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Link to Cincinnati Zoo..............
Asian Elephant +++ Male
From trunk to toe, Asia’s largest land mammal displays some amazing adaptations to life as a forest-dwelling herbivore. It is most famous for its trunk, which is indispensable for feeding, drinking, smelling, touching, communicating, and bathing. Asian elephants live in family groups called herds that are led by older, experienced females. These matriarchs are responsible for the herd’s safety, as well as for providing food and shelter for its members. Females maintain a life-long connection to the herd, while males leave the herd when they reach puberty. They spend most of their time alone, or in bachelor groups. During musth, a period of heightened testosterone, bulls compete with other for mating opportunities. Generally, the older and larger bulls dominate the breeding.
•An elephant drinks up to 40 gallons of water (enough to fill a bathtub) and eats several hundred pounds of food each day.
•Since they don’t sweat, elephants flap their large, thin ears to cool down the blood vessels across the ear, which then circulates throughout the body.
•An elephant essentially walks on tiptoe since the foot bones rest on a cushiony pad of fatty tissue, a built-in shock absorber.
•Elephants communicate through sound from the loud, well-known trumpeting to infrasonic calls that humans cannot hear.
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Fact File
Height: Up to 10 ft
Weight: Up to 11,000 lbs
Lifespan: More than 60 yrs
Habitat: Forest
Diet: Grasses, leaves, barks, and fruits
Status: Species at Risk (IUCN—Endangered)
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Here are some picture's of our big guy. I wasn't able to get an outstanding picture of him but I still wanted to post some of him. Have a nice weekend everyone!
Matteo Passante e la Malorchestra
Carroponte - Sesto S.G. - Milano
03 Agosto 2013
Diego Scilla
Luca Moroni
Marco Vismara
Raffaele Pellino
ph © Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Matteo PASSANTE nasce in Puglia nell'inverno del 1978 e oggi che ne ha 34 ogni tanto getta un occhio allo specchietto retrovisore, quello in cui nei films compaiono sempre gli occhi di una donna. Qui no.
Qui c'è solo lui che ha 24 anni, e un pò di amici con cui condividere una passione.
Nel 2002 nasce così la Piccola Compagnia Instabile e in un garage di campagna, storia comune a tante
altre, inizia la propria storia di funamboli, sospesa tra musica e teatro.
Tante esibizioni dal vivo, e una prima Demo di 6 canzoni che affossa la
diffidenza di chi non pensava che anche la Puglia potesse sfornare musica d'autore.
Nel giro di qualche anno la Piccola Compagnia Instabile si ritrova in rassegne
importanti in compagnia di cantautori già noti al grande pubblico della canzone d'autore (pippo pollina, alessio lega,Gang,etc), apre concerti in giro per la Puglia ai vari Giuliano Palma, Davide van de Sfroos, Bandabardò, Tonino Carotone, Apres la Classe, Cappello a Cilindro e tanti altri, partecipa al Controfestival di Mantova, vince concorsi in giro per l'italia, suona a La Fete de la Musique in Normandia.
Nel 2006 il cantautore si trasferisce dalla calda Puglia alla "agra" Milano,
dove per alcuni anni la storia d'amore con la Piccola Compagnia Instabile,
continua nonostante i chilometri da mettere ogni volta sotto i piedi, e lo fa
passando attraverso la collaborazione con il regista Edoardo Winspeare (SANGUE
VIVO, FILIA SOLIS, etc), e con altri numerosi concerti in giro per la
Penisola.
Nel 2010 l'etichetta Dodicilune produce il loro primo album "Signora Clessidra
e lo sposo bambino". Collaborano all'album Lorenzo Monguzzi dei Mercanti di
Liquore e Alessio Lega, già premiato al Tenco.
La distribuzione è nazionale, quindi FNAC, Feltrinelli, Mondadori, etc, ma il
cd arriva anche in quelli che il critico musicale Leon Ravasi definisce
"spacciatori di dischi". E' proprio in uno di quegli spacciatori di dischi che
Ravasi scopre il cd della banda.
Sul sito "La Brigata Lolli", Ravasi scriverà di loro:"....mi è piaciuta la copertina
(ebbene sì, sono di quelli che ritengono che chi "perde" tempo a fare una bella copertina non può "buttarlo via" a fare un
brutto disco), mi è piaciuto il nome e pure il titolo. Difficilmente mi avrebbe
deluso sul lettore. E non lo fa. Evviva! Abbiamo trovato dei nuovi compagni di
viaggio!".
La stessa Brigata Lolli, sito specializzato nella musica d'autore, lo annovera
tra i lavori più interessanti del 2010 rammaricandosi per la mancata
convocazione al premio Tenco.
Sempre nel 2010 una canzone estratta dall'album, entra a far parte della
colonna sonora di MILANO NICHI:SOLO ANDATA, film indipendente e che arriva al
festival europeo.
