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Впервые вижу на сайте такую возможность переключения между новыми "штучками" и традиционным привычным списком. Like. www.ted.com/index.php/themes/list
And here we go again - another client or conference speaker speaks about "the system" or "the markets". While being very relevant to what is happening, with the ability to read systems as a core skill for the future - many speak of systems and markets as if they were a true entity of its own. I addressed this perception in many visualization and in graphic recording work. Find two examples here.
Einmal mehr - Kunden und Sprecher auf Konferenzen sprechen von "dem System" oder "den Märkten". Während diese zweifelsohne von Bedeutung sind und die Fähigkeit, systemisch zu denken wächst, sprechen viele davon als seien System und Markt eigene real existierende Entitäten. Dies habe ich in vielen Visualisierungen und Graphic Recordings dargestellt. Zwei Beispiele hier.
www.IntegralInformationArchitecture.com
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U – Silk City
Project information
Location: Le Van Luong Road, Van Khe Ward, Ha Dong district, Hanoi
Type: Residential Building
Investor: Song Da – Thang Long Joint Stock Company
Total area: 9.2 hectares
Total investment: 10,000 billion VND
Building start date: November 2008
Building finish date: December 2013
Product by E5:
- Ariel visualization.
- Interior visualization.
- 3D Floor Plan
- Brand Identity Package.
- Catalog
- Signage Design for Model House
The 3D project completed in June 2010.
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.
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.
Revolve's photo exhibition launch at the Halles Saint Gery in downtown Brussels on July 1, 2014. In the presence of the City of Brussels, the Brussels Environment Agency (IBGE) and REScoop.
A few pix from the traveling hyperwall exhibit. Images provided by Winnie Humberson from NASA's Science Program Support Office. Many of visualizations on the hyperwall were provided by our partners at the Scientific Visualization Studio.
Visualization of an email list. Each picture reprensents one Month. A Sediment is an author, the height
Visualization of an email list. Each picture reprensents one Month. A Sediment is an author, the height represents the length of teh body, each hair is a word. Answers are red lines.
Visualization of an email list. Each picture reprensents one Month. A Sediment is an author, the height represents the length of teh body, each hair is a word. Answers are red lines.
Visualization Techniques Visualization Techniques are regularly used compared to you believe. Each one people made use of visualization at one factor of our life. This ability to picture upcoming circumstances can assist us to get prepared. It additionally assists us to see our objective plainly. There are different Visualization Techniques that work in a different […]
Julia Kaganskiy (@juliaxgulia) organizes Arts, Culture and Technology meetups in NYC. This event on 27th April 2010 was on Data Mining & Visualization: www.meetup.com/Arts-Culture-and-Technology/calendar/13144...
Golden WestLake
Project information
Location: 151 Thuy Khue Street, Tay Ho, Hanoi
Type: Apartments
Investor : Flamingo Hong Hac Dailai Resort JSC
Total area: 2ha
Building start date: 31/12/2005
Building finish date: 31/12/2007
Product by E5:
- Ariel visualization.
- Exterior visualizations
- Interior visualizations
- 5 minutes introducing film.
The 3D project completed in november 2007.
A few pix from the traveling hyperwall exhibit. Images provided by Winnie Humberson from NASA's Science Program Support Office. Many of visualizations on the hyperwall were provided by our partners at the Scientific Visualization Studio.
The Postcard
A postally unused postcard that was published by the Dulwich Picture Gallery.
In 1984, David Hockney traveled to Mexico City for the opening of his exhibition Hockney Paints the Stage at the Museo Rufino Tamayo.
While traveling from Mexico City to Oaxaca, Hockney's car broke down, so he decided to stay at the then-little known Hotel Romano Angeles in the small town of Acatlán. The hotel was arranged around a beautiful central courtyard full of foliage, and it immediately inspired the artist.
The courtyard inspired a set of drawings, later a series of lithographs, and finally the 1985 painting, A Walk Around the Hotel Courtyard, Acatlán. The oil is a diptych on two canvases measuring 183×610 centimeters overall.
Hockney returned later that year with master printer Kenneth Tyler which led to the creation of the Moving Focus series. Tyler developed a new printing method for this series that allowed Hockney to draw the printing elements onto portable Mylar sheets while sitting in the courtyard, rather than in the printing workshop.
Hockney preferred to use one sheet per color, the transparency allowing him to visualize the layers of the final composition. The Mylar sheets were later transferred to aluminum plates for printing at the New York printshop.
Tyler claims the series set a record for the number of printing elements made (a total of 577), with some 500 colors printed, making the Moving Focus series the artist's largest and most ambitious series of color lithographs.
David Hockney
David Hockney, who was born on the 9th. July 1937, is an English painter, draughtsman, printmaker, stage designer, and photographer.
