View allAll Photos Tagged graffiticulture
A piercing blue mural eye painted on a shutter turns the street into a silent observer. In this mix of graffiti and grit, the city itself feels alive, always watching, never blinking.
Ben Flynn known professionally as Eine, is an English graffiti writer and vandal based in London.
- excerpt Wikipedia
Shoreditch, London
27th May, 2018
Ben Flynn known professionally as Eine, is an English graffiti writer and vandal based in London.
- excerpt Wikipedia
Shoreditch, London
27th May, 2018
Final touches by Eine (Ben Flynn also known as Einesigns) on Peace is Possible, his latest excellent work in Shoreditch, London.
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Shoreditch
27th May, 2018
I've been painting this. In the Essex sunshine. Goodtimes alongside the hoodlums nizer & hilt. It was hot! Shout to everyone out there still getting up just for fun! Free hand spray can art no stencils no masking just cool hand can control.
inspired by Guy Hays Tattoo illustration.
#graffiti #graffitiart #instagraf #instaart #spraycans #spraycanart #tiger #dragon #tigerdragon #essexartist #essexgraffiti #ukgraffiti #londongraffiti #brave1 #instagraffiti #southend #graffiticulture #graffititattoo #tattoograffiti #tattooedwalls #alfreshco #Montanacans
"-This is the first image of a series of a large body of work focusing on the Appalling, apathetic nature of our society -- currently.."
Various Markers on a 6"X5" (aprox.) ups slap-all freehand, original art by:
SE@MO1
SKAM vs Graffface
created by graffface
Thanks Graffface for making this sweet canvas inspired by the original SKAM character!!!!!
This exuberant mural by Os Gêmeos bursts off the brick wall with the dynamic energy of a 1980s block party. Captured in New York City and now exhibited photographically at the Hirshhorn Museum, the work showcases the signature yellow-skinned characters of the Brazilian street art duo, whose real names are Otavio and Gustavo Pandolfo. Rendered with surreal proportions and animated postures, the figures convey both swagger and soul, embodying the essence of street culture across time and continents.
Each character in this scene feels like a personality plucked from a dance floor or subway car—one wears a “Frosty Freeze” cap in homage to the legendary breakdancer, another cradles a towering boombox, and all four groove with exaggerated limbs and flashy fits. Their elongated limbs, mismatched sneakers, and patterned clothing burst with storytelling detail. Os Gêmeos, deeply influenced by hip-hop and São Paulo’s vibrant graffiti scene, translate that rhythm into brushstrokes and spray paint, layering their pieces with cultural memory and a touch of magical realism.
Installed at street level in the heart of Manhattan, this mural was not simply painted—it was performed. Like many Os Gêmeos works, it was created in public view, inviting everyday New Yorkers to pause, watch, and connect with their surroundings through art. Even when removed from its original location and recontextualized inside a gallery or museum, it retains that participatory energy. You feel like you could walk right into the party.
The mural’s photographic display within Revolutions: Art from the Hirshhorn Collection 1860–1960 serves as a bridge between eras, linking contemporary street art to historical revolutions in visual expression. Just as Impressionists broke away from academic painting and Dadaists disrupted norms with radical experimentation, Os Gêmeos push past the conventions of the white cube and challenge where art belongs—and who it’s for.
Bright, cheeky, and undeniably alive, this mural is more than a colorful wall: it’s a conversation. Between neighborhoods and nations, past and present, music and paint, Os Gêmeos use their twin telepathy to weave a visual rhythm that makes you stop, smile, and maybe even dance.
You’ll find works like this throughout their global portfolio—from the favelas of São Paulo to the walls of Berlin and Boston. But here, against a red-brick New York wall, their art pulses with a distinctly American bounce. It’s nostalgia wrapped in aerosol, memory painted in motion, a flash of joy with revolutionary undertones.
This electrifying photo and video installation celebrates the golden age of hip-hop through a mosaic of moments — breakdancers in mid-spin, crews posing with boomboxes, emcees flexing their gear, and neighborhoods transformed into stages. Now featured in the Revolutions: Art from the Hirshhorn Collection 1860–1960 exhibit, this vibrant wall pulses with the energy of the 1970s and 1980s Bronx, New York, where hip-hop emerged not just as music, but as a full cultural movement of expression, resistance, and artistry.
Each image captures a slice of that moment: kids flipping off walls, crews getting low to the beat, and dancers showcasing acrobatic feats that defy gravity. Centered in the display is a video still — a blur of red motion frozen in a power move — with subtitles that read “put on a display of rhythm, skill and creativity.” It perfectly encapsulates the essence of hip-hop’s birth as an artform of improvisation and identity.
These photos go beyond mere documentation. They are tributes to a revolutionary era of self-made artists who shaped sound, language, and style. From the park jams to the subway cars, this visual chronicle honors the people and places that made hip-hop a global language. You can see iconic tropes: Kangol hats, windbreakers, Adidas tracksuits, and the ever-present boombox — symbols that have come to define an entire aesthetic and philosophy.