Alla fine del 2010 per Matteo Passante comincia una nuova avventura. Il palco
gli manca come potrebbe mancare l'oceano sotto al culo a chi sull'acqua c'è
nato. Nasce così l'esigenza di riprendere il filo del live con una formazione
tutta nuova e già collaudata che per l'occasione si da un nome di matrice
letteraria: la Confraternita del Chianti.
Tra defezioni, addii, trasferte e disamori, si arriva ad una formazione
decisamente più "stabile", di cui fanno oggi parte Diego Scilla (pianoforte,
fisarmonica), Marco Vismara (chitarre), Luca Moroni (basso e contrabbasso),
Raffaele Pellino (batteria).
Si fanno notare in varie rassegne, suonano ogni volta che c'è da prestare un megafono alla dignità dell'uomo (vedi per esempio l'esibizione per i licenziati del BINARIO 21, in Stazione Centrale), sono
ospiti a Radio Popolare, lavorano per il primo album targato Matteo Passante.
Taken at the Pacific Science Center in Seattle, Washington.
Photo licensed Creative Commons, please use for any purpose, just provide credit.
Photo by Ryan Somma of ideonexus.com.
Snow White has been deboxed. She is standing without her cape, supported by the including display stand.
Thanks to a tip from a fellow collector, I got my very first Madame Alexander doll, the Alex Collection Snow White 16 inch doll, for a very good price, from Amazon. The doll was new in box, in the original shipper carton. She was released in 2008 in an edition of 300. I happen to have #300 of 300! The number is on the CoA, the lower back of the doll, and on the tag of the satin gown. She also comes with a satin cape. The only other accessory is a display stand. The skirt is very full and floor length, and is most like the Tonner Snow White outfit that I have. There is a satin slip and a tulle petticoat underneath that helps to keep the skirt full. Like Tonner dolls, she has flesh colored tights over cloth panties. She has high heeled shoes with the tops made of satin, with tiny satin bows. The face is much more realistic than my DS Snow White dolls, looking like a high fashion model. Her eyelashes were a little wonky, so I tried to make them a little neater. Her hair is styled into a bun in the back, protected by a hair net, similar to that of the Designer Princess Snow White.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
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Bagattelle d’Inverno, l’ultima grande sfida #snellobb04
Birichinate, cammuffamenti, trasvestimenti, scherzi… insomma, in una parola: Carnevale!
Comunque lo si dica e comunque lo si festeggi, il Carnevale è da secoli una festa in cui la parola d’ordine è “divertirsi”.
Quindi, bando all’austerità e bando alle restrizioni, potevamo, noi di MondoSnello, non cogliere quest’occasione perfetta di Gusto e di Benessere, per vivere l’ultimo grande appuntamento delle gare di cucina di Snello Blind Box?
Eccoci qui, allora, amici di Mondosnello, estimatori dei prodotti Snello Rovagnati e appassionati Food Blogger che partecipate con noi ormai da un tempo che comincia a farsi lungo, perfino “tradizionale” (proprio come ci piace ;-)) a darvi il benvenuto a questa quarta sfida tra pentole, fornelli e… qualcosa di speciale – sennò che Carnevale è!
I fantasiosi piatti saranno assaggiati e votati da una giuria di esperti gastronomi di altissimo livello, a cominciare da Gil Grigliatti, gourmet di cultura ed esperienza internazionale. Da giovane è stato fiduciario Slow Food, nonché ispettore della guida dei ristoranti del Gambero Rosso per diversi anni. Autore del blog bilingue di cultura enogastronomica isymposium.org. Ancora Paolo Barichella, esperto di Food Design, autore del blog barichella.it; Alessia Cipolla, architetto e sommelier, autrice de lacostruzionedelgusto.it; Alessandro Salamone, reduce dalla trasmissione di La7 Chef per un giorno, autore di spaghettibites.com e ancora Angela Tomaiuolo co-fondatrice del web magazine milanodabere.it. Inoltre sarà presente Giacomo Kratter, otto volte campione italiano ed ora allenatore della Nazionale Italiana Snowboard. Quella da snowboard però non è l’unica tavola che ama: infatti Giacomo è un grande appassionato di cucina e adora farsi coccolare in ristoranti di lusso.
La giuria per l’occasione sarà presenziata dallo chef stellato e pluripremiato Davide Scabin, uno dei più apprezzati in Italia e all’estero, noto al grande pubblico per la partecipazione, nei panni di giudice dei cuochi in gara, a La Prova del Cuoco condotto su Rai1 da Antonella Clerici.
Per questo, abbiamo deciso di mettere insieme una serie di ingredienti saporiti, variegati, originali, proprio come in ogni ricetta gourmet che si rispetti:
- un pizzico di tradizione – la sede di InKitchen Loft, che ormai è prontissima ad accoglierci, in qualunque veste ci presentiamo
- e uno di modernità – quello che emana netto dalle protagoniste della gara, giovani donne che si muovono agili tra vite professionali sfidanti e articolati ménage familiari
- una buona dose di fantasia - fatta di maschere, costumi e colori sgargianti
- e l’ingrediente segreto – le nostre amate BlindBox, chiuse fino all’ultimo secondo anche al più ardito degli sguardi
- il tutto cosparso con una spruzzata di giocosità bambina – grazie a un buon numero di piccoli “scavezzacollo” che avranno il loro tavolo, i loro ingredienti, i loro cibi, e soprattutto una chef d’eccezione - Stefania Corrado, la “Multitasking Chef” che più che presentazioni merita i nostri più sentiti complimenti ;-) – a guidarli alla scoperta del buon cibo, del gusto e del mangiare bene… sapendolo preparare.