He is an important contributor to the pop art movement of the 1960's, and is considered to be one of the most influential British artists of the 20th. and 21st. centuries.
Hockney has owned residences and studios in Bridlington and London, as well as two residences in California, where he has lived intermittently since 1964: one in the Hollywood Hills, and one in Malibu.
He has an office and stores his archives on Santa Monica Boulevard in West Hollywood, California.
On the 15th. November 2018, Hockney's 1972 work Portrait of an Artist (Pool with Two Figures) sold at Christie's auction house in NYC for $90 million (£70 million), becoming the most expensive artwork by a living artist sold at auction.
It broke the previous record which was set by the 2013 sale of Jeff Koons' Balloon Dog (Orange) for $58.4 million. Hockney held the record until the 15th. May 2019 when Koons reclaimed the honour by selling his Rabbit for more than $91 million at Christie's in New York.
David Hockney - The Early Years
David Hockney was born in Bradford, West Riding of Yorkshire, the fourth of five children of Kenneth Hockney who was an accountant's clerk who later ran his own accountancy business, and who had been a conscientious objector in the Second World War.
David's mother Laura (née Thompson) was a devout Methodist and strict vegetarian.
He was educated at Wellington Primary School, Bradford Grammar School, Bradford College of Art, and the Royal College of Art in London, where he met R. B. Kitaj and Frank Bowling.
At the Royal College of Art, Hockney featured – alongside Peter Blake – in the exhibition New Contemporaries, which announced the arrival of British Pop art. He was associated with the movement, although his early works display expressionist elements which are similar to some of Francis Bacon's works.
When the RCA said it would not let him graduate if he did not complete an assignment of a life drawing of a live model in 1962, Hockney painted Life Painting for a Diploma in protest.
David refused to write an essay required for the final examination, and said that he should be assessed solely on his artworks. Recognising his talent and growing reputation, the RCA changed its regulations and awarded him a diploma.
David Hockney's Career
After leaving the RCA, David taught at Maidstone College of Art for a short time. He taught at the University of Iowa in 1964.
Later in 1964, Hockney moved to Los Angeles, where he was inspired to make a series of paintings of swimming pools in the comparatively new acrylic medium using vibrant colours.
He also taught at the University of Colorado, Boulder in 1965 before teaching at UCLA from 1966 to 1967, and then at UCB in 1967.
David lived at various times in Los Angeles, London, and Paris from the late 1960's to 1970's. In 1974 he began a decade-long personal relationship with Gregory Evans who moved with him to the US in 1976 and as of 2019 remains a business partner.
In 1978 David rented a home in the Hollywood Hills; he later bought and expanded the house to include his studio. He also owned a 1,643-square-foot beach house at 21039 on the PCH in Malibu, which he sold in 1999 for about $1.5 million.
In the 1990's, Hockney returned more often to Yorkshire, usually every three months, to visit his mother who died in 1999.
Until 1997, David rarely stayed for more than two weeks, when his friend Jonathan Silver who was terminally ill, encouraged him to capture the local surroundings. At first he did this with paintings based on memory, some from his boyhood.
In 1998, he completed his painting of the Yorkshire landmark, Garrowby Hill. Hockney returned to Yorkshire for increasingly longer stays, and by 2003 was painting the countryside en plein air in both oils and watercolour.
David set up residence and a studio in a converted bed and breakfast, in the seaside town of Bridlington, about 75 mi (121 km) from where he was born. The oil paintings he produced after 2005 were influenced by his intensive studies in watercolour, a series titled Midsummer: East Yorkshire (2003–2004).
He created paintings made of multiple smaller canvases — two to fifty — placed together. To help him visualise work at that scale, he used digital photographic reproductions to study the day's work.
In spring 2020 he stayed at La Grande Cour, a farmhouse and studio in Normandy, during the global COVID-19 pandemic. Since that date he has settled full-time in Normandy.
David Hockney's Work
Hockney has experimented with painting, drawing, printmaking, watercolours, photography, and many other media including a fax machine, paper pulp, computer applications and iPad drawing programs.
The subject matter of interest ranges from still lifes to landscapes, portraits of friends, his dogs, and stage designs for the Royal Court Theatre, Glyndebourne, and the Metropolitan Opera in NYC.
-- Portraits
Hockney repeatedly returned to painting portraits throughout his career. From 1968, and for the next few years, he painted portraits and double portraits of friends, lovers, and relatives just under life-size in a realistic style that adroitly captured the likenesses of his subjects.
Hockney has repeatedly been drawn to the same subjects – his family, employees, artists Mo McDermott and Maurice Payne, various writers he has known, fashion designers Celia Birtwell and Ossie Clark (Mr. and Mrs. Clark and Percy, 1970–71), curator Henry Geldzahler, art dealer Nicholas Wilder, George Lawson and his ballet dancer lover, Wayne Sleep, and also his romantic interests throughout the years, including Peter Schlesinger and Gregory Evans.
