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Without a doubt this is the best looking Lexus at the Frankfurt Motor Show - and it is powered by a V8, take this one instead of the LC 500h!
A DAY WITHOUT IMMIGRANTS May Day Boycott Gathering Rally at Meridian Hill Park between Euclid and 16th Streets, NW, Washington DC on Monday afternoon, 1 May 2006 by Elvert Barnes Protest Photography
National Capital Immigration Coalition/SEIU
2006 United States Immigration Reform Protests at Wikipedia at en.wikipedia.org/wiki/2006_United_States_immigration_refo...
Without fail, I will be part of my religious congregation for the Friday prayers. We come to find peace and we leave in peace.
Shot with DxO ONE
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
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La MK2, nota anche come Mark II è stata un’autovettura di lusso prodotta dalla Jaguar dal 1959 al 1967 solamente in versione berlina. Fu sostituita da due modelli, la 240 e la 340, che vennero commercializzati dal 1967 al 1969. La MK2 successe alla 2.4-litre ed alla 3.4-litre, prodotte dal 1957 al 1959. Quando fu lanciata la MK2, le due vetture vennero ridenominate, retrospettivamente, Mark I. Quest'ultima non era stata esente da critiche, sia per il comportamento stradale poco sportivo (soprattutto della 2.4) che per alcune soluzioni tecniche non all'avanguardia (come i freni a tamburo), così, nel 1959, la Casa decise di aggiornarla per adeguarla al nuovo decennio. Le modifiche furono notevoli, sia sotto l'aspetto estetico che sotto quello tecnico. Il restyling della carrozzeria si concentrò sulle portiere (con montanti, ora cromati, più sottili e superficie vetrata più ampia), sulla coda (parzialmente ridisegnata), sul parafango posteriore (ridisegnato), su parabrezza e lunotto (ampliati) e, in misura minore, sul frontale (gruppi ottici secondari circolari e mascherina leggermente modificata). Anche gli interni furono oggetto di rivisitazione, soprattutto la plancia, la strumentazione ed i sedili. La MK2 era una vettura veloce, spaziosa e dalla linea gradevole e seguiva quindi la massima più nota di Sir William Lyons: "grace, pace and space" (cioè "grazia, andatura e spazio", dove per andatura si intendeva "velocità", "brillantezza di marcia"). Era offerta con tre motori, che si differenziavano dalla cilindrata. Tutti e tre erano propulsori della Jaguar XK. Il più piccolo aveva una cilindrata di 2.483 cm³ (2,4 L) ed erogava 120 CV di potenza (più potente di quello della Mark I, grazie alla nuova testata), quello medio era di 3.442 cm³ (3,4 L, 210 CV) ed il motore più grande di 3.781 cm³ (3,8 L, 220 CV). Quest’ultimo era analogo al motore da 3,8 L utilizzato sulla E-Type, dato che aveva componenti in comune come il monoblocco, l’albero a gomiti, le bielle ed i pistoni. I due motori avevano però differenti condotti d’aspirazione ed un diverso impianto d'alimentazione; infatti, in riferimento a quest’ultimo, la E-Type possedeva tre carburatori SU, mentre la Mark II solamente due. Di conseguenza la Mark II era 30 CV meno potente. La testata del motore della Mark II possedeva condotti curvi al contrario di quelli installati sul propulsore della E-Type, che erano invece diritti. Per i mercati al di fuori di quello statunitense, gli esemplari che montavano i motori da 3,4 L erano equipaggiati con carburatori SU doppio corpo mentre quelle con il propulsore da 2,4 L avevano installati dei Solex doppio corpo. Per il mercato statunitense, gli esemplari con motore da 3,4 L e 3.8 L utilizzavano tre carburatori Solex.
I freni divennero a disco su tutte le ruote, mentre il cambio manuale, sempre a 4 rapporti con overdrive, era completamente nuovo (e di produzione Jaguar). Le due versioni di cilindrata maggiore potevano essere equipaggiate, in alternativa, con un cambio automatico a 3 rapporti. Le versioni manuali di 3,8 litri avevano di serie il differenziale autobloccante (optional sulle 3.4 "manuali").
Derivata dalla MK2 era la Daimler 250 V8 (nei mercati europei era nota come Daimler 2,5 V8, ed in seguito come Daimler V8 250), che aveva installato un motore Daimler da 2,5 L. Questo propulsore fu utilizzato per la prima volta sulla Daimler SP250, la quale era conosciuta inizialmente come Daimler Dart, ma "Dart" era un marchio registrato della Dodge e la vettura fu quindi ridenominata a seguito di una controversia legale. Questo motore era fabbricato in lega d’alluminio e quindi era più leggero del motore Jaguar a sei cilindri, il cui monoblocco era fabbricato in ghisa. Avendo minor peso, era ridotta la massa che premeva sulle ruote anteriori, e quindi veniva diminuito il sottosterzo rispetto alle versioni con motore derivato dalla XK, che erano più in difficoltà nelle curve. I modelli Daimler erano riconoscibili dalle caratteristiche scanalature ondulate che erano incorporate nella calandra cromata, che sostituivano il marchio e la statuetta della Jaguar. La produzione della MK2 terminò nel settembre del 1967. Il modello fu sostituito dalla 240 e dalla 340, i cui nomi richiamavano la cilindrata del motore installato, cioè 2,4 L e 3,4 L. Venne anche fabbricata la 380, con motore da 3,8 L, ma non entrò in produzione di serie.
La 240 e la 340 erano modelli di transizione che furono commercializzati per colmare la lacuna fino al lancio della XJ nel settembre del 1968. La produzione della 340 terminò quasi immediatamente, mentre la 240 continuò ad essere fabbricata fino all’aprile del 1969; il suo prezzo era 1.364 sterline, quindi 20 sterline in meno della 2.4-litre del 1956. Il prezzo relativamente basso dei nuovi modelli 240 e 340 era motivato anche dal fatto che la pelle sintetica sostituì quella naturale, oltre che dall’installazione di paraurti più economici. Altri cambiamenti furono la sostituzione dei fendinebbia anteriori con prese d'aria circolari, con i fendinebbia che divennero un optional per il mercato britannico. Il prezzo fu ridotto per competere con la Rover 2000 TC. Le prestazioni della 240 vennero migliorate, rispetto alla 2.4-litre, rendendo più performante la testata del motore 2,4 L con l'arrivo dei condotti di aspirazione diritti, mutuati dalla E-Type, ed un carburatore doppio corpo SU. Grazie a questi miglioramenti, il veicolo poteva superare i 160 km/h, che era superiore rispetto alla velocità massima raggiunta dalla MK2 e ciò portò ad un leggero aumento delle vendite. La Jaguar sostituì la 240 e la 340 con la XJ nel settembre del 1968.
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Try as I might I couldn't get Zoey to pose for me without her binky and her Bobo (aka Clio from Clifford, she loves that ugly purple little dog). We happened to see this awesome little jacket in Target the other night and, being fans of anchors and nautical stuff, had to buy it. The one catch with this jacket was the sizing, we ended up buying it in 2T which is the biggest thing she's ever worn (she's just about 22mos now and is wearing stuff in 12-18 or 18month sizing, so 2T is a huge jump, the company must have really messed up their sizing labels or something).
D700, Sigma 50mm f/1.4 @ f/3.5, 1/125th, iso 500.
Strobist:
1 sb-700 camera right into a 40" umbrella at 1/25th, triggered with CLS.
This image may not be used in any way without prior permission
© All rights reserved 2009
Toronto, Ontario, Canada
Billy Bishop Toronto City Airport CYTZ
Toronto's Island Airport is expected to be officially renamed on Feb 11, 2010 to Billy Bishop Toronto City Airport. It will be renamed after Billy Bishop, Canada's top First World War flying ace who was awarded the Victoria Cross.