Già, perché, in fondo, soprattutto in un’era estremamente tecnologica come la nostra e come quella di quell’immediato futuro in cui saranno loro i protagonisti del mondo – far mettere “le mani in pasta” ai nostri bimbi lo consideriamo un onore, oltre che un piccolo grande contributo all’educazione dei “buoni mangiatori” di domani…
Amanti della cucina, appassionate del gusto, attente all’armonia dei sapori e alla cura per la buona e la bella tavola
Estimatrici di ricette snelle - per velocità, capacità, leggerezza - esperte nella valorizzazione degli ingredienti di stagione e nella rivisitazione moderna di piatti tradizionali, si sfideranno, si concentreranno su pentole e fornelli dimenticando tutto il resto, per dare il meglio di sé.
Ecco le Food Blogger di Snello BlindBox 04 – Bagattelle d'Inverno, vere animatrici dell'evento, che con le loro ricette e la loro esperienza renderanno onore ai prodotti Snello, Gusto e Benessere.
Loro si presentano così...
Lina D’Ambrosio
spadellatissima.com
Quando le chiedi di descriversi ,lei si presenta così: "Sono industrial designer e grafica, con una grande passione, quella del Food Blogging". Eppure non è tutto: inguaribile amante del buon cibo, dei viaggi, dell'arte e della fotografia, è sempre irresistibilmente affascinata mdai molteplici modi in cui un animo creativo può riuscire a esprimersi. Una frase che la descrive: "Mi piacciono la semplicità e la genuinità delle cose fatte in casa."
Serena Oliva
cucchiaiodistelle.com
Nella vita professionale, è architetto e designer, e per questo studia la relazione tra gli esseri umani e la tecnologia. Tuttavia, ha anche un'altra vita, quella da foodie, in cui è innanzitutto una mamma e una Food Blogger che progetta ricette, cucina piatti colorati, sani e golosi, cuoce il pane in casa e disegna insieme ai suoi bambini. Il motto che ha scelto per sé? "If in doubt, bake a cake"
Irene Prandi
Psicologa, piemontese, animata da una vera passione per la comunicazione e la condivisione, ha trovato nell'arte del cibo un mezzo straordinario per celebrare entrambe. Il suo viaggio da Food Blogger inizia con un blog creato in sordina, tuttavia in molti la notano e in ancora di più la seguono. Insomma, et voilà, il suo cammino continua rigoglioso, condito da sapori, ricette, un grande amore per il territorio, e tanta curiosità per tutto ciò che è "altro".
Arianna Vianelli
unafranciacortinaincucina.com
Non c'è dubbio, il suo nome è già un affermazione forte e chiara. Dice subito chi è e da dove viene. Almeno tanto quanto il suo blog nato dal desiderio di ritagliarsi uno spazio tutto proprio dove raccogliere e condividere le sue più grandi passioni: la cucina, il vino, gli amici e la Franciacorta.
Insomma, semplicità e ironia, ricette ed eventi, vini locali
e non solo, sono gli ingredienti di "una franciacortina in cucina".
Quindi, tra la stuzzicante prospettiva di gustosissimi lecca lecca di parmigiano con crudo e bresaola e prove di formine su pasta sfoglia con fette di prosciutto, in attesa delle prelibatezze imprevedibili che ci prepareranno le nostre sfidanti – adulte ;-) – non resta che invitarvi a conoscere un po’ meglio Lina, Serena, Irene e Arianna, giovani, pimpanti e agguerrite Food Blogger che ancora una volta ci delizieranno di una versione inconsueta e sorprendente dei prodotti che amiamo di più, con un occhio attento, come sempre, alla stagionalità.
SnelloBlindBox_04_CucinaTuVi abbracciamo, dunque, in un turbinio di coriandoli che non lascia presagire niente di… scontato :-)
e invitiamo tutti voi a fare festa con noi a Snello Blind Box 04 – Bagattelle d’Inverno il 6 marzo 2014, alle ore 18.30 e – perché no – a cimentarvi, insieme alle nostre “chef per passione”, in ricette e piatti che, siamo sicuri, saranno gustosissimi. Come raccogliere la sfida? Semplice, partecipando a Snello BlindBox CucinaTu – l’iniziativa pensata apposta per la #gente_di_MondoSnello che ormai ci segue da molto tempo.
In attesa di assaporare tutto il meglio che Snello Blind Box 04 – Bagattelle d’Inverno saprà regalarci – e non abbiamo dubbi - a presto!
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.
PLEASE DO NOT FAVE WITHOUT LEAVING A COMMENT. THANK YOU.