Perhaps more than all of these, Hockney has turned to his own figure year after year, creating over 300 self-portraits.
From 1999 to 2001 Hockney used a camera lucida for his research into art history as well as his own work in the studio. He created over 200 drawings of friends, family, and himself using this antique lens-based device.
In 2016, the Royal Academy exhibited Hockney's series entitled 82 Portraits and 1 Still-life which traveled to Ca' Pesaro in Venice and the Guggenheim Museum Bilbao in 2017, and to the LA County Museum of Art in 2018.
Hockney calls the paintings started in 2013 "twenty-hour exposures," because each sitting took six to seven hours on three consecutive days.
-- Printmaking
Hockney experimented with printmaking as early as a lithograph Self-Portrait in 1954 (see above), and worked in etchings during his time at RCA.
In 1965, the print workshop Gemini G.E.L. approached him to create a series of lithographs with a Los Angeles theme. Hockney responded by creating The Hollywood Collection, a series of lithographs recreating the art collection of a Hollywood star, each piece depicting an imagined work of art within a frame.
Hockney went on to produce many other portfolios with Gemini G.E.L. including Friends, The Weather Series, and Some New Prints.
During the 1960's David produced several series of prints that he thought of as 'graphic tales', including A Rake's Progress (1961–63) after Hogarth, Illustrations for Fourteen Poems from C. P. Cavafy (1966) and Illustrations for Six Fairy Tales from the Brothers Grimm (1969).
In 1973 Hockney began a fruitful collaboration with Aldo Crommelynck, Picasso's preferred printer. In his atelier, he adopted Crommelynck's trademark sugar lift, as well as a system of the master's own devising of imposing a wooden frame onto the plate to ensure colour separation.
Their early work together included Artist and Model (1973–74) and Contrejour in the French Style (1974).
In 1976–77 Hockney created The Blue Guitar, a suite of 20 etchings, each utilising Crommelynck's techniques and filled with references to Picasso. The frontispiece to the suite mentions Hockney's dual inspiration:
"The Blue Guitar: Etchings By David Hockney
Who Was Inspired By Wallace Stevens Who
Was Inspired By Pablo Picasso".
The etchings refer to themes in a poem by Wallace Stevens, The Man with the Blue Guitar, which was published by Petersburg Press in October 1977. That year, Petersburg also published a book in which the images were accompanied by the poem's text.
In the summer of 1978, David Hockney stayed for six weeks with his friend the printer Ken Tyler at Tyler's studio in New York. Tyler invited Hockney to try a new technique with liquid paper. The process is painting with the paper itself, so the artist had to do it himself by hand.
Each image becomes a unique work between printmaking and painting. In six weeks, Hockney created a total of 29 artworks with a series of 17 sunflowers and swimming pools. Many of the works are very similar, differentiated by changes in colour choice and application of the colour. Some are solely coloured using paper pulp, while some use spray paint to achieve certain details.
Some of Hockney's other print portfolios include Home Made Prints (1986), Recent Etchings (1998) and Moving Focus (1984–1986), which contains lithographs related to A Walk Around the Hotel Courtyard, Acatlan.
A retrospective of David's prints, including 'computer drawings' printed on fax machines and inkjet printers, was exhibited at Dulwich Picture Gallery in London from February – May 2014 and Bowes Museum, County Durham from June – September 2014, with an accompanying publication, Hockney, Printmaker, by Richard Lloyd.
-- Photocollages
In the early 1980's, Hockney began to produce photo collages— which, in his early explorations within his personal photo albums, he referred to as "joiners" — first using Polaroid prints and subsequently 35mm, commercially processed colour prints.
Using Polaroid snaps or photolab-prints of a single subject, Hockney arranged a patchwork to make a composite image. Because the photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, one of Hockney's major aims — discussing the way human vision works.
Some pieces are landscapes, such as Pearblossom Highway #2, others are portraits including Kasmin 1982; and My Mother, Bolton Abbey, 1982.
Creation of the "joiners" occurred accidentally. He noticed in the late 1960's that photographers were using cameras with wide-angle lenses. He did not like these photographs because they looked somewhat distorted.
While working on a painting of a living room and terrace in Los Angeles, he took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. On looking at the final composition, he realised it created a narrative, as if the viewer moved through the room.
He began to work more with photography after this discovery, stopping painting for a while to pursue this new technique exclusively.
However over time, he discovered what he could not capture with a lens, saying:
"Photography seems to be rather good at
portraiture, or can be. But, it can't tell you
about space, which is the essence of
landscape. For me anyway.
Even Ansel Adams can't quite prepare you
for what Yosemite looks like when you go
through that tunnel and you come out the
other side."
