Meng, calling him "Prince". She would do anything to get Ah Meng to notice her, she would even go as far as hiring girls to beat her up so Ah Meng could "save" her. Finally she realizes that this is not the way to get him to love her. Yang Ping had a crush on her and she then starts to have feelings for him and goes out with him.
Yu Yang Ping (于陽平)Masuyama YukiYouheiHe is Ah Meng's best friend who supports him. He used to be mocked by the middle school basketball teacher because he was overweight and he could not play well. Ah Meng was defensive and protective over him and he beat up the teacher. This lead them to become good friends. He has feelings for Li Xiang, but she has a crush on Ah Meng. He is willing to do anything for her, even trying to beat up Qi Yue. Li Xiang then starts to develop feelings for him and they start to go out.
Yuan Chuan Rang aka Ah Rang (袁川讓)Figaro CengYuzuruHe is Ah Meng's younger brother. Their father tried desperately to forget about him, and named Ah Meng as the successor of the company. Ah Rang follows and stalks Qi Yue everywhere, trying to force her and blackmail her to like him, who in turn, does everything she can to stop him. He tries to ruin Ah Meng's name, and puts Ah Meng and Qi Yue in lots of danger. He is later softened by Qi Yue, who later feels sorry for him and reaches out to him, and becomes more open. Ah Rang actually really looks up to Ah Meng and sees him as a hero, and actually cares deeply about him. He also tried to act like him, which causes him to get bullied and beaten up in school. Ah Meng then teaches him how to protect himself and fight the boys who bulied him. His mother chose him instead of Ah Meng when his parents divorced, causing Ah Meng to envy his younger brother. Ah Meng would often ignore him and never look at him, and act coldly toward him. Ah Rang is also being helped by the university president's assistant who is in love with Ah Rang's mother, who does not reciprocate that love. Plus, Ah Meng had accidentally shoved Ah Rang into a vase that had severely injured and cut his neck when they were young. This caused Ah Meng to have felt really sorry to his younger brother over the years. Because of this injury, he usually is weak and can collapse due to breath failure. He has asthma and after a "fake" attack, he and Ah Meng rekindle their relationship and become brothers once more.
Liu Mei Di (劉美蒂)Katherine Wang Kai Di (王凱蒂)A girl who Ah Meng saved when she dropped her glasses in the middle of a road. He took her to an optician and bought new glasses for her. She never got a good sight of him as she broke her glasses, but she fell in love with him. Coincidentally, Ah Meng's grandmother arranged a marriage for him and Meidi to try to break Ah Meng and Qi Yue apart. She is well-sheltered because everyone thinks she is cute and innocent due to her appearance. Ah Meng is the only person, besides blunt Li Xiang, that didn't give her what she wanted which is one of the reasons she loves him so much. She also has anemia that causes her to be dependent on chocolate, notably Ferrero Rocher, so she always carries a box in her bag. She likes to give out the chocolates to thank people for their kindness.
Tian Si Shen (田思慎)Wu Zhong Tian (吳中天)Shin FujitaQi Yue's first crush. He was her father's student when they were younger. He and Qi Yue had spent a lot of time together, and he was her mentor. She had always said when she was younger that she wanted to marry him when she grew up. He studied overseas for some time. When he came back, he became a substitute professor for a short while at her college. He also became the coach for the basketball team. Though he has a girlfriend, he harbors feelings for Qi Yue. Once he knows that Qi Yue is not the same girl she used to be and is in a relationship with Ah Meng, he then tries to get back his girlfriend.
It's just still too cold and to o cloudy...and just plain yucky to go out on a photoshoot, at least that's the way I am feeling. My camera was feeling neglected. So, out comes the word cube game! We had some fun here with this a few years back...so here is round two! ; ) (as Mr A to Z, Jason Mraz, says...it's all about the wordplay!)
Rising from the darkness
I scream and aim for light
My sentence has now ended
I run towards the flare
As they long for my suffering
I stand fearless
I’ll never be silent
For this’s my inception
Give me the arms to break
Free from this slumber
And I’ll fight for them
Give back what was stolen
As one, we will shatter his word
Let the curtain fall
Proud, as chaos rules the land
Let the curtain fall
Their cries muted our wounds
Blood as vengeance, a red flag
A deep growl broke our pride
The time has come
Give me the arms to break
Free from this slumber
And I’ll fight for them
Give back what was stolen
Chorus;
As one, we will shatter his word
Let the curtain fall
Proud, as chaos rules the land
Let the curtain fall
Strong! We’ll rise
Fearless! We’ll fight
Mighty! They’ll perish
They shall not tear us down
The path’s now cleared
Mourning has ceased
Off with their screams
They did not tear us down
Dubbo Gaol.