I haven't been around since the sad loss of our beloved Sheba, during which time on 21 November I twisted my back and caused a flare up of an old injury for which I have already undergone three major back operations over a number of years. Since the 21st, I have been confined to bed and have had several G.P. home visits and prescriptions for strong pain killer tablets, none of which has worked and has made me very sick and unable to keep any food down at all. So on the last home visit the doctor prescribed an oral morphine solution for pain relief, gave me an injection for anti-sickness and a prescription for follow-up anti-sickness tablets, and some muscle-relaxant tablets which also aids the anti-sickness, the pain relief and helps me sleep. I wanted to lose some weight sensibly, but not like this, as in the past 13 days I have lost 11 pounds, which has left me very weak, so I will only be on Flickr for minimal amounts of time, so I apologise to all my Flickr friends and contacts in advance.
This was a couple of ornamental grass shots I took in September while out on an informal photo shoot with a small group from our village Camera Club at nearby Heckington village.
Taken with my Canon EOS 7D and Canon EF 18-135mm f/3.5-5.6 IS USM Lens, and framed in Photoshop.
Better viewed in light box - click on the image or press 'L' on your keyboard.
Without having a shoot a picture each day i felt i have not been pushing myself lately to become a better photographer. In the mist of my 365 project i would always have to be thinking of an idea or a way to get the shot of the day. Without this constant pressure i have become lazy leaving my camera to collect dust. I asked my friend joy when would she be free to shoot. Lucky for me she had tuesday off of work so we quickly made plans. I didn't have any theme or idea in mind for the shoot so when she asked where we were going i just stated hmm we could do a cute playground shoot. I usually love winter in california but with the sun setting so fast there is zero time after work and the gym to shoot with any available light. I went to pick up joy and faced heavy traffic, i guess today was some peoples friday in the shadow of the thanksgiving weekend. When i arrived joy suggest we go to a place she knew of in the city of cerritos. I really didn't have a clear cut vision for the shoot so i went with her idea. The location was pretty nice. it was a garden type area with statues and odd landscape. The shoot could of not gone better which is odd since something always goes wrong during one of my shoots. After editing a few pictures for joy it was time to take her home. We hit a wall of traffic on the 91 freeway an exit from her house. There was a serious accident closing down the entire freeway. While we sat and waited in the car i saw steam coming from my engine. I panicked and pulled to the side of the road. This wasn't the first time my car had this problem. About 4 months back the thermostat went out causing my car to overheat. I feared it happened again so i poured any water i could find in my car into the radiator and got joy home. While at her house i filled the radiator to the brim and noticed it was almost completely bone dry. Lucky i was able to make it home and to work today with no issues so i hope my car just needed water.
strobist: sb-800 on the left of the camera bare, sb-600 on the right of the camera bare. trigged with nikon cls in ttl mode
I stand
alone
without anyone beside me.
My friends have all vanished
to spare their own lives.
without anyone beside me.
A tide of darkness sweeps in
My friends have all vanished
to spare their own lives.
Engulfed by darkness, I still
yet have a shine of hope.
A tide of darkness sweeps in
My friends have all vanished
to spare their own lives.
I see the darkness within me
battling the light within me.
Engulfed by darkness, I still
yet have a shine of hope.
A tide of darkness sweeps in.
My friends have all vanished
to spare their own lives.
March on
through the darkness
though all may seem lost.
It is not lost.
It is engulfed in the shadow
so you do not see it.
Reach inside
find your hope
let it shine like a star,
and you will see
all the things you thought lost
are there within your heart.
They are there.
Have the will
and the courage
to see what is there
within the tresure chest
inside your heart.
You will find the strength
to stand alone
even when the whole world is watching
your every move.
So stand your ground
for what you think is right
even if you stand alone.
St Sepulchre without Newgate, Holborn Viaduct, London
Also St Sepulchre Holborn, also St Sepulchre Old Bailey - these were the bells of Old Bailey that asked when can you pay me? - this is one of the biggest churches in the City. No other City church has so much the air of the most important church in a smaller, provincial town - and probably as so often in the City, an East Anglian town, as the south porch with its fan vaulting suggests, we could be in Saxmundham, or Swaffham, or Coggleshall, or March. But on stepping inside there is the reminder that this church has virtually no resident parishioners, for instead of the highly polished, flower-bedecked small town civic pride we'd find in Saxmundham, or Swaffham, or Coggleshall, or March, here is a great dusty space full of disconnected once-proud details, like a rich aunt who has gone awry. And yet it is an entirely loveable church for all that, and many people's City favourite, not least because the Gothic exterior contains an entirely Wrenish interior - or, at least, the spirit of Wren without the letter, shoehorned into a medieval space. This is a rich aunt who at first sight has stopped taking care of herself, but the person she has become is admirable for her eccentricity and intelligence. There's nothing quite like it, and it makes you smile.