20091111_143119_0088
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To purchase a print of this image please visit my Long Island's North Fork Gallery on my website.
Bug Lighthouse on the North Fork of Long Island, NY.
Read more about my tour here: www.jschusteritsch.com/blog/2014/10/bug-lighthouse
Without a doubt, Graveface Records and museum (and video rental) is one of the most unique "niche" storefronts I've seen in a long while. True Crime. Exploitation films. Human and animal kingdom sideshow oddities. Ritualism. Even a free arcade. If you are a fan of the more "subterranean" types of culture, then this is the place for you (and me).
I wouldn't want to use the word "tchotchke" because the things found here are NOT cheap or throwaway like that word would imply. But I honestly can't think of any words that REALLY fit the things that can be found just randomly placed around here.
Please don't use my images on websites, blogs or other media without my explicit permission - rr.restifo@gmail.com. © All rights reserved.
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Da/from www.facebook.com/iononmilasciofregare/info/?tab=page_info:
IO NON MI LASCIO FREGARE
#iononmilasciofregare
Questo appello nasce dalla volontà di ricordare cosa è successo il 19 novembre 2015 a Verona...un appello che abbiamo scritto a più mani in maniera ANONIMA e che vuole essere una "chiamata alle armi" per amici artisti di buona volontà.
IN BREVE
Presso il Museo Civico di Castelvecchio sono state trafugate 17 opere di grandissimo valore: Tintoretto, Mantegna, Rubens solo per citare alcuni autori, in pratica un piccolo museo per intero (le foto delle opere rubate le trovate nel nostro album a questo indirizzo: www.facebook.com/media/set/?set=a.1064799210228843.107374....)
L’operazione è durata quasi un’ora e mezza ed è stata condotta con molta tranquillità. Un vero scandalo! Poche le parole spese dai media in seguito all’accaduto, le Istituzioni hanno messo in scena il solito scaricabarili e la raccolta firme on-line ha avuto poco seguito.
Ma un pezzettino di quelle straordinarie opere è anche MIO, è ANCHE VOSTRO! Io rivoglio il nostro pezzettino di MANTEGNA, TINTORETTO, BELLINI, etc! Non so se ve ne siete accorti ma si stanno rubando il passato e soprattutto IL FUTURO!
Io non ci sto, noi non ci stiamo! Portiamo un segnale fuori, per le strade e in rete per tenere viva l’attenzione su questo caso letteralmente scomparso, senza lasciare traccia.
Ci rivolgiamo quindi agli amici artisti: quello che sappiamo fare è dipingere, non perdiamo tempo, facciamolo. L'idea che ci è venuta è di adottare ognuno di noi una delle 17 opere e di realizzare un murale (ma anche un poster o una qualsiasi installazione urbana) reinterpretando a modo nostro il lavoro originale. Sfrutteremo l'interesse dei media per l'arte urbana per poter denunciare ad alta voce insieme questo incredibile furto!
Vi chiediamo di farlo liberamente, ognuno con i propri mezzi, ognuno con le proprie capacità,
Siete invitati a partecipare tutti e di farlo in maniera ANONIMA senza firmare le opere che lascerete nelle nostre città, per far parlare direttamente i vari TINTORETTO, MANTEGNA, PISANIELLO ETC, coinvolgendo chi volete (le realtà che oggi hanno a disposizione spazi non mancano, quindi destinatarie di questo messaggio e di certo non abbiamo niente da insegnarvi su come si può fare arte per strada...).
Quando avete fatto mandateci le foto a questo indirizzo:
iononmilasciofregare@gmail.com
o postatele su questa pagina
www.facebook.com/iononmilasciofregare/
sarà nostra cura farle girare il più possibile perchè #iononmifacciofregare
Ecco la lista dei nostri 17 capolavori da adottare:
1 Antonio Pisano detto Pisanello, Madonna col bambino
2 Jacopo Bellini, San Girolamo penitente
3 Andrea Mantegna, Sacra Famiglia
4 Giovanni Francesco Caroto, Ritratto di giovane con disegno infantile
5 Giovanni Francesco Caroto, Ritratto di giovane monaco benedettino
6 Jacopo Tintoretto, Madonna allattante
7 Jacopo Tintoretto, Trasporto dell’arca dell’alleanza
8 Jacopo Tintoretto, Banchetto di Baltassar
9 Jacopo Tintoretto, Sansone
10 Jacopo Tintoretto, Giudizio di Salomone
11 Cerchia di Jacopo Tintoretto, Ritratto maschile
12 Domenico Tintoretto, Ritratto di Marco Pasqualigo
13 Bottega di Domenico Tintoretto, Ritratto di ammiraglio veneziano
14 Peter Paul Rubens, Dama delle licnidi
15 Hans de Jode, Paesaggio
16 Hans de Jode, Porto di mare
17 Giovanni Benini, Ritratto di Girolamo Pompei
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(eng)
I WON'T GET SCREWED OVER
# Iononmilasciofregare
This call arises from the desire to remember what happened on Nov. 19, 2015 in Verona, a call that we have written many hands in an ANONYMOUS way and that wants to be a "call of duty" for artist friends and people of good will.
THE FACT
17 works of great value were stolen from the Museum of Castelvecchio: Tintoretto, Mantegna, Rubens just to mention a few painters, basically a real small museum (photos of stolen works can be found in our album to this address: https: //www.facebook.com/media/set/....)
The operation lasted nearly an hour and a half and it was carried out with extreme calm. A real scandal! A few words spoken by the media after the incident, the institutions have staged the usual buck and the online sensibilization campaign has had little success.
A part of those extraordinary works is also MINE, is also YOURS! I want back our piece of MANTEGNA, TINTORETTO, BELLINI, etc! I do not know if you are aware of that but they are stealing our past and our FUTURE!
I do not accept it, do you? Let's transmit a signal on the streets and in the internet to keep attention focused on this case that risks to disappear without a trace.
We appeal to artist friends: what we do is painting, do not waste time, let's do it. The idea is to take each of us one of the 17 works and create a mural (or a poster or any urban installation) reinterpreting our own way the original work. Let's exploit the media interest in street art to denounce loud together this incredible theft!
We ask you to do it freely, each with their own means, each with their own abilities,
You are all invited to attend and do it in an ANONYMOUS way, without signing the works that you will leave in our cities, to speak directly to TINTORETTO, MANTEGNA, PISANELLO, etc, involving those who want to participate.
Once you did it, please send photos to this address:
iononmilasciofregare@gmail.com
or post them on this page
www.facebook.com/iononmilasciofregare/
We will spread them as much as possible, because:
I WON'T GET SCREWED OVER
No visit to York would be complete without a walk around the City Walls. At 3.4 kilometres long, the beautifully preserved walls are the longest medieval town walls in England. About 2.5 million people walk along all or part of the City walls each year, enjoying some amazing views. The completion of the entire circuit will take approximately 2 hours. There are five main bars or gateways, one Victorian gateway, one postern (a small gateway) and 45 towers.
York City Walls
The city or ‘bar’ walls of York are the most complete example of medieval city walls still standing in England today. Beneath the medieval stonework lie the remains of earlier walls dating as far back as the Roman period.
The Roman walls survived into the 9th century when, in AD 866, York was invaded by the Danish Vikings. The Vikings buried the existing Roman wall under an earth bank and topped with a palisade – a tall fence of pointed wooden stakes.
The wooden palisade was replaced in the 13th and 14th centuries with the stone wall we see today.
The medieval city walls originally included 4 main gates or ‘bars’ (Bootham Bar, Monk Bar, Walmgate Bar and Micklegate Bar), 6 postern or secondary gates and 44 intermediate towers. The defensive perimeter stretched over 2 miles encompassing the medieval city and castle.