(Ansel Adams was an American landscape photographer and environmentalist).
Frustrated with the limitations of photography and its 'one-eyed' approach, he returned to painting.
-- Other Technology
In December 1985 Hockney used the Quantel Paintbox, a computer program that allowed the artist to sketch directly onto the screen. The resulting work was featured in a BBC series that profiled several artists.
In 1999 – 2001, David's sister, Margaret, began experimenting with digital photography, scanning and computer printing, particularly making images of flowers scanning a small Japanese vase and fresh flowers.
In 2003, she was experimenting with Photoshop, scanning summer flowers and building up images in layers which Margaret printed out on an A3 printer. In 2004, David went to stay with Margaret, and she helped him scan his sketchbook of Yorkshire landscapes, and David soon began using a Wacom pad and pen directly into Photoshop.
Since 2009, Hockney has painted hundreds of portraits, still lifes and landscapes using the Brushes iPhone and iPad application, often sending them to his friends.
In 2010 and 2011, Hockney visited Yosemite National Park in order to draw its landscape on his iPad. David used an iPad in designing a stained glass window at Westminster Abbey which celebrated the reign of Queen Elizabeth II. Unveiled in September 2018, the Queen's Window is located in the north transept of the Abbey and features a hawthorn blossom scene which is set in Yorkshire.
From 2010 to 2014, Hockney created multi-camera movies using three to eighteen cameras to record a single scene. He filmed the landscape of Yorkshire in various seasons, jugglers and dancers, and his own exhibitions within the de Young Museum and the Royal Academy of Arts.
His earlier photo collages influenced his shift to another medium, digital photography. He combined hundreds of photographs to create multi-viewpoint "photographic drawings" of groups of his friends in 2014.
Hockney picked the process back up in 2017, this time using the more advanced Agisoft PhotoScan photogrammetric software which allowed him to stitch together and rearrange thousands of photos.
The resulting images were printed out as massive photomurals, and were exhibited at Pace Gallery and LACMA in 2018.
-- Plein Air Landscapes
In June 2007, Hockney's largest painting, Bigger Trees Near Warter or Peinture sur le Motif pour le Nouvel Age Post-Photographique, which measures 15 by 40 feet (4.6 by 12.2 m), was hung in the Royal Academy's largest gallery in its annual Summer Exhibition.
This work is a monumental-scale view of a coppice in Hockney's native Yorkshire, between Bridlington and York. It was painted on 50 individual canvases, mostly working in situ, over five weeks the previous winter.
In 2008, he donated it to Tate in London, saying:
"I thought if I'm going to give something to the
Tate I want to give them something really good.
It's going to be here for a while. I don't want to
give things I'm not too proud of... I thought this
was a good painting because it's of England...
it seems like a good thing to do."
The painting was the subject of a BBC1 Imagine film documentary by Bruno Wollheim called David Hockney: A Bigger Picture (2009) which followed Hockney as he worked outdoors over the preceding two years.
-- Theatre Works
Hockney's first stage designs were for Ubu Roi at London's Royal Court Theatre in 1966, Stravinsky's The Rake's Progress at the Glyndebourne Festival Opera in 1975, and The Magic Flute for Glyndebourne in 1978.
In 1980, he agreed to design sets and costumes for a 20th.-century French triple bill at the Metropolitan Opera House with the title Parade.
The works were Parade, a ballet with music by Erik Satie; Les Mamelles de Tirésias, an opera with libretto by Guillaume Apollinaire, and L'Enfant et les Sortilèges, an opera with libretto by Colette.
The re-imagined set of L'Enfant et les Sortilèges from the 1983 exhibition Hockney Paints the Stage is a permanent installation at the Spalding House branch of the Honolulu Museum of Art.
David designed sets for another triple bill of Stravinsky's Le Sacre du Printemps, Le Rossignol, and Oedipus Rex for the Metropolitan Opera in 1981, as well as Richard Wagner's Tristan und Isolde for the Los Angeles Music Center Opera in 1987.
David also created sets for Puccini's Turandot in 1991 at the Chicago Lyric Opera, and Richard Strauss's Die Frau ohne Schatten in 1992 at the Royal Opera House in London.
In 1994, he designed costumes and scenery for twelve opera arias for the TV broadcast of Plácido Domingo's Operalia in Mexico City.
Technical advances allowed him to become increasingly complex in model-making. At his studio he had a proscenium opening 6 feet (1.8 m) by 4 feet (1.2 m) in which he built sets in 1:8 scale.
He also used a computerised setup that let him punch in and program lighting cues at will and synchronise them to a soundtrack of the music.
In 2017, Hockney was awarded the San Francisco Opera Medal on the occasion of the revival and restoration of his production for Turandot.