Not many towns in Australia can boost a mid-19th century gaol in their main street like Dubbo. Its history goes back to the origins of the town. In 1846, before the town was established in 1849, a Court room, police station and lock up was proposed on Dulhunty’s Dubbo run but others objected. The government procrastinated but the others won the decision. In 1847 a slab hut police residence was erected and in 1848 a court room and lockup was built in what is now Talbragar Street. These miserable slab huts were much later replaced by a new stone gaol of four cells and rooms for a gaoler in 1871 in their current position. Five more cells were added in 1874 with some outbuildings. Then a new grand gaol was built between 1877 and 1880 with stone walls and more cells for prisoners and rooms for warders. This new gaol had a large exercise area, a hospital, well ventilated cells for 35 prisoners, a kitchen and a library. There was a large padded cell, a solitary confinement cell and a condemned to death cell. The western section of the prisoner was added in 1887. In 1904 the gaol received 263 male and 42 female but released 270 males and 43 females so prisoners did not stay in Dubbo for long periods. On average the prison housed 23 prisoners each day. The gallows from 1871 were last used in 1904 and at least eight male murderers were hanged in Dubbo gaol but bushrangers in particular were also hanged at Dubbo before 1871.Those hanged include a Chinese man Ah Chick who murdered a farmer at Peak Hill and Jacky Underwood an Aboriginal man who took part in the Breelong massacres of 1900. The three Aboriginal leaders Jimmy Governor, Joe Governor and Jacky Underwood went on a nearly four month rampage murdering eleven white people including three children, six women and two men. This tragic episode was turned into a best-selling novel by Thomas Keneally in The Chant of Jimmie Blacksmith in 1972 and the ensuing film of 1978. The gallows have now been restored. The eastern gate of the gaol was built in 1929. The majority of prisoners were sentenced to Dubbo gaol by Magistrate Thomas Alexander Browne who wrote the novel Robbery Under Arms using his pseudonym Rolf Boldrewood. Browne was magistrate in Dubbo from 1870 to 1887. The goal finally closed in 1966 and Dubbo City Council got the government to agree to let them open it as a museum in 1974.
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.
There are many signs like this by "acción poética" (Armando Alanís) in the streets of Monterrey MX.
I like the sense of these sentences: "I surrender eternity that dwells in my heart"
Av. Colón
In Brooklyn, New York, on September 4th, 2018, on the Coney Island Boardwalk at Stillwell Avenue.
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Getty Thesaurus of Geographic Names terms:
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• Kings (county) (1002551)
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Art & Architecture Thesaurus terms:
• boardwalks (300189544)
• capital letters (300055061)
• orange (color) (300126734)
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Wikidata items:
• 4 September 2018 (Q45921190)
• all caps (Q3960579)
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• LED display (Q2411647)
• New York City Police Department (Q328473)
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Library of Congress Subject Headings:
• Electric signs (sh85042000)
Film: Fuji Neopan 1600. Shot and developed as 3200
Developer: D-76 (Stock)
Taken with: Nikon FM2 with Nikkor 45mm 1:2.8
Place: Moscow, Exhibition "Samurai. 47 Ronin"
This is another illustration I did on the vintage book pages from a dilapidated old Alice in Wonderland book. I used acrylic paints. I bordered the page with a fabric by Robert Kaufman and it looks really keen, see my blog: shebrews.com
The Dock Museum is situated in Barrow-in-Furness, Cumbria, England. Most of its exhibits concern the history of the town, focusing on the shipbuilding industry at VSEL (now BAE Systems), the steelworks industry — of which Barrow once had the world's largest, the Furness Railway and the World War II bombings of the town. There has been a museum in Barrow since 1907 and in its current location since 1994, when 50,000 people visited it in its first year, visitor numbers peaked at 120,000 in 2001. The museum has free entry and remains under public ownership.