By the late 18th century, however, the walls were no longer required as defences for the city and had fallen into disrepair. In 1800, the Corporation of York applied for an Act of Parliament to demolish them. In addition to the poor condition of the walls at the time, the narrow gateways of the bars were inconvenient and the walls themselves hindered the city’s expansion.
Many other cities, including London, were removing their outdated, medieval city walls at this time. In York, however, the city officials met with fierce and influential opposition and by the mid-nineteenth century the Corporation had been forced to back down.
Unfortunately, the call for preservation came too late for some parts of the walls – the barbicans at all but one of the gateways (Walmgate Bar) had been torn down along with 3 postern gates, 5 towers and 300 yards of the wall itself.
Since the mid-nineteenth century the walls have been restored and maintained for public access, including the planting of spring flowers on the old Viking embankment. Today the walls are a Scheduled Ancient Monument and a Grade 1 listed building.
Bootham Bar
There has been a gateway here for nearly 2000 years - Bootham Bar is on the site of one of the four main entrances to the Roman fortress.
The existing structure is not Roman but it has been around for quite a while. The archway itself dates from the 11th century and the rest of the structure is largely from the 14th century. In 1501 a door knocker was installed as Scots were required to knock first and seek permission from the Lord Mayor to enter the city.
The bar was damaged during the siege of York in 1644. Like Micklegate Bar, it was sometimes used to display the heads of traitors, the heads of three rebels opposing Charles II’s restoration were placed here in 1663.
Bootham Bar was the last of the gates to lose its barbican, demolished in 1835.
Fishergate Bar
1315AD - 1487AD
Fishergate Bar is one of six gateways in the city walls. It faces South towards Selby. Nearby used to be the large flooded area known as the King’s Fishpond.
‘Barram Fishergate’ is the first documented reference to the bar, in 1315. A central stone above the archway reveals the date of the current bar. It contains the York coat of arms and an inscription which reads:
‘A.doi m.cccc.lxxx.vii Sr Willm Tod knight mayre this wal was mayd in his days lx yadys’
This tells us that sixty yards of the wall, including the bar, was built in 1487 under Sir William Tod, mayor of York.
But just two years later, in 1489, Fishergate Bar suffered considerable damage in the Yorkshire peasants’ revolt against Henry VII. The rebels burned the gates of the bar after murdering the Earl of Northumberland. The gateway was bricked up soon after and wasn’t re-opened until 1834, to give better access for the cattle market.
Micklegate Bar
Micklegate Bar was the most important of York’s four main medieval gateways and the focus for grand events. The name comes from 'Micklelith', meaning great street.
It was the main entrance to the city for anyone arriving from the South. At least half a dozen reigning monarchs have passed through this gate and by tradition they stop here to ask the Lord Mayor's permission to enter the city.
The lower section of the bar dates from the 12th century, the top two storeys from the 14th. The building was inhabited from 1196. Like the other main gates, Micklegate Bar originally had a barbican built on the front, in this case demolished in 1826.
For centuries the severed heads of rebels and traitors were displayed above the gate, the many victims include Sir Henry Purcey (Hotspur) in 1403 and Richard, Duke of York in 1460. The last of the severed heads was removed in 1754.
Monk Bar
Monk Bar is the largest and most ornate of the bars, it dates from the early 14th century. It was a self-contained fortress, with each floor capable of being defended. On the front of the bar is an arch supporting a gallery, including 'murder-holes' through which missiles and boiling water could be rained down upon attackers.
Monk Bar has the city’s only working portcullis, in use until 1970. Like the other main gateways, Monk Bar originally had a barbican on the front. This was demolished in 1825.
The rooms above the gateway have had various uses over the years, including as a home and as a jail for rebellious Catholics in the 16th century.
The Red Tower
1490AD - 1491AD
The Red Tower, built in 1490, forms the only brick section of York’s famous city walls. Because it was built of brick its construction did not sit well with the local stone masons. So much so that it was the cause of dispute, and even murder.
The masons who worked on the majority of York’s walls and buildings were unhappy about the employment of tilers to build the Red Tower; their unhappiness led to them attempting to sabotage the building of the tower. The tilers had to ask for protection from the city council to stop the masons from threatening them and breaking their tools.
This protection made little difference, however. In 1491, the tiler John Patrik was murdered. Two leading masons, William Hindley and Christopher Homer, were charged with the murder but quickly acquitted.
The first recorded use of the name “The Red Tower” was in 1511, presumably in reference to its red brick colour rather than its bloody past.
Despite forming an important and unique part of the city walls, the Red Tower fell quickly into disrepair. It had to be repaired multiple times, notably in 1541 and 1545, and was in ruins by 1736. It was roughly restored in 1800 and became known as ‘Brimstone House’ – probably a reference to its former use as a manufactory for gunpowder. It has two storeys, and a garderobe. The way that the tower appears now is thanks to G F Jones’ restorations in 1857-8.
Walmgate Bar
Walmgate Bar is the most complete of the four main medieval gateways to the city, it is the only bar to retain its barbican, portcullis and inner doors.
Its oldest part is a 12th century stone archway, the walled barbican at the front dates from the 14th century, the wooden gates from the 15th century and the timber-framed building on the inside from the 16th century.
It was burned by rebels in 1489 and battered by cannon during the siege of 1644.
Baile Hill
William the Conqueror ordered two castles to be built in York, one on either side of the River Ouse.
They formed a defensive system in response to the recent violent unrest.
'York Castle' was later reinforced and eventually rebuilt in stone and so now appears much more substantial. But originally both castles were of a similar size and layout.
Baile Hill is the name given to all that remains of York's other castle. It was the man-made mound, or motte, of the castle.
Excavations in 1979 revealed remains of timber buildings and a strong fence at the summit of the mound, together with a staircase up one side. The surrounding bailey was defended by a bank of earth built on top of the original Roman city wall.
Barker Tower
This river-side tower was built in the 14th century. It was positioned at the boundary of the medieval city-centre and, in conjunction with Lendal Tower on the opposite bank, was used to control river traffic entering the city. A great iron chain was stretched across the river between the two towers and boatmen had to pay a toll to cross it. The chain also served as a defence for the city. As early as 1380 Thomas Smyth was named as the tower’s ‘keeper of the chain’.
For boats coming downstream it would be the second toll in quick succession; St Mary's Abbey had its own tower and toll collection system a little further up the river.
Barker tower was leased for long periods to various ferrymen (and at least one woman) who ran passengers across the Ouse until Lendal Bridge was built in 1863. The ferry ran 'in summer and winter, fair weather and foul, Sundays and weekdays'.
The ferry was put out of business when Lendal Bridge opened in 1863. The tower has had plenty of other uses over the years, including as a mortuary for a brief time in the 19th century.
(Continued from the photo of the 2 in the hospital). So I couldn't leave Aswan without visiting Abu Simbel, broken foot or no, signed up for this tour, left to drive south at @ 4 am by cab, hobbled @ at the site on crutches, and was stared at more than a bit. From Aswan it was a trick getting back to Cairo, navigating train stations and trains on those crutches with my backpack. Our cab was in a bad accident on the way back to Aswan, noone was hurt but the car was totaled and the driver was inconsolable. I stayed in the hospital in Cairo for a couple of days, got a second opinion (and a cast with my foot set extended at exactly the wrong angle I learned later, with my toe pointing down - ?), until I contacted the Cdn consul. (At the hospital I was bitten by a wild kitten I tried to pick up from under my bed, plenty of wild cats there, and the consul made me get a rabies shot). I flew back home via London and soon developed amoebic dysentery symptoms, and I got a letter from a Dutch friend who had to rush back to Holland shortly after I last saw her in Aswan for an emergency appendectomy. How's that for a string of bad luck? I have the crutches and a big scar on my foot as souvenirs, but my foot's good.