The majority of David's theatre works and stage design studies are found in the collection of The David Hockney Foundation.
Exhibitions of David Hockney's Work
David Hockney has been featured in over 400 solo exhibitions and over 500 group exhibitions.
He had his first one-man show at Kasmin Limited when he was 26 in 1963, and by 1970 the Whitechapel Gallery in London had organised the first of several major retrospectives, which subsequently travelled to three European institutions.
LACMA also hosted a retrospective exhibition in 1988 which travelled to the Met, New York, and the Tate, London. In 2004, he was included in the cross-generational Whitney Biennial, where his portraits appeared in a gallery with those of a younger artist he had inspired, Elizabeth Peyton.
In October 2006, the National Portrait Gallery in London organised one of the largest ever displays of Hockney's portraiture work, including 150 paintings, drawings, prints, sketchbooks, and photocollages from over five decades.
The collection ranged from his earliest self-portraits to work he completed in 2005. Hockney assisted in displaying the works and the exhibition, which ran until January 2007, was one of the gallery's most successful.
In 2009, "David Hockney: Just Nature" attracted some 100,000 visitors at the Kunsthalle Würth in Schwäbisch Hall, Germany.
From January to April 2012, the Royal Academy presented A Bigger Picture, which included more than 150 works, many of which took up entire walls in the gallery's brightly lit rooms.
The exhibition is dedicated to landscapes, especially trees and tree tunnels of his native Yorkshire. Works included oil paintings, watercolours, and drawings created on an iPad and printed on paper. Hockney said, in a 2012 interview:
"It's about big things. You can make
paintings bigger. We're also making
photographs bigger, videos bigger,
all to do with drawing."
The exhibition drew more than 600,000 visitors in under 3 months. The exhibition moved to the Guggenheim Museum in Bilbao, Spain from May to September, and from there to the Ludwig Museum in Cologne, Germany, between October 2012 and February 2013.
From October 2013 to January 2014, David Hockney: A Bigger Exhibition was presented at the de Young Museum in San Francisco.
The largest solo exhibition Hockney has had, with 397 works of art in more than 18,000 square feet, was curated by Gregory Evans, and included the only public showing of The Great Wall, developed during research for Secret Knowledge, and works from 1999 to 2013 in a variety of media from camera lucida drawings to watercolours, oil paintings, and digital works.
From February to May 2017 David Hockney was presented at the Tate Britain, becoming the most-visited exhibition in the gallery's history. The exhibition marked Hockney's 80th. year and gathered together an extensive selection of David Hockney's most famous works celebrating his achievements in painting, drawing, print, photography and video across six decades.
The show then travelled to Centre Georges Pompidou in Paris and The Metropolitan Museum of Art. The wildly popular retrospective landed among the top ten ticketed exhibitions in London and Paris for 2017, with over 4,000 visitors per day at the Tate, and over 5,000 visitors per day in Paris.
After the blockbuster exhibitions in 2017 of the works of decades past, Hockney went on to display his newest paintings on hexagonal canvases and mural-size 3D photographic drawings at Pace Gallery in 2018.
He revisited paintings of Garrowby Hill, the Grand Canyon, and Nichols Canyon Road, this time painting them on hexagonal canvases to enhance aspects of reverse perspective.
In 2019, his early work featured in his native Yorkshire at The Hepworth Wakefield.
In April–June 2022 an exhibition "Hockney's Eye: The Art and Technology of Depiction" was held at the Fitzwilliam Museum, Cambridge and at the city's Heong Gallery.
In 2023 the Honolulu Museum of Art (HoMA) presented "David Hockney: Perspective Should Be Reversed, Prints from the Collections of Jordan D. Schnitzer and His Family Foundation."
The exhibition is the largest retrospective print exhibition of Hockney's career, with more than 100 colourful prints, collages and photographic and iPad drawings, in a variety of media, spanning six decades of the artist's career.
David Hockney's Personal Life
Hockney came out as gay when he was 23, while studying at the Royal College of Art in London. Great Britain decriminalised homosexual acts seven years later in the Sexual Offences Act 1967.
Hockney has explored the nature of gay love in his work, such in as the painting We Two Boys Together Clinging (1961), named after a poem by Walt Whitman.
In 1963 he painted two men together in the painting Domestic Scene, Los Angeles, one showering while the other washes his back.
In the summer of 1966, while teaching at UCLA, he met Peter Schlesinger, an art student who posed for paintings and drawings, and with whom he became romantically involved.
Another of Hockney's romantic partners who was the subject of his work was Gregory Evans; the two met in 1971 and began a relationship in 1974. While no longer romantically involved, they still work together, with Evans managing the David Hockney Studio.
Hockney's current partner is longtime companion Jean-Pierre Gonçalves de Lima. Also known as JP, he also works with Hockney in his studio as his chief assistant.