How did this happen? Well, the medieval church, which had been rebuilt on a grand scale in the 15th Century, was largely destroyed in the Great Fire, but the reconstruction was something of a mish-mash, with Wren falling out with the vestry. There was a revamp in the late 18th Century when they tried to get rid of the bits that still made it look medieval, and then a big one in the 1870s to make it more medieval than it had ever been, which is pretty much how you see it today. The interior you step into is largely 19th Century, but full of colour and interest. This is one of those churches where there is always something around the next corner. The range of 20th Century glass is one of the most comprehensive in the City, and the best of it is in the north aisle, the musicians' chapel, by Brian Thomas. Other glass is by Francis Skeat, AK Nicholson and GER Smith (a memorial window to AK Nicholson, including an image of him in his workshop).
The organ is fabulous. Sir Henry Wood, who invented the Proms, was the organist here, and is remembered in the musician's chapel in post-war glass along with the likes of George Frederich Handel, William Byrd, John Ireland and Dame Nellie Melba. There is a memorial to Captain John Smith, remembered as the governor of Virginia, but more familiar to us in our Disneyfied times as the lover of Pocahontas. He's buried here. Wayland Young mentions the tradition that the bells of St Sepulchre not only tolled the curfew each night, but also tolled as condemned men passed from the Newgate prison to the scaffold at Tyburn. A church full of stories then, a bit mad, all a bit disconnected, a must-see.
(c) Simon Knott, December 2015
Clothilde Le Coz has been working for Reporters Without Borders in Paris since 2007. She is now the Washington director for this organization, helping to promote press freedom and free speech around the world. In Paris, she was in charge of the Internet Freedom desk and worked especially on China, Iran, Egypt and Thailand. During the time she spent in Paris, she was also updating the "Handbook for Bloggers and Cyberdissidents," published in 2005. Her role is now to get the message out for readers and politicians to be aware of the constant threat journalists are submitted to in many countries.
Green Santa handed out reusable bags on Olvera Street in historic Los Angeles on A Day Without A Bag 2012. A few lucky bags contained “golden tickets” that were redeemed with the Eco Elves for $25 Vons gift cards! Photo by Heal the Bay
CAN FD LENSES BE USED ON EOS WITHOUT ADJUSTMENTS?
Yes
This was taken with a Canon 5D MkII, using Vivitar FD 120-600mm and 2X extender on "M", ISO 400 f/5.6 -
A generic Chinese FD/EOS adaptor bought on eBay for $30. linked the lens and maybe added a few more MM's.. No tools are needed. Just snap it on...
Then some quick and dirty cropping and adjusting in CS5.
But this picture was taken about 25 miles away from the foot of this range, and gives you the idea of what good old FD glass can do on the digital camera's:
Do not use without permission!
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Most Airbus A321NEO aircraft feature the unique black wrap around the 'sunglasses' windscreen. It seems like the Korean Air Lines NEO does not. Here is HL8506 at Tokyo Narita.
Now painted in the new colours.
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.
Please don't use my photos on websites, blogs, other media or in any other purpose without my explicit permission.
This was the best I could do without trespassing and was taken from the road outside, and the 2 red Enviro's at the back appear to be New here.
This year I am once again making Photography Calendars, and so if you still like my work as much as all your favourites and comments say you do, here is the EBAY link: www.ebay.co.uk/itm/375845182841, and you do not need an EBAY Account to buy one, as you can "Check Out as Guest".
Copyright © 2011 Ruggero Poggianella. All rights reserved.
Please, do not use my photos without my written permission.
Il Teatro Garibaldi o "Politeama" (con la parola Politeama si intende un generico teatro dove si danno rappresentazioni di vario genere, e pertanto è impropriamente utilizzata per riferirsi nello specifico a detto Teatro) si trova sulla Piazza Ruggero Settimo (a sua volta usualmente denominata Piazza Politeama) al centro di Palermo. Nel 1865 il Comune di Palermo delibera la costruzione del Politeama. Essendo la spesa superiore alla cifra prevista, viene contattato il banchiere Carlo Galland che si impegna a costruire oltre "tre mercati secondo i disegni dell’architetto Damiani e a costruire, nel locale che indicherà il Municipio, un Politeama secondo il piano d’arte e disegni preparati dall’Ufficio tecnico del Municipio" (Capitolato di convenzione tra il Municipio e il Sig. Carlo Galland, piemontese, per la costruzione dei mercati e Teatro, 1866). Il concorso interno viene vinto da Giuseppe Damiani Almeyda e i primi disegni di progetto vengono presentati a metà del 1866 e già a gennaio del 1867 sono in corso i lavori di scavo. La costruzione del Politeama ha un inizio affrettato con molte zone oscure, che può essere chiarita solo dalla conoscenza delle intricate vicende politiche municipali. Nel 1869 e 1870 sorgono dei problemi tra il Municipio e l’impresa Galland, ma si decide di proseguire l'opera, eliminando tutti i lavori di abbellimento. Il cantiere inoltre era stato chiuso per qualche tempo per fare delle verifiche sulle condizioni statiche dell’edificio. Essendo stato trovato tutto a perfetta regola d’arte fu riaperto e si proseguì con i lavori. Il teatro era stato progettato come teatro diurno all’aperto, ma fu in un secondo tempo deciso di realizzare una copertura. Nel giugno 1874 fu inaugurato anche se incompleto e ancora privo di copertura, la prima rappresentazione fu I Capuleti e i Montecchi di Vincenzo Bellini. Quest'ultima, considerata per l'epoca opera di grande ingegneria, venne realizzata in metallo dalla Fonderia Oretea nel novembre del 1877. Gli ultimi lavori, di abbellimento, furono realizzati nel 1891 in occasione della grande Esposizione Nazionale che si teneva quell’anno a Palermo.