- This famous shrine in the far south of Egypt, only @ 40-50 clicks north of the Sudanese border as the crow flies, was dedicated to Ramesses II and was raised piece by piece by Unesco in the 60s to a plateau to escape a rising Lake Nasser when the Aswan dam was built. Ramesses reigned for 67 yr.s in the 19th dynasty of the 'New Kingdom' of the 13th cent. B.C.
www.google.com/maps/place/Abu+Simbel,+Aswan+Governorate,+...
- Lotsa photoshop with this one.
- maps.app.goo.gl/xKJyPyhBQoccDqESA
- maps.app.goo.gl/Vka4LjZQbLdrWTVA7
- maps.app.goo.gl/ccd1ce1acYTaWhcv6
- maps.app.goo.gl/5ZC55W2TccMFDM667
- maps.app.goo.gl/LHy59HtEcNRQPQeK7
- "It took 20 yr.s to create [this] complex. ... The temples are dedicated to the gods Ra-Horakty, Ptah, and the deified Ramesses II ('The Great Temple' [this]) and the goddess Hathor and Queen Nefertari, Ramesses' favourite wife ('The Small Temple')."
- "Allegedly, the Swiss explorer Burckhardt was led to the site by a boy named Abu Simbel in 1813 and the site was then named after him. Burckhardt, however, was unable to uncover the site, which was buried in sand up to the necks of the grand colossi and later mentioned this experience to his friend and fellow explorer Giovanni Belzoni. [Read more re Belzoni below.] It was Belzoni who uncovered and first excavated (or looted) Abu Simbel in 1817 and it's considered likely that it was he, not Burckhardt, who was led to the site by the young boy and who named the complex after him."
- "The Great Temple stands 30 m.s high and 35 m.s long with 4 seated colossi flanking the entrance, 2 to each side, depicting Ramesses II on his throne; each one 20 m.s tall. Beneath these giant figures are smaller statues (still larger than life-sized) depicting Ramesses' conquered enemies, the Nubians, Libyans, and Hittites. Further statues represent his family members and various protecting gods and symbols of power. Passing between the colossi, through the central entrance, the interior of the temple is decorated with engravings showing Ramesses and Nefertari paying homage to the gods. Ramesses' great victory at Kadesh [in Syria, the battle against the Hittites] (considered by modern scholars to be more of a draw than an Egyptian triumph) is also depicted in detail across the north wall of the Hypostyle Hall. According to the scholars Oakes and Gahlin, these engravings of the events surrounding the battle "present a lively account in both reliefs and text. Preparations for battle are being made in the Egyptian camp. Horses are harnessed or given their fodder while one solder has his wounds dressed. The king's tent is also depicted while another scene shows a council of war between Ramesses and his officers. Two Hittite spies are captured and beaten until they reveal the true whereabouts of Muwatalli, the Hittite king. Finally, the two sides engage in battle, the Egyptians charging in neat formation while the Hittites are in confusion, chariots crashing, horses bolting and soldiers falling into the River Orontes. In the text, Ramesses takes on the whole of the Hittite army single-handed, apart from support rendered by [the god] Amun who defends him in battle and finally hands him the victory."
- "The location of the site was sacred to Hathor long before the temples were built there and, it is thought, was carefully chosen by Ramesses for this very reason. In both temples, Ramesses is recognized as a god among other gods and his choice of an already sacred locale would have strengthened this impression among the people. The temples are also aligned with the east so that, twice a year, on Feb. 21 and Oct. 21, the sun shines directly into the sanctuary of The Great Temple to illuminate the statues of Ramesses and Amun. The dates are thought to correspond to Ramesses' birthday and coronation. The alignment of sacred structures with the rising or setting sun, or with the position of the sun at the solstices, was common throughout the ancient world ... but the sanctuary of The Great Temple differs in that the statue of the god Ptah, who stands among the others, is carefully positioned so that it is never illuminated at any time. As Ptah was associated with the Egyptian underworld, his image was kept in perpetual darkness." www.worldhistory.org/Abu_Simbel/
- Again, this was first excavated and explored by the great Giovanni Battista Belzoni, hydrologist, pioneering Egyptologist, Herculean strongman, showman and adventurer, the closest anyone's come to a real Indiana Jones. www.aramcoworld.com/Articles/September-2018/Egyptology-s-...
- "[In 1816] Belzoni continued upstream with his party toward the temple of Abu Simbel, some 500 km.s south of Luxor, to investigate the remains of 4 20 m. seated statues of Ramses the Great. They found the temple’s grand entryway drowned in sand, and Belzoni realized that excavating there would be like “making a hole in water … an endless task.” Unless, that is, he could find a way to keep the sand from refilling the hole after every scoop. Deploying his knowledge of hydraulics, engineering and stagecraft, he calculated that the doorway “could not be less than 35' [10 m.s] below the surface of the sand,” and the front of the temple was likely proportionately “117' [36 m.s] wide.” (The top of the temple’s doorway is in fact about 2/3rds of the way down a 30-m.-high façade, and the temple is indeed 36 m.s wide.) With palm logs and locally hired labor, Belzoni drove a palisade into the sand in front of the temple. Then he wet the sand “close to the wall over the door” to stop the drifts from sifting back down into the hole. After exposing the face and shoulders of one statue, he had to interrupt the task to return to Luxor to load the bust of the Ramses statue onto a boat. He arranged for a local tribal leader to safeguard the site, sketched his progress and left “with a firm resolution of returning to accomplish its opening."
- "... In February 1817, ... Belzoni was eager to return to his interrupted excavation at Abu Simbel. It wasn’t until summer that Belzoni got his wish, and he and his crew excavated the front of the temple in temperatures topping 51 degrees Celsius. On July 31 they reached “the upper part of the door as evening approached [and] dug away enough sand to be able to enter,” he wrote. But Belzoni chose to wait until dawn, after he observed that the rising sun would pierce directly into the temple’s massive, east-facing doorway. As the first light for more than a thousand years illuminated the interior, the team “entered the finest and … most magnificent of temples … enriched with beautiful intaglios, painting, colossal figures,” Belzoni gushed." No gushing, he was just being descriptive and accurate.
- "... Although he and his team took little from the temple, they spent several days measuring, drawing and compiling a detailed record of the structure’s interior and exterior. “Taking measurements, drawing pictures - that is real archaeological documentation,” says Ryan, who often refers to Belzoni as a 'proto-archeologist.' The accuracy of Belzoni’s record-keeping ... remains useful to this day."
- Here's one of several doc.s re Belzoni online, 'The Great Belzoni: The Last Tomb Raider Of Ancient Egypt'.: youtu.be/LAm9Rcrh2-0?si=Sl8Zt2fUV0xEA0IU
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.
Ford Corsair V4 Crayford (1965-70) Engine 1996 cc V4
FORD (UK) SET
www.flickr.com/photos/45676495@N05/sets/72157623665118181...
In the absence of an official convertible a small number of Corsair were bodied by Crayford Auto Developments as convertibles. Crayford first exhibited their Corsair at the 1966 Earls Court, London Motorshow
Shot at The Enfield Pagaent 30.05.2010 Ref 55-152
Without the lines prominent in the Korean version, developed in Nara Prefecture. Minimally sweet and easy to eat.
ja.wikipedia.org/wiki/%E9%BB%84%E9%87%91%E3%81%BE%E3%81%8...