In March 2013, Hockney's 23-year-old assistant, Dominic Elliott, died as a result of drinking drain cleaner at Hockney's Bridlington studio; he had earlier taken both drugs and alcohol.
Hockney's partner drove Elliott to Scarborough General Hospital where he later died. The inquest returned a verdict of death by misadventure. In November 2015 Hockney sold his house in Bridlington, thereby ending his connections with the town.
Next he moved to Normandy, and now lives near the village of Beuvron-en-Auge. He holds a California Medical Marijuana Verification Card, which enables him to buy cannabis for medical purposes.
David has used hearing aids since 1979, but realised he was going deaf long before then. As of 2018, he has been keeping fit by spending half an hour in the swimming pool every morning.
Hockney has synaesthetic associations between sound, colour and shape.
David Hockney Collections
Many of Hockney's works are housed in the 1853 Gallery at Salts Mill in Saltaire, near his hometown of Bradford. Another large group of works are held by The David Hockney Foundation. His work is in numerous public and private collections worldwide, including:
Honolulu Museum of Art
Museum of Fine Arts, Boston
National Gallery of Australia, Canberra
Art Institute of Chicago
Museum of Fine Arts, Houston
Louisiana Museum of Modern Art, Humlebæk, Denmark
National Portrait Gallery, London
Tate, U.K.
J. Paul Getty Museum, Los Angeles
Los Angeles County Museum of Art
Walker Art Center, Minneapolis
Metropolitan Museum of Art, New York
Museum of Modern Art, New York
Centre Georges Pompidou, Paris
Fine Arts Museums of San Francisco
Museum of Contemporary Art, Tokyo
Aboa Vetus & Ars Nova, Turku, Finland
Mumok, Ludwig Foundation, Vienna
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Smithsonian American Art Museum, Washington, D.C.
Muscarelle Museum of Art, Williamsburg, VA
Official Recognition for David Hockney
In 1967, Hockney's painting Peter Getting Out of Nick's Pool won the John Moores Painting Prize at the Walker Art Gallery in Liverpool.
In 1983, the Hamburg-based Alfred Toepfer Foundation awarded Hockney its annual Shakespeare Prize in recognition of his life's work.
David was offered a knighthood in 1990 but declined it, before later accepting an Order of Merit.
He was awarded The Royal Photographic Society's Progress medal in 1988, and the Special 150th. Anniversary Medal and an Honorary Fellowship in recognition of a sustained, significant contribution to the art of photography in 2003.
David was made a Member of the Order of the Companions of Honour in 1997, and awarded The Cultural Award from the German Society for Photography (DGPh). He is a Royal Academician.
In January 2012, David was appointed to the Order of Merit, an honour restricted to 24 members at any one time for their contributions to the arts and sciences.
He was a Distinguished Honoree of the National Arts Association, LA, in 1991, and received the First Annual Award of Achievement from the Archives of American Art, LA, in 1993.
In 2003, Hockney was awarded the Lorenzo de' Medici Lifetime Career Award of the Florence Biennale, Italy.
Commissioned by The Other Art Fair, a November 2011 poll of 1,000 British painters and sculptors declared him Britain's most influential artist of all time.
David is an honorary member of the Printmakers Council.
David Hockney and Sgt. Pepper
In 2012, Hockney was among the British cultural icons selected by the artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover – to celebrate the British cultural figures of his life that he most admires.
To see the original album cover and to read about how it was developed, please search for the tag 56BLA53
David Hockney and the Art Market
On the 21st. June 2006, Hockney's painting The Splash sold for £2.6 million.
David's A Bigger Grand Canyon, a series of 60 canvases that combined to produce one enormous picture, was bought by the National Gallery of Australia for $4.6 million.
Beverly Hills Housewife (1966–67), a 12-foot-long acrylic that depicts the collector Betty Freeman standing by her pool in a long hot-pink dress, sold for $7.9 million at Christie's in New York in 2008, the top lot of the sale and a record price for a Hockney.
This was topped in 2016 when his Woldgate Woods landscape made £9.4 million at auction.
The record was broken again in 2018 with the sale of Piscine de Medianoche (Paper Pool 30) for $11.74 million
The Splash was offered for auction again on the 11th. February 2020, with an estimate of £20 – 30 million and sold, to an unknown buyer, for £23.1 million.
In 2018 Sotheby's sold Pacific Coast Highway and Santa Monica for $28.5 million.
On the 15th. November 2018, David Hockney's 1972 painting Portrait of an Artist (Pool with Two Figures) sold at Christie's for $90.3 million, surpassing the previous auction record for a living artist of $58.4 million, held by Jeff Koons for one of his Balloon Dog sculptures. David had originally sold the painting for $20,000 in 1972.