On initial entrance to the museum, the ground floors galleries are about the town's history, its rapid mushrooming, as well as how it was affected by World War II. The largest part of the museum is housed in a former dry dock, where three floors containing models of ships and submarines built in Barrow, along with other exhibits can be found. The Vickers Photographic Archive, an archive of 10,000 glass plate negatives donated by the shipyard, was once available online. There are changing temporary exhibitions, two historic, locally-built vessels as well as a filmshow illustrating the town's past and present on the very bottom floor. The museum takes its name from the dock in which it is built. This is the oldest part of the museum, opened in 1872, and is one of its main attractions. The Dock Museum focuses largely on Barrow-in-Furness and its immediate surroundings. It is a common misconception that it is solely a maritime museum. The museum has a strong prehistory collection, natural history artefacts, domestic furnishings, toys and maritime objects. The Furness Hoard of Viking artefacts discovered in 2011 is currently being held at the museum with hopes it can be acquired after being valuated.
There are currently four small boats preserved at the Dock Museum, including a yacht called White Rose, which was built in the late 19th century; Banshee, a Whammel fishing boat; and the 1914 traditional Morecambe Bay prawner, Nance. The museum's largest vessel—the Watson-class RNLB Herbert Leigh (ON 900)—is sited adjacent to North Road.
The Dock Museum is located in Barrow-in-Furness alongside the Walney Channel. The Museum has a distinctive shape, and can be seen from the nearby intersection of the A590 road and Hindpool Road. The museum's original large car park was developed into a Premier Inn hotel and Brewers Fayre restaurant in 2014, with current parking now available to the south of the museum directly adjacent to the outdoor play area.
The museum is home to the 'Bridge Coffee Shop', a gift shop, a maritime themed adventure playground, toilets, disabled access, a studio for hire as well as access to the 'Channelside Walk', which leads up to the towns old slag banks, with good views of Barrow, Walney Island, the Lake District and the Isle of Man when the weather permits. It is a fully accessible museum.
The lower floor as well as The Studio (previously used to generate income from workshops and events) are now home to BAE Systems HR department. Barrow Borough Council and BAE Systems entered this financial partnership to give prospective employees a good first impression and some local knowledge of the town. Some resistance from regular visitors to the museum was met, but building modifications went ahead and a 25-year lease was signed. All building work was completed in early 2015, and the HR department moved into the museum. The Dock Museum are still offering workshops, events and tours, though in a revised capacity.
Barrow-in-Furness is a port town and civil parish (as just "Barrow") in the Westmorland and Furness district, in the ceremonial county of Cumbria, England. Historically in Lancashire, it was incorporated as a municipal borough in 1867 and merged with Dalton-in-Furness Urban District in 1974 to form the Borough of Barrow-in-Furness. In 2023, the borough merged with Eden and South Lakeland districts to form a new unitary authority: Westmorland and Furness. At the tip of the Furness peninsula, close to the Lake District, it is bordered by Morecambe Bay, the Duddon Estuary and the Irish Sea. In 2021, Barrow's population was 55,489, making it the second largest urban area in Cumbria after Carlisle, and the largest in the Westmorland and Furness unitary authority.
Natives of Barrow, as well as the local dialect, are known as Barrovian. In the Middle Ages, Barrow was a small hamlet within the parish of Dalton-in-Furness with Furness Abbey, now on the outskirts of the town, controlling the local economy before its dissolution in 1537. The iron prospector Henry Schneider arrived in Furness in 1839 and, with other investors, opened the Furness Railway in 1846 to transport iron ore and slate from local mines to the coast. Further hematite deposits were discovered, of sufficient size to develop factories for smelting and exporting steel. For a period in the late 19th century, the Barrow Hematite Steel Company-owned steelworks was the world's largest.
Barrow's location and the availability of steel allowed the town to develop into a significant producer of naval vessels, a shift that was accelerated during World War I and the local yard's specialisation in submarines. The original iron- and steel-making enterprises closed down after World War II, leaving Vickers shipyard as Barrow's main industry and employer. Several Royal Navy flagships, the vast majority of its nuclear submarines as well as numerous other naval vessels, ocean liners and oil tankers have been manufactured at the facility.
The end of the Cold War and subsequent decrease in military spending saw high unemployment in the town through lack of contracts; despite this, the BAE Systems shipyard remains operational as the UK's largest by workforce (12,000 employees in 2024)[3] and is now undergoing a major expansion associated with the Dreadnought-class submarine programme. Furthermore, in 2023 it was announced that a new class of nuclear submarine, associated with the trilateral AUKUS military alliance, will be designed and principally constructed in Barrow.
Today Barrow is also a hub for energy generation and handling. Offshore wind farms form one of the highest concentrations of turbines in the world, including the second largest offshore farm, with multiple operating bases in Barrow.