No visit to York would be complete without a walk around the City Walls. At 3.4 kilometres long, the beautifully preserved walls are the longest medieval town walls in England. About 2.5 million people walk along all or part of the City walls each year, enjoying some amazing views. The completion of the entire circuit will take approximately 2 hours. There are five main bars or gateways, one Victorian gateway, one postern (a small gateway) and 45 towers.
York City Walls
The city or ‘bar’ walls of York are the most complete example of medieval city walls still standing in England today. Beneath the medieval stonework lie the remains of earlier walls dating as far back as the Roman period.
The Roman walls survived into the 9th century when, in AD 866, York was invaded by the Danish Vikings. The Vikings buried the existing Roman wall under an earth bank and topped with a palisade – a tall fence of pointed wooden stakes.
The wooden palisade was replaced in the 13th and 14th centuries with the stone wall we see today.
The medieval city walls originally included 4 main gates or ‘bars’ (Bootham Bar, Monk Bar, Walmgate Bar and Micklegate Bar), 6 postern or secondary gates and 44 intermediate towers. The defensive perimeter stretched over 2 miles encompassing the medieval city and castle.
By the late 18th century, however, the walls were no longer required as defences for the city and had fallen into disrepair. In 1800, the Corporation of York applied for an Act of Parliament to demolish them. In addition to the poor condition of the walls at the time, the narrow gateways of the bars were inconvenient and the walls themselves hindered the city’s expansion.
Many other cities, including London, were removing their outdated, medieval city walls at this time. In York, however, the city officials met with fierce and influential opposition and by the mid-nineteenth century the Corporation had been forced to back down.
Unfortunately, the call for preservation came too late for some parts of the walls – the barbicans at all but one of the gateways (Walmgate Bar) had been torn down along with 3 postern gates, 5 towers and 300 yards of the wall itself.
Since the mid-nineteenth century the walls have been restored and maintained for public access, including the planting of spring flowers on the old Viking embankment. Today the walls are a Scheduled Ancient Monument and a Grade 1 listed building.
Bootham Bar
There has been a gateway here for nearly 2000 years - Bootham Bar is on the site of one of the four main entrances to the Roman fortress.
The existing structure is not Roman but it has been around for quite a while. The archway itself dates from the 11th century and the rest of the structure is largely from the 14th century. In 1501 a door knocker was installed as Scots were required to knock first and seek permission from the Lord Mayor to enter the city.
The bar was damaged during the siege of York in 1644. Like Micklegate Bar, it was sometimes used to display the heads of traitors, the heads of three rebels opposing Charles II’s restoration were placed here in 1663.
Bootham Bar was the last of the gates to lose its barbican, demolished in 1835.
Fishergate Bar
1315AD - 1487AD
Fishergate Bar is one of six gateways in the city walls. It faces South towards Selby. Nearby used to be the large flooded area known as the King’s Fishpond.
‘Barram Fishergate’ is the first documented reference to the bar, in 1315. A central stone above the archway reveals the date of the current bar. It contains the York coat of arms and an inscription which reads:
‘A.doi m.cccc.lxxx.vii Sr Willm Tod knight mayre this wal was mayd in his days lx yadys’
This tells us that sixty yards of the wall, including the bar, was built in 1487 under Sir William Tod, mayor of York.
But just two years later, in 1489, Fishergate Bar suffered considerable damage in the Yorkshire peasants’ revolt against Henry VII. The rebels burned the gates of the bar after murdering the Earl of Northumberland. The gateway was bricked up soon after and wasn’t re-opened until 1834, to give better access for the cattle market.
Micklegate Bar
Micklegate Bar was the most important of York’s four main medieval gateways and the focus for grand events. The name comes from 'Micklelith', meaning great street.
It was the main entrance to the city for anyone arriving from the South. At least half a dozen reigning monarchs have passed through this gate and by tradition they stop here to ask the Lord Mayor's permission to enter the city.
The lower section of the bar dates from the 12th century, the top two storeys from the 14th. The building was inhabited from 1196. Like the other main gates, Micklegate Bar originally had a barbican built on the front, in this case demolished in 1826.
For centuries the severed heads of rebels and traitors were displayed above the gate, the many victims include Sir Henry Purcey (Hotspur) in 1403 and Richard, Duke of York in 1460. The last of the severed heads was removed in 1754.
Monk Bar
Monk Bar is the largest and most ornate of the bars, it dates from the early 14th century. It was a self-contained fortress, with each floor capable of being defended. On the front of the bar is an arch supporting a gallery, including 'murder-holes' through which missiles and boiling water could be rained down upon attackers.
Monk Bar has the city’s only working portcullis, in use until 1970. Like the other main gateways, Monk Bar originally had a barbican on the front. This was demolished in 1825.
The rooms above the gateway have had various uses over the years, including as a home and as a jail for rebellious Catholics in the 16th century.
The Red Tower
1490AD - 1491AD
The Red Tower, built in 1490, forms the only brick section of York’s famous city walls. Because it was built of brick its construction did not sit well with the local stone masons. So much so that it was the cause of dispute, and even murder.
The masons who worked on the majority of York’s walls and buildings were unhappy about the employment of tilers to build the Red Tower; their unhappiness led to them attempting to sabotage the building of the tower. The tilers had to ask for protection from the city council to stop the masons from threatening them and breaking their tools.
This protection made little difference, however. In 1491, the tiler John Patrik was murdered. Two leading masons, William Hindley and Christopher Homer, were charged with the murder but quickly acquitted.
The first recorded use of the name “The Red Tower” was in 1511, presumably in reference to its red brick colour rather than its bloody past.
Despite forming an important and unique part of the city walls, the Red Tower fell quickly into disrepair. It had to be repaired multiple times, notably in 1541 and 1545, and was in ruins by 1736. It was roughly restored in 1800 and became known as ‘Brimstone House’ – probably a reference to its former use as a manufactory for gunpowder. It has two storeys, and a garderobe. The way that the tower appears now is thanks to G F Jones’ restorations in 1857-8.
Walmgate Bar
Walmgate Bar is the most complete of the four main medieval gateways to the city, it is the only bar to retain its barbican, portcullis and inner doors.
Its oldest part is a 12th century stone archway, the walled barbican at the front dates from the 14th century, the wooden gates from the 15th century and the timber-framed building on the inside from the 16th century.
It was burned by rebels in 1489 and battered by cannon during the siege of 1644.
Baile Hill
William the Conqueror ordered two castles to be built in York, one on either side of the River Ouse.
They formed a defensive system in response to the recent violent unrest.
'York Castle' was later reinforced and eventually rebuilt in stone and so now appears much more substantial. But originally both castles were of a similar size and layout.
Baile Hill is the name given to all that remains of York's other castle. It was the man-made mound, or motte, of the castle.
Excavations in 1979 revealed remains of timber buildings and a strong fence at the summit of the mound, together with a staircase up one side. The surrounding bailey was defended by a bank of earth built on top of the original Roman city wall.
Barker Tower
This river-side tower was built in the 14th century. It was positioned at the boundary of the medieval city-centre and, in conjunction with Lendal Tower on the opposite bank, was used to control river traffic entering the city. A great iron chain was stretched across the river between the two towers and boatmen had to pay a toll to cross it. The chain also served as a defence for the city. As early as 1380 Thomas Smyth was named as the tower’s ‘keeper of the chain’.
For boats coming downstream it would be the second toll in quick succession; St Mary's Abbey had its own tower and toll collection system a little further up the river.
Barker tower was leased for long periods to various ferrymen (and at least one woman) who ran passengers across the Ouse until Lendal Bridge was built in 1863. The ferry ran 'in summer and winter, fair weather and foul, Sundays and weekdays'.
The ferry was put out of business when Lendal Bridge opened in 1863. The tower has had plenty of other uses over the years, including as a mortuary for a brief time in the 19th century.