The Hockney–Falco Thesis
The Hockney–Falco thesis is a theory of art history, advanced by David Hockney and physicist Charles M. Falco.
They argue that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical instruments such as the camera obscura, camera lucida, and curved mirrors, rather than solely due to the development of artistic technique and skill.
Nineteenth-century artists' use of photography has been well documented.
In a 2001 book, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, Hockney analyzed the work of the Old Masters, and argued that the level of accuracy represented in their work is impossible to create by "eyeballing it".
Since then, Hockney and Falco have produced a number of publications on positive evidence of the use of optical aids, and the historical plausibility of such methods.
In the 2001 television programme and book Secret Knowledge, which was revised in 2006, Hockney suggested that the Old Masters used lens techniques that projected the image of the subject onto the surface of the painting.
Hockney argued that this technique migrated gradually from Northern Europe to Italy, and is the reason for the photographic style of painting seen in the Renaissance and later periods of art.
The hypothesis has led to a variety of conferences and heated discussions.
David Hockney in Public Life
Like his father, Hockney was a conscientious objector, and worked as a medical orderly in hospitals during his National Service, 1957–1959.
David was a founder of the Museum of Contemporary Art, Los Angeles, in 1979.
He was on the advisory board of the political magazine Standpoint; he contributed original sketches for its launch edition in June 2008, as well as agreeing to allow Standpoint to publish his previous views and pictures over the years.
David is a staunch pro-tobacco campaigner. In 2005 he fought to stop the ban on smoking in pubs and restaurants.
At the Labour Party conference he held up a card saying:
"DEATH awaits you all
even if you do smoke".
He was invited to guest-edit BBC Radio's Today programme on the 29th. December 2009 in which he aired his views on the subject.
In October 2010, he and a hundred other artists signed an open letter to the Secretary of State for Culture, Media and Sport, Jeremy Hunt, protesting against cutbacks in the arts.
In 2013 David wrote a foreword and provided illustrations for a book by John Staddon, Unlucky Strike.
David Hockney In Popular Culture
In 1966, while working on a series of etchings based on love poems by the Greek poet Constantine P. Cavafy, Hockney starred in a documentary by filmmaker James Scott, entitled Love's Presentation.
He was the subject of Jack Hazan's 1974 biopic, A Bigger Splash, named after Hockney's 1967 pool painting of the same name.
Hockney was commissioned to design the cover and pages for the December 1985 issue of the French edition of Vogue. Consistent with his interest in cubism and admiration for Pablo Picasso, Hockney chose to paint Celia Birtwell (who appears in several of his works) from different views for the cover, as if the eye had scanned her face diagonally.
Hockney was inducted into Vanity Fair's International Best-Dressed Hall of Fame in 1986.
In 2005, Burberry creative director Christopher Bailey centred his entire spring/summer menswear collection around the artist.
Hockney was also the inspiration for artist Billy Pappas in the documentary film Waiting for Hockney (2008), which debuted at the Tribeca Film Festival.
In 2011, British GQ named him one of the 50 Most Stylish Men in Great Britain.
In 2012, fashion designer Vivienne Westwood, a close friend, named a checked jacket after Hockney.
David Hockney: A Rake's Progress (2012) is a biography of Hockney covering the years 1937–1975, by writer/photographer Christopher Simon Sykes.
In 2012, Hockney featured in BBC Radio 4's list of The New Elizabethans to mark the diamond Jubilee of Queen Elizabeth II. A panel of seven academics, journalists and historians named Hockney among the group of people in the UK:
"... whose actions during the reign of Elizabeth II
have had a significant impact on lives in these
islands and given the age its character".
In March 2013, David was listed as one of the Fifty Best-Dressed Over-50's by The Guardian.
The 2015 Luca Guadagnino's film A Bigger Splash was named after Hockney's painting.
In 2022, he was portrayed by Laurence Fuller in the 7th. episode of the 1st. season of Minx.
In BoJack Horseman, a caricature of Portrait of an Artist (Pool with Two Figures) hangs on the wall of the title character's home office. In this version, horses replace the two human figures of the original.
The David Hockney Foundation
The David Hockney Foundation — both the UK-registered charity and the US private operating foundation — was created by the artist in 2008.
In 2012, Hockney, worth an estimated $55.2 million (approx. £36.1 m), transferred paintings valued at $124.2 million (approx. £81.5 m) to the David Hockney Foundation, and gave an additional $1.2 million (approx. £0.79 m) in cash to help fund the foundation's operations.
The foundation's mission is to advance appreciation and understanding of visual art and culture through the exhibition, preservation, and publication of David Hockney's work.
Richard Benefield, who organised David Hockney: A Bigger Exhibition in 2013–2014 at the de Young Museum in San Francisco, became the first executive director in January 2017.