Dal 1910 al dicembre del 2006 il Ridotto del teatro ha ospitato la Galleria d'arte moderna di Palermo che viene successivamente spostata al Palazzo Bonet. Nel 2000, in occasione del G8 ospitato in città, vengono stati realizzati i restauri delle decorazioni pompeiane policrome dei loggiati. Dal 2001 il teatro è sede dell’Orchestra Sinfonica Siciliana. A partire dall'estate del 2011 iniziano i lavori di restauro della facciata posteriore del teatro. Tale restauro viene affidato alla ditta Sidoti,i lavori di restauro vengono eseguiti da una equipe di tecnici restauratori altamente qualificati: Cesare Pontosa, Rosalba Gambino, Giuseppe Di Ganci.
L’opera propone simmetrie con sinteticità espositive in sinergia ad equilibri neoclassici caratteristici degli Archi di Trionfo napoleonici, con gruppi bronzei di cavalli rampanti posti all'ingresso dell'edificio.
Giuseppe Damiani Almeyda s’ispirò ai modelli del classicismo accademico in voga alla fine dell’Ottocento. Secondo Antonella Mazzamuto (Luoghi di Sicilia, Teatri tra ‘800 e ‘900. Edizioni Ariete, 2000), "il tipo adottato nel Politeama Garibaldi è quello del teatro-circo, in cui però la forma semicilindrica del prospetto nasconde una sala a ferro di cavallo con due ordini di palchi ed un profondo loggione. È una soluzione che ricorda il primo Hoftheater di Gottfried Semper, realizzato a Dresda, dove l’andamento semicircolare del fronte contiene ancora una sala di tipo tradizionale.
L’architettura del Politeama – sottolinea ancora la Mazzamuto – rimanda, poi, "al progetto teorico di teatro del Durand che aveva canonizzato la riproposizione del monumento storico: l’anfiteatro romano. Damiani Almeyda non adotta i tre ordini di arcate del Colosseo, come fa Durand, bensì un doppio ordine con trabeazione, secondo modalità desunte dall’architettura pompeiana". Il valore di questa costruzione sta nell’esaltazione della funzione sociale del teatro come "teatro del popolo" con l’enorme sala a ferro di cavallo (che nel 1874 poteva contenere cinquemila spettatori) con due file di palchi, dominata da una grande galleria articolata in due ordini. L’ingresso è costituito da un arco di trionfo sormontato dalla quadriga bronzea di Apollo, opera di Mario Rutelli, cui s’affianca una coppia di cavalli bronzei di Benedetto Civiletti.
The Seaside Bicycle Route is not a highway but Vancouver by-law 2849 does apply. The ticket is $29.
See where this picture was taken. [?]
This very well argued review of the Australian helmet laws lack of success is worth reading
Also see Chris Bruntlett's new column
"The Vancouver Police Department stubbornly remains one of the few municipal forces in the Lower Mainland (having issued 13,166 — or 90 per cent — of the 14,549 total helmet tickets between 2008 and 2012) dedicating valuable resources to this supposed public health measure — under the guise of addressing road safety."
Sanssouci (French "without cares") is the former summer palace of Frederick the Great, King of Prussia at Potsdam, just outside Berlin. It is often counted among the German rivals of Versailles. While Sanssouci is in the more intimate Rococo style and is far smaller than its French Baroque counterpart, it is notable for the numerous temples and follies in Sanssouci Park. (Source: Wikipedia)
Schloss Sanssouci (frz. sans souci = ohne Sorge) liegt im östlichen Teil des gleichnamigen Parks und ist eines der bekanntesten Hohenzollernschlösser der brandenburgischen Landeshauptstadt Potsdam. Nach eigenen Skizzen ließ der preußische König Friedrich der Große in den Jahren 1745–1747 ein kleines Sommerschloss im Stil des Rokoko errichten. Mit der Planung beauftragte er den Architekten Georg Wenzeslaus von Knobelsdorff. (Quelle: Wikipedia)
This image is protected by copyright, no use of this image shall be granted without the written permission from Csaba Desvari.
Don't take without asking. & Say that you got it from me if you use anywhere.
- I took it out of the video.