“A man may die, nations may rise and fall, but an idea lives on. Ideas have endurance without death.”
John Fitzgerald Kennedy quotes (American 35th US President (1961-63), 1917-1963)
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.
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La quinta edizione del festival organizzato da Wired Italia. Due lunghi fine settimana in cui vivere l’innovazione nell’economia, nella scienza, nella politica, nell’intrattenimento, nella cultura. Milano e Firenze si trasformano per un fine settimana nel luna park della scienza e della tecnologia. Oltre 150 relatori, performance artistiche, laboratori di stampa 3D, droni in volo, videogame, film, documentari, speed date sul lavoro, maratone di coding e workshop per tutte le età. A Milano da venerdì 26 a domenica 28 maggio ai Giardini Indro Montanelli.
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ore 10:00
Come si combatte l’Isis (sui social)
Speaker
Abdalaziz Alhamza - Fondatore Raqqa is Being Slaughtered Silently
Abdalaziz Alhamza, nato a Raqqa nel 1991, è un giornalista e attivista siriano, che oggi vive a Berlino. È fondatore e portavoce del progetto Raqqa is Being Slaughtered Silently (RBSS), gruppo di citizen journalism fondato dall’esilio in Turchia, che informa sulle violenze compiute da Isis in Siria, grazie alle informazioni passate da cittadini rimasti all’interno della città. Nel gennaio 2016 l’International Business Times ha descritto RBSS come “la più credibile fonte di informazioni dall’interno di Raqqa”.
Alhamza è laureato in biologia e da studente ha organizzato numerose proteste contro il governo siriano. È stato arrestato varie volte dal regime e più volte ha ricevuto minacce per la sua attività da Isis. RBSS ha vinto nel 2015 l’International Press Freedom Award dal Committee to Protect Journalists e il premio del Foreign Policy Global Thinkers Award.
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ore 10:30
Tra calcio e futuro
Speaker
Diletta Leotta - Conduttrice Sky Sport
Giulia Diletta Leotta, 1991, è conduttrice a Sky Sport. Si è laureata in Giurisprudenza alla LUISS di Roma con una tesi dal titolo Il contratto di lavoro sportivo. Ha iniziato la sua carriera televisiva nel 2010, a diciannove anni, sulla rete locale Antenna Sicilia, affiancando Salvo La Rosa nella conduzione dell’11º Festival della nuova canzone siciliana e nel programma di intrattenimento Insieme. L’anno successivo è passata a Mediaset dove ha condotto la trasmissione Il Compleanno di La5 sull’omonima rete digitale. Nel 2012 diventa una delle conduttrici di Sky Meteo 24.
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ore 12:30
Serie internazionale
Speaker
Salvatore Esposito - Attore
Salvatore Esposito nasce a Napoli il 2 febbraio 1986. Sin da bambino nutre la passione per la recitazione. Raggiunta la maggiore età inizia i suoi studi di recitazione presso la Scuola di cinema di Napoli per poi trasferirsi a Roma dove studia con l’acting trainer Beatrice Bracco.
Ha fatto il suo esordio televisivo nel 2013 con Il clan dei camorristi, interpretando il ruolo di Domenico Ruggiero. Nel 2014 arriva il successo al grande pubblico con Gomorra – la serie, Salvatore interpreta Genny Savastano.
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ore 13:00
Lavoro e ricchezza nell’epoca dell’ Intelligenza Artificiale
Speaker
Jerry Kaplan - Esperto di Intelligenza Artificiale e Imprenditore
Jerry Kaplan è un esperto di Intelligenza Artificiale noto in tutto il mondo, un innovatore, seriael entrepreneur, educatore, futurista e autore di best sellers. Ha fondato quattro startup della Silicon Valley, due delle quali sono divenute società di fama, e insegnato alla Stanford University. Hanno parlato di lui tutti i principali quotidiani in lingua inglese e le riviste specializzate di tutto il mondo
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ore 14:00
La strada della musica
Speaker
Michele Bravi - Cantante
Michele Bravi esordisce nel 2013 con la vittoria di XFactor Italia.
Portato alla vittoria da Morgan e presentato al grande pubblico con un pezzo scritto per lui da Tiziano Ferro e Zibba, Michele pubblica il suo EP di debutto “La Vita e la Felicità”. A Gennaio 2014 il primo singolo “La Vita e la Felicità” viene certificato disco d’oro.
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ore 14:30
Il tocco vincente
Speaker
Mara Maionchi - Produttrice discografica
Mara Maionchi (Bologna, 22 aprile 1941) è una produttrice discografica e personaggio televisivo italiano.
Attualmente considerata la figura femminile di maggiore spicco nella discografia italiana, producendo sia per conto di major come Sony e Warner che come produttrice indipendente attraverso la sua etichetta, sostenendo tuttavia in numerose dichiarazioni che la vera scena musicale – intensa e multisfaccettata – è all’estero e che in Italia “si fa quel che si può”.
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ore 15:00
Maniaca di SerieTV
Speaker
Miriam Leone - Attrice
Nasce a Catania. Ha frequentato il Liceo Classico Gulli e Pennisi ad Acireale e la Facoltà di Lettere e Filosofia dell’Università degli Studi di Catania. Studia contemporaneamente recitazione. Nel 2008 partecipa e vince sia la fascia di Miss Italia che quella di Miss Cinema.
Nel 2010 debutta come attrice sia sul grande schermo con il film Genitori & figli – Agitare bene prima dell’uso, di Giovanni Veronesi, con Silvia Orlando e Margherita Buy, sia sul piccolo schermo con il film TV Il ritmo della vita, diretto da Rossella Izzo e trasmesso su Canale 5.
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ore 15:30
Indie a chi?
Speaker
Lo Stato Sociale - Musicisti
Nel 2012 esce il loro primo album, Turisti della democrazia, al quale fa seguito un tour di 200 concerti in Italia ed in Europa. Nel 2013, ad un anno dalla prima pubblicazione, Turisti della democrazia viene ripubblicato in edizione deluxe, in formato doppio CD. Il primo CD presenta la tracklist originale mentre il secondo CD comprende tutti gli 11 brani del disco originale coverizzati da 11 artisti, oltre a tanti remix e inediti. Alla ripubblicazione dell’album, segue un lungo tour dello spettacolo di teatro-canzone Tronisti della democrazia, nel quale le canzoni dell’album d’esordio sono alternate a monologhi e sketch a formare “un minicorso in 5 atti di buone maniere”. Con Turisti della democrazia, tra i più discussi album usciti in ambito indie rock in Italia, la band bolognese ha ricevuto la Targa Giovani Mei e il Premio SIAE “Miglior Giovane Talento dell’Anno” e altri riconoscimenti.
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ore 16:00
L’uomo che ha dato forma al pc
Speaker
Mario Bellini - Architetto
Mario Bellini è un architetto e designer noto in tutto il mondo. Ha ricevuto il Premio Compasso d’Oro otto volte e 25 delle sue opere sono nella collezione permanente del MoMA di New York, che gli ha dedicato una retrospettiva nel 1987. È stato direttore della rivista Domus (1985-1991). Ha progettato numerose mostre d’arte e di architettura sia in Italia, sia all’estero, l’ultima a Palazzo Reale con i capolavori di Giotto (2015).
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ore 16:00
C’è risata e risata
Speaker
Saverio Raimondo - Stand Up Comedian e conduttore CCN
Saverio Raimondo, 33 anni, comico satirico, è stato definito sulle pagine di Repubblica “l’unico stand up comedian italiano che sembra vero” e “il comico più bravo in circolazione” da Aldo Grasso del Corriere della Sera. È il comico di punta di Comedy Central Italia (canale 124 di Sky) per il suo show CCN – Comedy Central News, striscia satirica di grande successo di pubblico e critica, giunta alla terza stagione – attualmente in corso, in onda tutti i mercoledì alle 22 – e per la quale ha vinto il Premio Satira Politica per la Tv Forte Dei Marmi.