Barrow and the surrounding area has been settled non-continuously for several millennia with evidence of Neolithic inhabitants on Walney Island. Despite a rich history of Roman settlement across Cumbria and the discovery of related artefacts in the Barrow area, no buildings or structures have been found to support the idea of a functioning Roman community on the Furness peninsula. The Furness Hoard discovery of Viking silver coins and other artefacts in 2011 provided significant archaeological evidence of Norse settlement in the early 9th century. Several areas of Barrow including Yarlside and Ormsgill, as well as "Barrow" and "Furness", have names of Old Norse origin. The Domesday Book of 1086 recorded the settlements of Hietun, Rosse and Hougenai, which are now the districts of Hawcoat, Roose and Walney respectively.
In the Middle Ages the Furness peninsula was controlled by the Cistercian monks of the Abbey of St Mary of Furness, known as Furness Abbey. This was in the "Vale of Nightshade", now on the outskirts of the town. Founded for the Savigniac order, it was built on the orders of King Stephen in 1123. Soon after the abbey's foundation the monks discovered iron ore deposits, later to provide the basis for the Furness economy. These thin strata, close to the surface, were extracted through open cut workings, which were then smelted by the monks. The proceeds from mining, along with agriculture and fisheries, meant that by the 15th century the abbey had become the second richest and most powerful Cistercian abbey in England, after Fountains Abbey in Yorkshire. The monks of Furness Abbey constructed a wooden tower on nearby Piel Island in 1212 which acted as their main trading point; it was twice invaded by the Scots, in 1316 and 1322. In 1327 King Edward III gave Furness Abbey a licence to crenellate the tower, and a motte-and-bailey castle was built. However Barrow itself was just a hamlet in the parish of Dalton-in-Furness, reliant on the land and sea for survival. Small quantities of iron and ore were exported from jetties on the channel separating the village from Walney Island. Amongst the oldest buildings in Barrow are several cottages and farmhouses in Newbarns which date back to the early 17th century; as well as Rampside Hall, a Grade I listed building and the best-preserved in the town from the 1600s. Even as late as 1843 there were still only 32 dwellings, including two pubs.
In 1839 Henry Schneider arrived as a young speculator and dealer in iron, and he discovered large deposits of haematite in 1850. He and other investors founded the Furness Railway, the first section of which opened in 1846, to transport the ore from the slate quarries at Kirkby-in-Furness and haematite mines at Lindal-in-Furness and Askam and Ireleth to a deep-water harbour near Roa Island. The crucial and difficult link across Morecambe Bay between Ulverston and Carnforth on the main line was promoted, as the Ulverston and Lancaster Railway, by a group led by John Brogden and opened in 1857. It was promptly purchased by the Furness Railway.
The docks built between 1863 and 1881 in the more sheltered channel between the mainland and Barrow Island replaced the port at Roa Island. The first dock to open was Devonshire Dock in 1867, and Prime Minister William Ewart Gladstone stated his belief that "Barrow would become another Liverpool". The increasing quantities of iron ore mined in Furness were then brought into the centre of Barrow to be transported by sea.
The investors in the burgeoning mining and railway industries decided that greater profits could be made by smelting the iron ore and converting the resultant pig-iron into steel, and then exporting the finished product. Schneider and James Ramsden, the railway's general manager, erected blast furnaces at Barrow that by 1876 formed the largest steelworks in the world. Its success was a result of the availability of local iron ore and coal from the Cumberland mines and easy rail and sea transport. The Furness Railway, which counted local aristocrats the 7th Duke of Devonshire and the Duke of Buccleuch as investors, kick-started the Industrial Revolution on the peninsula. The railway brought mined ore to the town, where the steelworks produced large quantities of steel. It was used for shipbuilding, and derived products such as rails were also exported from the newly built docks.
Barrow's population grew rapidly. Population figures for the town itself were not collected until 1871, though sources suggest that Barrow's population was still as low as 700 in 1851. During the first half of the 19th century, Barrow formed part of the parish of Dalton-in-Furness, the population of which shows some of Barrow's early growth from the 1850s:
In 1871 Barrow's population was recorded at 18,584 and in 1881 at 47,259, less than forty years after the railway was built. The majority of migrants originated from elsewhere in Lancashire although significant numbers settled in Barrow from Ireland and Scotland, which represented 11% and 7% of the local population in the 1890s. By the turn of the 20th century, the Scottish-born population had increased to form the highest portion anywhere in England. Other notable immigrant groups included Cornish people who represented 80% of the district of Roose's population at the time of the 1881 census. In an attempt to diversify Barrow's economy James Ramsden founded the Barrow and Calcutta Jute Company in 1870 and the Barrow Jute Works was soon constructed alongside the Furness Railway line in Hindpool. The mill employed 2,000 women at its peak and was awarded a gold medal for its produce at the 1878 Paris Exposition Universelle.