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Collage Creation by Franz Murtas
Franz Murtas : - franzmurtas.com -
MEMBER OF OLTRE COLLAGE COLLECTIVE
Ex-GWR 150 green liveried celebrity machine Class 47/4 47500 "Great Western" now of West Coast Railways and without its name. Back on its old Great Western Mainline stomping ground working 5Z94 from Bristol Temple Meads to Southall, ECS from the previous day's "Weymouth Seaside Express". I'd missed the outbound ECS working as it was running early...
A DAY WITHOUT IMMIGRANTS . May Day Boycott . The March to the National Mall . 14th Street between R and S Streets, NW . WDC . Monday afternoon, 1 May 2006 . elvertbarnes-freedom.blogspot.com/2006/09/immigrant-2006-... . Elvert Xavier Barnes Protest Photography
© Copyright 2012 Francisco Aragão
© ALL RIGHTS RESERVED. Use without permission is illegal.
© TODOS OS DIREITOS RESERVADOS. Usar sem permissão é ilegal.
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Pequena e bela cidade do interior paulista, a cerca de 100 km da capital.
Portuguese
Campo Limpo Paulista é um município brasileiro do estado de São Paulo. Localiza-se a uma latitude 23º12'23" sul e a uma longitude 46º47'04" oeste, estando a uma altitude de 745 metros. Sua população estimada em 2003 era de 73.132 habitantes. A cidade possui um estádio chamado Estádio Aldevio Barbosa de Lemos. Integra a Aglomeração Urbana de Jundiaí.
História
Campo Limpo Pta. foi fundada em 21 de Março de 1963. Inicialmente era fezenda integrante de Jundiaí, suas terras eram então latifúndio cafeeiro. O surgimento da primeira rua, a Avenida Alfried Krupp, se deu com o alojamento dos ferroviários construtores da via Jundiaí-Santos. As terras eram pertencentes durante o século passado ao Barão de Jundiaí, passando depois à família Pereira Pinto até sua emancipação em 1963. Depois dessa data, a família contratou procuradores e as terras ganharam administradores locais. O mais famoso foi João Zeferino e hoje seus netos ainda vivem na região, entre eles o ilustrador e designer Luiz Zeferino.
English
Campo Limpo Paulista is a municipality in the state of São Paulo in Brazil. The population in 2010 is 74,114 and the area is 80.267 km². The elevation is 745 m. The town is the seat of the Roman Catholic Diocese of Campo Limpo.
Wikipedia
I have always thought that Elmstone was the only Kent church without dedication to a Saint/King or Martyr, but it seems East Farleigh has has St Mary foisted upon it.
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I have been inside Emstone church just once before, and it was a fine, sunny Saturday morning, and I remembered a church full of light, pouring through stained glass windows.
But of the rest of the church, I remembered little. I thought the south side of the church was all windows. It isn't.
Visiting the butchers a couple of weeks before, I saw that there was a coffee and scone event happening at Elmstone church.
Which is how we came to be travelling to Elmstone after leaving Sittingbourne.
Its funny, that around Preston, it seems all roads leads to Elmstone, you just have to find the church among the maze of lanes and dykes.
We did find the church, and the churchyard was packed with people on chairs, all eating cream teams; scones, jam and cream.
We had eaten an ice cream in Sittingbourne so were not hungry, but I gave them a tenner for the charity they were raising money for.
I went round getting shots, being careful, as warned, not to get a child in my shots.
The Rood Screen I thought very fine, as was the glass, as before, though an autumnal afternoon this time.
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This little known church is an absolute gem but being so close to the greats of Sandwich, Ash and Wingham it will probably always be overshadowed. It is a small Norman church extended by the addition of a north aisle and NW tower in the thirteenth century. The arcade is typical of that period. The priest’s stall is fourteenth century and the tale is told of it being made from a boat in which he was shipwrecked! The pulpit is a stunning late 19c design by ES Prior with Voysey-esque linenfold panels. For a small church there is much stained glass of note. The east windows of chancel and aisle are by William Wailes – bright and strident and strongley drawn. In the north aisle is a window by Burlysson and Grylls and an especially fine Nativity scene by Powell’s. Theirs too is the pair of 7c saints in the south wall but something has gone wrong with the proportion and the heads are strangely placed. In the west window is some medieval glass and there is an outstanding medieval roundel of the Lamb of God in the north chancel window. Top all this off with a fine Norman font and you have a church that is worth the effort to make an appointment to visit.
www.kentchurches.info/church.asp?p=Elmstone
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ELMSTONE.
THE next parish south-eastward from Stourmouth is Elmstone, called in Domesday, Ælvetone, and in other antient records, Elmerstone. There is only one borough in this parish, viz. Elmstone borough, the borsholder of which is chosen at the court leet of the manor of Preston yearly.
THE PARISH of Elmstone is very small, it is a retired unfrequented place, having no village, and only six houses and an half in the parish, which happens from one of the houses standing over the stream, one half of which is in this parish, and the other half in Preston, the Stream, which rises in a pond there, separating the two parishes, and running thence near most of those houses, of which the parsonage is one, towards the river Stour north-eastward. The courtlodge stands near the south side of the parish, having round it a moat, which is supplied by a spring rising just above it, the water from which runs from hence towards the river. At a small distance from hence is the church, on the rise of a hill, round which the land is very heathy and common-like. The parish of Wingham comes up within one field of the church. The whole is uneven ground, the inclosures small, and most of the land very poor. There is no fair held here.