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ore 16:30
Il suono dal caos
Speaker
Levante - Musicista
Levante nasce a Caltagirone e cresce a Palagonia (Catania) in una famiglia affollata da menti creative. A nove anni scrive le prime canzoni e soltanto ad undici inizia a suonare la chitarra, rubandola al fratello, per la pura esigenza di musicare i propri testi. Dopo la morte del padre, lei e la madre si trasferiscono nella magica città di Torino. Qui tante sono le collaborazioni, i contratti andati male, i dischi mai usciti e gli anni di manifestazioni musicali, provini e gavetta.
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ore 17:00
Non è bello ciò che è bello, ma che bello che bello che bello
Speaker
Maccio Capatonda - Attore e Regista
Nino Frassica - Comico e Presentatore
Maccio Capatonda, pseudonimo di Marcello Macchia, è un attore, regista e comico italiano. Ha partecipato ai programmi televisivi Mai dire Lunedì e Mai dire Martedì. Precedentemente aveva fondato a Milano la Shortcut Productions, insieme a Enrico Venti, suo storico amico, anche lui di Chieti. Ha lavorato per AllMusic e lavora stabilmente sul web, affianco all’attività televisiva. Nel 2013 è ideatore, regista e interprete principale della serie televisiva Mario. In un primo tempo si è dedicato (accompagnato dal suo inseparabile gruppo) alla produzione di finti reality televisivi, come il Divano Scomodo e il Gabinetto.
Nel 1985 Arbore coinvolge Nino Frassica nel varietà “Quelli della notte” nei panni di frate Antonino da Scasazza, organizzatore di un improbabile concorso a premi. Seguono “Indietro tutta” dove veste i panni del bravo presentatore e mette in scena una spassosa parodia del tipico conduttore televisivo. Partecipa successivamente a “Fantastico”, “Domenica In”, “Scommettiamo che…?”, “I Cervelloni”, “Acqua calda”, “Colorado Cafè” e “Markette” condotto da Piero Chiambretti. Nel 1999 inizia l’avventura della fiction televisiva “Don Matteo” con Terence Hill, Flavio Insinna e successivamente Simone Montedoro, giunta ormai alla decima serie. Nino interpreta il ruolo del maresciallo dei Carabinieri Nino Cecchini.
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ore 17:30
Comicità all’italiana
Speaker
Herbert Ballerina - Attore e Comico
Maccio Capatonda - Attore e Regista
Herbert Ballerina, pseudonimo di Luigi Luciano, nato a Campobasso il 7 marzo 1980, è un attore, comico, conduttore radiofonico e produttore cinematografico italiano. Dopo essersi laureato al DAMS di Bologna si trasferisce a Milano entrando a far parte della Shortcut Productions di Marcello Macchia ed Enrico Venti (in arte Maccio Capatonda e Ivo Avido), inizialmente come assistente e poi come attore e autore. Con Marcello Macchia è protagonista, con lo pseudonimo di Herbert Ballerina, di numerosi trailer umoristici trasmessi all’interno dei programmi televisivi Mai dire Lunedì e Mai dire Martedì.
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ore 18:00
La democrazia della rete
Speaker
Luigi Di Maio - Vicepresidente della Camera
Nato a Avellino il 6 luglio 1986, ha conseguito il diploma di liceo classico ed è giornalista pubblicista. Eletto nella circoscrizione XIX (CAMPANIA 1) nel 2013 alla Camera dei Deputati con il Movimento Cinque Stelle, diventa il più giovane Vicepresidente della Camera. È uno dei volti di punta del Movimento Cinque Stelle, per molti naturale candidato alle prossime elezioni.
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ore 18:30
Non smetto più
Speaker
Sydney Sibilia - Regista, Sceneggiatore e Produttore cinematografico
Luigi Di Capua - Regista, sceneggiatore e attore
Francesca Manieri - Sceneggiatrice
Sydney Sibilia, nato a Salerno nel 1981, è un regista, sceneggiatore e produttore cinematografico italiano. Sydney Sibilia inizia a realizzare cortometraggi insieme all’amico Fabio Ferro nella loro natìa Salerno. Nel 2007 si trasferisce a Roma e successivamente realizza un cortometraggio che ottiene numerosi riconoscimenti, Oggi gira così (2010), prodotto dalla Ascent Film e scritto insieme a Valerio Attanasio.
Sempre con Valerio Attanasio, scrive la sceneggiatura della sua opera prima Smetto quando voglio. Il film, prodotto dalla Fandango di Domenico Procacci, dalla Ascent FIlm di Matteo Rovere e da Rai Cinema, viene distribuito nelle sale cinematografiche nel febbraio 2014, riscuotendo un successo sorprendente e ottenendo 12 candidature ai David di Donatello 2014. Nel 2017 è nelle sale il seguito, Smetto quando voglio – Masterclass, in attesa del terzo episodio.
Regista, sceneggiatore e attore. Insieme a Matteo Corradini e Luca Vecchi è il fondatore del collettivo The Pills, nato nell’estate del 2011. Il collettivo è diventato celebre grazie alla web serie omonima che ha debuttato su YouTube nello stesso anno, diventando immediatamente fenomeno del web. Dopo il successo ottenuto anche con la seconda stagione, nel 2014 la serie approda su Italia 1. Nello stesso anno, The Pills sono autori insieme a Matteo Rovere, Luca Ravenna, Sydney Sibilia e Daniele Grassetti della serie tv Zio Gianni in onda su Rai2. Il 21 gennaio 2016 esce nelle sale il loro primo film, The Pills – Sempre meglio che lavorare.
Sceneggiatrice tra le più apprezzate in Italia, è laureata in filosofia.
Tra i suoi lavori: Zanzibar. Una storia daAmore, di cui ha curato anche la regia, Passione sinistra, Il rosso e il blu, La foresta di ghiaccio, Vergine giurata, Veloce come il vento, Nemiche per la pelle, il corto Era ieri, Come fai sbagli e il successo Smetto quando voglio.
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ore 19:00
L’identità della bellezza
Speaker
Samuel - Cantante e Musicista
Samuel Umberto Romano, conosciuto semplicemente come Samuel (Torino, 7 marzo 1972), è un cantautore e chitarrista italiano. È il frontman del gruppo dei Subsonica, in cui è anche compositore e autore dei testi delle canzoni insieme a Max Casacci e Davide Dileo, meglio conosciuto come Boosta.
Nel 2016 ha annunciato attraverso le proprie pagine Facebook e Instagram di essere al lavoro sul suo primo album da solista, anticipato il 9 settembre 2016 dal suo primo singolo da solista, La risposta, seguito tre mesi dopo da Rabbia.
Without it, he would never be able to see beyond his immediate world; nor could the world see the man within~
Quote -Claudia Lady Bird Johnson
Young goth fairy poses at the 2010 Texas Renaissance Festival inTodd Mission, Texas. Anyone who has or had a teen daughter has seen this look before. This is their serious picture look. Which is not dissimilar from their "Dad, please...!" (don't embarass me) look. This young lady was very nice and has a gorgeous smile. (I just couldnot get her to smile for the camera.)
general talent without execs-
attends Warner Music Group Grammy Celebration hosted by InStyle at Chateau Marmont on February 12, 2012 in Los Angeles, California.