In the context of the Revolutions exhibition, this hip-hop wall functions as a crucial contemporary counterpart to the earlier artistic revolutions represented in the gallery. Like Dada, Surrealism, or Abstract Expressionism, hip-hop was — and remains — a radically democratic form of cultural innovation. Born from limited means but limitless imagination, it was a reclamation of space, voice, and power. It didn't wait for the museum to come to it; it made the street the gallery.
While many of the artists featured in this exhibit came from institutional backgrounds, these hip-hop pioneers built a legacy outside of traditional systems — and eventually influenced everything from fashion and film to fine art and politics. The Hirshhorn’s inclusion of this multimedia work alongside movements like Cubism or Futurism affirms hip-hop’s place in the broader narrative of art history.
What’s most striking is the joy. Despite the gritty backdrops and economic adversity that often defined their neighborhoods, the subjects of these photos beam with pride, energy, and connection. The rhythm lives in their bodies, their outfits, their poses — a rhythm that continues to echo worldwide.
Whether you're a lifelong fan or a newcomer to the culture, this piece captures the heartbeat of a generation that turned turntables into tools, sidewalks into stages, and struggle into style.
Brazilian street art duo Os Gêmeos delivers a powerful visual juxtaposition in this vibrant installation at the Hirshhorn Museum, where their signature yellow-skinned figures stand defiantly in contrast to monochrome riot police. Installed as part of the Revolutions: Art from the Hirshhorn Collection 1860–1960 exhibit, this contemporary work pushes the boundaries of traditional portraiture and political commentary. Though not from the same historical period, its inclusion underscores how themes of revolution and resistance have carried into today’s visual languages.
On the left, a grid of helmeted riot police painted in shades of gray presents a faceless, dehumanized force of control. Among them, a lone figure—painted in the artists’ signature vivid palette—breaks the monochrome pattern, a lone splash of individuality in a sea of conformity. On the right, we’re met with a sea of resistance: colorful masked characters rendered in psychedelic reds, pinks, oranges, and purples. They are expressive, varied, and surreal—each with unique personalities that stand in sharp contrast to the uniformity on the left. A riot officer stands oddly centered among them, this time seeming displaced, as if infiltrating or attempting to understand the collective. This deliberate symmetry between the panels echoes themes of identity, power, surveillance, and solidarity.
The Brazilian twins behind Os Gêmeos—Otavio and Gustavo Pandolfo—grew up during the rise of hip-hop culture in São Paulo and began tagging in the 1980s. They developed a surreal, folkloric style full of intricate patterns, whimsical figures, and social critique. Their work often questions authority, explores the tensions of urban life, and celebrates cultural memory. Here, they incorporate a kind of magical realism that turns the protest into something mythical and deeply human.
By placing this work adjacent to early and mid-century expressions of social upheaval in the Hirshhorn's Revolutions exhibit, the curators draw a throughline across time. The installation resists neat classification, much like the movements it echoes. It’s both political and poetic, historical and hallucinatory, resisting the urge to explain itself fully.
Os Gêmeos’ layered, symbol-rich art resists the detachment often associated with gallery spaces. These figures—playful yet fierce—invite viewers to reconsider how revolution is visualized, remembered, and lived. The message transcends language: the power of color, form, and repetition becomes a universal call to action.
Photographed here in sharp detail and bold saturation, the twin paintings capture the emotional force of confrontation. It’s unclear if the confrontation is over—or just beginning. One thing is certain: art like this doesn’t stay quiet. It demands to be seen.
A walk through Belfast is a walk through contested memory.
These murals — defiant, political, spiritual, and artistic — are more than painted walls. They’re declarations. Warnings. Prayers. Provocations. Monuments in pigment.
At the centre, Bobby Sands looks out, still a martyr to some, a terrorist to others — “Everyone, republican or otherwise, has their own particular role to play.” Just along the road, a Loyalist message: “The People’s Army.” The past hasn’t gone away — it’s been emulsioned in bright, unflinching colour.
The city speaks from both sides of the divide: Unionist, Nationalist, and the rising voice of a younger generation wielding cans of spray paint not to commemorate, but to create — vibrant tags staking out fresh cultural ground.
Religious scripture, revolutionary verse, royal portraits, and raw graffiti — all co-exist here in uneasy tension. Belfast doesn’t ask to be understood. It simply demands to be seen.
I've been painting this. In the Essex sunshine. Goodtimes alongside the hoodlums nizer & hilt. It was hot! Shout to everyone out there still getting up just for fun! Free hand spray can art no stencils no masking just cool hand can control. #graffiti #graffitiart #instagraf #instaart #spraycans #spraycanart #tiger #dragon #tigerdragon #essexartist #essexgraffiti #ukgraffiti #londongraffiti #brave1 #instagraffiti #southend #graffiticulture #graffititattoo #tattoograffiti #tattooedwalls #alfreshco #Montanacans