THE MANOR OF ELMSTONE was part of the antient possessions of the abbot and convent of St. Augustine, of whom it was held by one Ansfrid. Accordingly it is thus entered in the book of Domesday, under the general title of their lands:
Anssrid holds of the abbot, AElig;veltone. It was taxed at half a suling and half a yoke. The arable land is . . . . . . In demesne there is one carucate, and three villeins, with three oxen in one team. In this manor Ansfrid holds half a suling, of the demesne of the monks, and pays from thence to St. Augustine one hundred pence per annum. Godessa held it in see simple, and gave from thence to St. Augustine twenty-five pence in alms every year. In the time of king Edward the Confessor it was worth forty shillings, and afterwards ten shillings, now sixty shillings.
After which, it appears to have been held by the eminent family of Leyborne, one of whom Roger de Leyborne held it of the abbot, in the 53d year of king Henry III. And in his descendants it continued till Juliana, daughter of Thomas de Leyborne, stiled from the greatness of her possessions, the Infanta of Kent, died possessed of it anno 41 Edward III. when it escheated to the crown for want of heirs, there being found none who could make claim, to her estates, either by direct or even collateral alliance. (fn. 1) After which king Richard II. in his 11th and 22d years, settled it on the priory of Canons, alias Chiltern Langley, in Hertfordshire, where it remained till the dissolution of that house, anno 30 Henry VIII. when it came into the king's hands, who the next year granted it, with the scite of the priory, and other lands and estates belonging to it, to Richard, suffragan bishop of Dover, to hold for his life, or until he should be promoted to some ecclesiastical benefice of the yearly value of one hundred pounds, which happened before the 36th year of that reign; for the year before that, the king granted to Walter Hendley, esq. his attorney general, his manor and advowson of Elmerstone, alias Elmstone, with the woods and underwoods, late parcel of the above priory, or of the monastery of Dartford, or of one of them, to hold in capite by knight's service, being then of the value of fifteen pounds per annum. He was afterwards knighted, and died in the 6th year of king Edward VI. leaving his three daughters his coheirs, who next year joined in the sale of it to Simon Lynch, gent. of Grove, in Staple, who sold this manor, with the advowson of the church appendant to it, in the beginning of queen Elizabeth's reign, to Mr. William Gibbs, descended from a family who were of the rank of gentility in Devonshire, and settled at Folkestone about Henry VII.'s reign, and bore for their arms, Argent, three pole-axes, sable; the patent of which was confirmed by Robert Cooke, clarencieux. (fn. 2) His descendant of the same name, alienated it at the latter end of king Charles I.'s reign, to Robert Jaques, alderman of London, who kept his shrievalty here in 1669, and was afterwards of Luton, in Bedfordshire, and died possessed of it in 1671, leaving two daughters his coheirs, the eldest of whom, Joane, married Henry Partridge, esq. of Berkshire, and Rebecca, the youngest, John Whitfield, gent. of Canterbury, who shared his estate here between them, and on the division of it, the latter had part of the demesne lands of the manor in this parish, and other farms and lands in the adjoining parishes; but the manor of Elmstone itself, with the appendant advowson, was allotted to the former, in whose descendants it continued down to Henry Partridge, esq. recorder of Lyn Regis, in Norsolk, who died in 1793, on which it came to his son, who is the present owner of it. A court baron is held for this manor.
There are no parocbial charities. The poor constantly relieved are about seven, casually four.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.
The church is a small building, consisting of a body, a very small north isle, and a chancel, having a square tower, embattled at the north-west corner, in which there are three bells. In the chancel is a handsome monument, with a marble bust at top, for Robert Jaques, esq. formerly an alderman and sheriff of London, and afterwards of Luton, in Bedfordshire, who died in 1671; his arms were, argent on a sess sable, three escallops, or. A monument for Elizabeth, wife of Thomas Hutchesson, rector, obt. 1768. In the south isle is a monument for Henry Whitfield, second surviving son of John Whitfield, esq. of Canterbury, who lived at Preston, obt. 1774. In the church-yard are several tombs for the Gibs's, of this parish and Preston.
There is given towards the repair of the church, a house near it, of the yearly value of three pounds, and a house lately burnt down, and two acres of Land, rented at fifty shilling.
¶This church is a rectory, the advowson of which has always been appendant to the manor of Elmstone, and as such is now of the patronage of Mr. Partridge, as has been already mentioned before. It is valued in the king's books at 6l. 7s. 8½d. and the yearly tenths at 12s. 9¼d. In 1588 it was valued at 401. communicants thirty eight. In 1640 it was valued at 80l. communicants forty. It is now of the clear yearly certified value of 69l. 2s. 2d.
There are five acres of glebe land; at the valuation in king Henry the VIIIth.'s reign there were eight.