The sheltered strait between Barrow and Walney Island was an ideal location for the shipyard. The first ship to be built, the Jane Roper, was launched in 1852; the first steamship, a 3,000-ton liner named Duke of Devonshire, in 1873. Shipbuilding activity increased, and on 18 February 1871 the Barrow Shipbuilding Company was incorporated. Barrow's relative isolation from the United Kingdom's industrial heartlands meant that the newly formed company included several capabilities that would usually be subcontracted to other establishments. In particular, a large engineering works was constructed including a foundry and pattern shop, a forge, and an engine shop. In addition, the shipyard had a joiners' shop, a boat-building shed and a sailmaking and rigging loft.
During these boom years, Ramsden proposed building a planned town to accommodate the large workforce which had arrived. There are few planned towns in the United Kingdom, and Barrow is one of the oldest. Its centre contains a grid of well-built terraced houses, with a tree-lined road leading away from a central square. Ramsden later became the first mayor of Barrow, which was given municipal borough status in 1867, and county borough status in 1889. The imposing red sandstone town hall, designed by W.H. Lynn, was built in a neo-gothic style in 1887. Prior to this, the borough council had met at the railway headquarters: the railway company's control of industry extended to the administration of the town itself.
The Barrow Shipbuilding Company was taken over by the Sheffield steel firm of Vickers in 1897, by which time the shipyard had surpassed the railway and steelworks as the largest employer and landowner in Barrow. The company constructed Vickerstown, modelled on George Cadbury's Bournville, on the adjacent Walney Island in the early 20th century to house its employees. It also commissioned Sir Edwin Lutyens to design Abbey House as a guest house and residence for its managing director, Commander Craven.
By the 1890s the shipyard was heavily engaged in the construction of warships for the Royal Navy and also for export. The Royal Navy's first submarine, Holland 1, was built in 1901, and by 1914 the UK had the most advanced submarine fleet in the world, with 94% of it constructed by Vickers. Vickers was also famous for the construction of airships and airship hangars during the early 20th century. Originally constructed in a large shed at Cavendish Dock, production later relocated to Barrow/Walney Island Airport. HMA No. 1, nicknamed the Mayfly is the most notable airship to have been built in Barrow. The first of its kind in the UK it came to an untimely end on 24 September 1911 when it was wrecked by wind during trials. Well-known ships built in Barrow include Mikasa, the Japanese flagship during the 1905 Russo-Japanese War, the liner SS Oriana and the aircraft carriers HMS Invincible and HMAS Melbourne. It should also be noted that there was a significant presence of Vickers' armament division in Barrow with the huge Heavy Engineering Workshop on Michaelson Road supplying ammunition for the British Army and Royal Navy throughout both world wars. World War 1 brought significant temporary migration as workers arrived to work in the munitions factory and shipyard, with the town's population reaching to an estimated peak of around 82,000 during the War. Thousands of local men fought abroad during World War I, 616 were ultimately killed in action.
During World War II, Barrow was a target for the German air force looking to disable the town's shipbuilding capabilities (see Barrow Blitz). The town suffered the most in a short period between April and May 1941. During the war, a local housewife, Nella Last, was selected to write a diary of her experiences on the home front for the Mass-Observation project. Her memoirs were later adapted for television as Housewife, 49 starring Victoria Wood. The difficulty in targeting bombs meant that the shipyards and steelworks were often missed, at the expense of the residential areas. Ultimately, 83 people were killed and 11,000 houses in the area were left damaged. To escape the heaviest bombardments, many people in the central areas left the town to sleep in hedgerows, with some being permanently evacuated. Barrow's industry continued to supply the war effort, with Winston Churchill visiting the town on one occasion to launch the aircraft carrier HMS Indomitable. Besides the dozens of civilians killed during World War II, some 268 Barrovian men were also killed whilst in combat.