Ariel Foxman images-
Actress/actor NAME attends the Warner Music Group Grammy Celebration hosted by InStyle Editor Ariel Foxman at the Chateau Marmont on February 12, 2012 in Los Angeles, California
Warner Music Group execs-
Actress/actor NAME with Warner EXEC name to be given on siteattends the Warner Music Group Grammy Celebration hosted by InStyle at the Chateau Marmont on February 12, 2012 in Los Angeles, California
RE: Getty Images PHOTO ASSIGNMENT 12/02/2012 Warner Music Group Grammy Celebration Hosted By InStyle 138315997?
Use this image without my permission is illegal. All Rights Reserved ste.t.©
La barca a vela è un tipo di imbarcazione la cui propulsione è affidata principalmente allo sfruttamento del vento e in cui il motore riveste solo un'azione di supporto specialmente nelle manovre in porto. La vecchia legislazione definiva imbarcazione a vela con motore ausiliario le unità da diporto munite di motore (entro o fuori bordo) con potenza espressa in cv. inferiore al 50% della superficie velica misurata in metri quadrati (Es. superficie velica 80 m2, potenza massima 40 cv.).
Le unità con potenza maggiore sono definite motorsailer, questo tipo di imbarcazione affidano alle vele un ruolo secondario.
Una barca a vela si compone di numerose parti.
Tra le principali: 1 - randa 2 - fiocco 3 - spinnaker 4 - scafo 5 - deriva 6 - timone 7 - chiglia 8 - albero 9 - crocette 10 - sartie 11 - scotta della randa 12 - boma 13 - albero 14 - tangone 15 - paterazzo 16 - strallo 17 - vang
Le barche a vela si possono distinguere in "derive", vale a dire piccole barche, normalmente sotto i 5-6 metri, non abitabili, senza motore, destinate ad un uso sportivo o a brevi escursioni e "barche a chiglia" ovvero barche dotate di una chiglia appesantita (o bulbo) ed in genere attrezzate per una permanenza più lunga (ad esempio con spazi per cucinare, dormire, bagni, ecc.) e navigazioni a più ampio raggio.
Le barche a vela possono essere monoscafo o multiscafo. Se a due scafi vengono definite catamarani, se a tre scafi trimarani.
The following is an unpaid advertisement.
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I use this thing for nearly every close-range indoor portrait I take. It adds light but stays color and shadow true.
It's next to impossible to do anything with a blown-out photo in post-processing. You can tone it down, but it doesn't add back the depth.
Here, in the top photo, you can see Serena's face is rounder without the definition in her cheekbones; it's blown out by the popup flash. And the red wall, painted with a textured paint, loses its definition.
So don't wait. Get a Lightscoop!
I last visited St Paul Without one day, years ago, and on the only occasion finding it unlocked, that inside was the annual Kent Women's Union meeting, fair.
I was made welcome enough, but it was also packed with people, so got some general shots and thought I would return.
At some point.
Years go by, and after reposting shots on Twitter and FB, I realise I have to go back. Anyway, Sunday and we were in Canterbury for a walk, and I take us down past St Paul, not expecting it to be open, but it was Sunday morning, the door was open and the congregation was gathering.
I go in and:
he young man by the door greets us: is it OK if I take some shots? I ask.
Sure, you're not that chap off the Facebook Churchcrawling group, er, Jones?
Bishop Brian Jones, I ask?
Yes.
Yes, that is me, I admitted.
You're very prolific, great shots.
Fame at last.
So, with some people, but not crowded, I went round to snap the details, memorials and nooks of the church.
-------------------------------------------
Why ‘St. Paul’s without the Walls’? The word ‘without’ once meant ‘outside’. This Church was built ‘without’ (outside) the city walls now just across the ring road. We refer to it here also as just ‘St. Paul’s’.
The origins of St. Paul's Church and the reason for its existence lie in the proximity of the ruins of the Abbey (now called St. Augustine’s). It is believed that it was built as a chapel by the abbey for local people and overseen by them as a place of worship and instruction.
In 1300 however there was a controversy between the Abbey and the Archbishop in regard to the right to present a priest to the ‘living’ (install a priest paid to minister here).
The Archbishop seems to have won. Parishioners had the right to be buried in the Abbey cemetery and in 1591 a burial area was created in Longport (now closed and since 1951 an open space at the bottom of St. Martin’s Hill).
Sometime in the last quarter of the 13th century the Church was enlarged eastwards creating the space now occupied by our organ ( built in 1901).
In the organ space and sadly no longer visible there is another piscina and a three tiered seat or sedilia for the priest and deacons.
A further extension took place around 1320 southwards creating a second larger aisle and a great east window. The south wall was pulled down to be replaced by purbeck marble pillars and a further wall.
Dissolution of the Monasteries c1540 had a serious economic effect on the City of Canterbury. The destruction of Thomas Becket’s tomb meant no more pilgrims and a great loss of income. In 1570 a Visitation (inspection by senior clergy) recorded that there were 90 houses in this Parish and 243 communicants. In 1681 St. Paul's was united with the ancient church of St. Martin.
The worshippers at St. Martin’s were ordered to view St. Paul’s as ‘their proper church’ (fortunately they seem to have stayed at St. Martins!) (Both parishes continued side by side until the 1970s when the Parish of St.
Martin & St. Paul was formed with one Parochial Church Council). By the early 19th Century St. Paul’s was described as ‘a small, mean building’ and in poor repair. All that would change with the advent of William Chesshyre!
The print of St. Paul's in 1828 shows a rather shabby building in a busy street. In 1842 William John Chesshyre arrived as Parish Priest. He was a wealthy man who resided in his mother’s house at Barton Court (now Barton Court Grammar School on St. Martin’s Hill/Longport).
Chesshyre died in his fifties in 1859 but in his seventeen years in the Parish he oversaw a dramatic extension and refurbishment of St. Paul's under George Gilbert Scott as well as the founding of St. Paul's School (closed and demolished in the 1960s).
The tower was substantially rebuilt and a third aisle built southwards creating the space we enjoy today. An elaborate altarpiece was created in the sanctuary with the choir seated in the traditional chancel under a decorated ceiling. A new font replaced the ancient one now stored in the Church cellar in three pieces. Whatever nave seating existed was replaced by pews provided under a national church scheme to help clergy pew their churches.
n 1985 Canon Reg Humphriss oversaw a reordering (programme of interior changes) project that brought the altar forward, removed the altarpiece and moved the choir to the north aisle. The font was also moved from its traditional place at the back of the Church to its present position. This opening up of space reflected changes in worship patterns but it meant the loss of the chapel and the positioning of the choir rather close to the very powerful organ. In 2012-2013 a further reordering took place.
The key element of this was the replacement of the fixed pews with modern seating allowing creative use of space and the restoration of the chapel. New choir stalls enabled the choir to be positioned further from the organ. In line with current developments new technology has been installed including a screen that descends electronically from the tie beam over the chancel. The chancel itself was levelled and extended and recarpeted and new digital lighting installed. We are now able to offer traditional and innovative worship and welcome people to use the church for concerts and conferences using also the Parish Centre built in 2005.
Without doubt one of the most impressive Anglican parish churches. About 80 % of the building's wall space are occupied by windows.
Even without much postprocessing, you can certainly feel the age and 1960s sense from a great piece of transport from the 1962 World's Fair. Hope you fav.
A photo from my journey to PiX 2015, a Seattle photography conference
PHOTO CREDIT: Joe A. Kunzler Photo, AvgeekJoe Productions, growlernoise-AT-gmail-DOT-com
The Creepiest Book of 2015 Imagines a World Without Sleep t.co/TYwgrQRu1t #oscarsmattress (via Twitter twitter.com/OscarsMattress/status/762801786281402369)
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.
October 28, 2023
Rotational wind etchings in the sand in morning light.
Hiking the Provincetown Dunes
Cape Cod National Seashore
Provincetown, Massachusetts
Cape Cod - USA
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© Bruce Christopher 2023
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