The foundation owns over 8,000 works – paintings, drawings, watercolours, complete editioned prints, stage design, multi-camera movies, and other media.
They also hold 203 sketchbooks and Hockney's personal photo albums from 1961 to 1990.
The foundation manages various loans to museums and exhibitions around the world.
These include Happy Birthday, Mr. Hockney! at the Getty celebrating his 80th. birthday, and the retrospective exhibitions of 2017–2018 at the Metropolitan Museum, Centre Georges Pompidou, and Tate Britain.
Books by David Hockney
David Hockney's publications include:
— (1971). 72 Drawings. London: Jonathan Cape.
— (1976). David Hockney. London: Thames & Hudson.
— (1977). Blue Guitar: Etchings by David Hockney Who Was Inspired by Wallace Stevens Who Was Inspired by Pablo Picasso. New York: Petersburg Press.
— (1978). Travels with Pen, Pencil and Ink. New York: Petersburg Press.
— (1979). Stangos, Nikos (ed.). Pictures by David Hockney. London: Thames & Hudson.
— (1980). Travels with Pen, Pencil and Ink. London: Tate Gallery.
— (1981). Looking at Pictures in a Book at the National Gallery (The artist's eye). London: National Gallery.
— (1982). Photographs. New York: Petersburg Press.
— (1983). Hockney's Photographs. London: Arts Council of Great Britain.
— Stangos, Nikos (1985). Martha's Vineyard and other places: My Third Sketchbook from the Summer of 1982. London: Thames and Hudson.
— (1987). David Hockney: Faces 1966–1984. London: Thames & Hudson.
— Stangos, Nikos (1989). That's the Way I See It. London: Thames and Hudson.
— Spender, Stephen (1991). Hockney's Alphabet. London: Random House.
— (1993). David Hockney: Some Very New Paintings. William Hardie (Introduction). Glasgow: William Hardie Gallery.
— (1994). Off the Wall: A Collection of David Hockney's Posters 1987–94. Brian Baggott. Pavilion Books.
— (1995). David Hockney: Poster Art. Chronicle Books.
— (1999). Picasso. Galerie Lelong.
— (1999). Une éducation artistique. Galerie Lelong.
— (2001). Hockney's Pictures. London: Thames & Hudson.
— (2006). Secret Knowledge: Rediscovering the lost techniques of the Old Masters (Expanded ed.). Thames & Hudson; Viking Studio.
— (2008). Hockney on Art: Conversations with Paul Joyce. Paul Joyce. New York: Little, Brown and Company.
— (2011). David Hockney's Dog Days. London: Thames & Hudson.
— (2011). A Yorkshire Sketchbook. London: Royal Academy of Arts.
— (2012). David Hockney: A Bigger Picture. London: Thames & Hudson.
— (2013). David Hockney: A Bigger Exhibition. Fine Arts Museums of San Francisco and Del Monico with Prestel.
— (2016). A History of Pictures. Martin Gayford. London: Thames & Hudson.
— (2021). Spring Cannot be Cancelled: David Hockney in Normandy. Martin Gayford. London: Thames & Hudson.
— (2022). David Hockney: Moving Focus. Texts by Wayne Sleep et al. Lucerne, London: Kunstmuseum Luzern, Tate Publishing.
-- A Bigger Book
In October 2016 Taschen published David Hockney: A Bigger Book, costing £1,750 (£3,500 with an added loose print).
David curated the selection of more than 60 years of his work reproduced within 498 pages. The book, weighing 78 lbs, had gone through 19 proof stages.
The book came with an (optional) substantial wooden lectern. He unveiled the book at the Frankfurt Book Fair where he was the keynote speaker at the opening press conference.
Two visual cartographers, David Sibbet and Kevin Richards sketched the TED presenters and their ideas as they were delivered. This work was compiled into a book available for download:
First Hacks/Hackers Meetup held at Atherton Studio at HPR. Great presentations by Ben Trevino, Jared Kuroiwa and Misa Maruyama.
Julia Kaganskiy (@juliaxgulia) organizes Arts, Culture and Technology meetups in NYC. This event on 27th April 2010 was on Data Mining & Visualization: www.meetup.com/Arts-Culture-and-Technology/calendar/13144...
visualization of people on the street. mapping on bus route of M5 bus in NYC and 1500-1 bus in Seoul
I've been to SXSW for 5 years (and attended in spirit via the interwebs for a couple of years more).
The Sprinklr VIP penthouse party this past Sunday was definitely one of the highlights of my overall SXSW experience.
Great people, great food, great conversations. It was a great night.
It was especially rewarding to see the Command Center + data viz solution we've been working on for quite some time rendering beautifully on every screen within our awesome new office in Austin TX.
Hope everyone had a great time and that we see you there again next year!
ps. Thanks for the photos Kris Krüg.