Barrow's population reached a second peak in of 77,900 in 1951; however, by this point the long decline of mining and steel-making as a result of overseas competition and dwindling resources had already begun. The Barrow ironworks closed in 1963, three years after the last Furness mine shut. The by then small steelworks followed suit in 1983, leaving Barrow's shipyard as the town's principal industry. From the 1960s onwards it concentrated its efforts in submarine manufacture, and the UK's first nuclear-powered submarine, HMS Dreadnought, was constructed in 1960. HMS Resolution, the Swiftsure, Trafalgar and Vanguard-class submarines all followed. The last of these are armed with Trident II missiles as part of the British government's Trident nuclear programme.
The end of the Cold War in 1991 marked a reduction in the demand for military ships and submarines, and the town continued its decline. The shipyard's dependency on military contracts at the expense of civilian and commercial engineering and shipbuilding meant it was particularly hard hit as government defence spending was reduced dramatically. As a result, the workforce shrank from 14,500 in 1990 to 5,800 in February 1995, with overall unemployment in the town rising over that period from 4.6% to 10%. The rejection by the VSEL management of detailed plans for Barrow's industrial renewal in the mid-to-late 1980s remains controversial. This has led to renewed academic attention in recent years to the possibilities of converting military-industrial production in declining shipbuilding areas to the offshore renewable energy sector.
In a 2002 outbreak of legionellosis in the town, 172 people were reported to have caught the disease, of whom seven died. This made it the fourth worst outbreak in the world in terms of number of cases and sixth worst in terms of deaths. The source of the bacteria was later found to be steam from a badly maintained air conditioning unit in the council-run arts centre Forum 28.
At the conclusion of the inquest into the seven deaths, the coroner for Furness and South Cumbria criticised the council for its health and safety failings. In 2006, council employee Gillian Beckingham and employer Barrow Borough Council were cleared of seven charges of manslaughter. Beckingham, the council senior architect was fined £15,000 and the authority £125,000. Following the trials the contractor responsible for maintaining the plant settled a £1.5 million claim by the council for damages. The borough council was the first public body in the country to face corporate manslaughter charges.
2006 saw the construction of Barrow Offshore Wind Farm, which has acted as a catalyst for further investment in offshore renewable energy. Ormonde Wind Farm and Walney Wind Farm followed in 2011, the latter of which became the largest offshore wind farm in the world. The three wind farms are located west of Walney Island and are operated primarily by Ørsted (company), contain a total of 162 turbines and have a combined nameplate capacity of 607 MW, providing energy for well over half a million homes. West of Duddon Sands Wind Farm was commissioned in 2014 while Walney was extended in 2018 to again become the world's largest such offshore facility.
During the initial wave of the COVID-19 pandemic, Barrow had the highest rate of infection of any local authority in the United Kingdom. This was attributed to various socio-economic factors and a high level of testing also seen in the neighbouring authorities of South Lakeland and Lancaster. Rates fluctuated throughout the year and towards the end of 2020 infection rates were amongst the lowest in country.
From the mid 2010's to present, significant investment has taken place at BAE Systems' shipyard in Barrow with an expansion to accommodate the new Dreadnought-class programme. Further to this, committments associated with the AUKUS submarine programme will safeguard the shipyard's long-term future. Significant investment in renewable energy is also taking place with emerging proposals to repurpose Rampside Gas Terminals to facilitate the storage of carbon in the depleted Morecambe gas fields.
In 2023 media reported that Barrow was "torn apart" by false grooming gang allegations, with public demonstrations targeting the local newspaper, the Asian community and police. The scandal was the subject of the 2024 BBC documentary Liar: The Fake Grooming Scandal and the perpetrator Eleanor Williams was duly convicted and sentenced to eight and a half years in prison.
Gesehen beim Amtsgericht in Schorndorf, Baden-Württemberg. Ein Urteil mit Sofortvollzug ;-)
Lösung: Ein Parkplatzschild beim Schloss. Die Hühner sind zwischen Schlossmauer und Parkplatzschild.
Juli 2013.
Seen at the district court (German = Amtsgericht) in Schorndorf, Baden-Wurttemberg. A judgment with immediate execution ;-)
Resolving: A parking lot sign near the castle with the court. The chickens are between castle wall and parking lot sign.
July, 2013.
The AMT used to run one train a day each on the Lakeshore line all the way to Rigaud, Quebec (not too far from the Ontario border). They cut this train back to Hudson in 2010. The last train to Rigaud ran on June 30, 2010. These photos were taken on the train to Rigaud 2 months before. I travelled with my girlfriend (now wife), her father (a railway consultant) and a business partner of his, as well as Marc Chouinard, a railfan and regular user of this train.