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Taken during the 2011 Scott Kelby Worldwide Photowalk in Sheffield Alabama inside an old church along the route that is actually for sale! The walk was organized and hosted by Dave Reasons- Ken & I had a fantastic time!
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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.
For a while, I’ve been entertaining “Agoraphobia Without a History of Panic Disorder” but I really do enjoy being outside- scuttling in a fugue state along these Newtown streets beneath the burning thermonuclear eye of god itself in my filthy black raincoat while avoiding others and satisfying my suspicious notions which only I can see and reporting my findings here in vague, metaphorical, and overelaborate language. This doesn’t strictly adhere to AGWAHOPD.
I also really like “Avoidant personality disorder” for its self loathing, mistrust, and hypersensitivity to criticism. I do have a thin skin, after all, but lately- I’m leaning “schizotypal personality disorder”, baby. SPD, yo.
Schizotypal personality disorder, from wikipedia
A disorder characterized by eccentric behaviour and anomalies of thinking and affect which resemble those seen in schizophrenia, though no definite and characteristic schizophrenic anomalies have occurred at any stage. There is no dominant or typical disturbance, but any of the following may be present:
inappropriate or constricted affect (the individual appears cold and aloof);
behaviour or appearance that is odd, eccentric, or peculiar;
poor rapport with others and a tendency to social withdrawal;
odd beliefs or magical thinking, influencing behaviour and inconsistent with subcultural norms;
suspiciousness or paranoid ideas;
obsessive ruminations without inner resistance, often with dysmorphophobic, sexual or aggressive contents;
unusual perceptual experiences including somatosensory (bodily) or other illusions, depersonalization or derealization;
vague, circumstantial, metaphorical, overelaborate, or stereotyped thinking, manifested by odd speech or in other ways, without gross incoherence;
occasional transient quasi-psychotic episodes with intense illusions, auditory or other hallucinations, and delusion-like ideas, usually occurring without external provocation.
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Camera : Nikon D1X
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LA CAPITALE LUSITANA SI RINNOVA. MERITO ANCHE DEGLI AZULEJOS
Il fascino di Lisbona sembra decisamente non passare di moda e d'inaugurare una vera e propria era all’insegna del successo, frutto dell’incontro tra l’arte che ha fatto la storia della città e le nuove frontiere del connubio di architettura e design. L’impatto che si ha nella città della Rivoluzione dei garofani assomiglia a un'aggressione, un aggressione dei cinque sensi: colori, rumori, odori, sapori e palazzi da toccare. Lisbona è inaspettatamente varia. Merito della sua storia e del sovrapporsi di epoche e stili differenti: medievale, manuelino (dal re Manuel, I che ha cambiato il volto della città trasformandola da gotica in rinascimentale), barocco, settecentesco e razionalista. La sensazione dell’armonico contrasto fra la storica zona distesa lungo il fiume e quella più interna e recente, sorta con le fattezze dello sviluppo commerciale ed economico degli ultimi tre secoli, si mescola in un armonioso e continuo salto nel tempo che ci accompagna dal passato dei navigatori e delle grandi scoperte geografiche al recente sviluppo dell’industria e dell’affarismo.
La "città bianca" del regista Alain Tanner brilla sotto il sole a tutte le ore del giorno, regalando riflessi diversi, principalmente grazie ai suoi mille azulejos, applicati sui palazzi, sulle fontane, sui belvedere e non ultime, sulle pareti delle stazioni della metropolitana. Azulejos, che non significa azzurro come la parola e il colore dominante farebbero pensare, ma viene dall'arabo zulaicha e significa "piccola pietra levigata"; ognuno ha una piccola storia, un riflesso di luce percepibile al primo sguardo. Tempio di queste particolarissime ceramiche è il Museu Nacional do Azulejo dove sono racchiuse le evoluzioni storiche, tecniche e artistiche, dal XV secolo a oggi, importanti anche per capire i contatti portoghesi con altre culture. Viaggiando a Lisbona in metropolitana, ogni stazione può rivelarsi una scoperta di opere d'arte caratterizzate dalla presenza delle coloratissime ceramiche, simbolo artistico della capitale portoghese. L'idea di aggiungere gli azulejos alle pareti delle stazioni metropolitane della capitale portoghese, nacque ai tempi della sua costruzione, negli anni '50, per rendere meno opprimente la sensazione di trovarsi sottoterra. L'architetto, Keil do Amaral, e l'artista figurativa, Maria Keil, definirono allora un modello per questo tipo di spazi pubblici che conobbe un seguito. La nuova generazione di stazioni nata negli anni '90 per opera di famosi architetti e artisti figurativi, è stata vivacizzata da temi allusivi alla zona della città in cui sono collocate ed alla cultura portoghese, utilizzando i più recenti linguaggi artistici.
Ogni saliscendi della metropolitana può rivelarsi una sorpresa. A Cais do Sodré, il coniglio frettoloso di “Alice nel Paese delle Meraviglie” sembra volere indicare il cammino; Baixa, Chiado porta la firma del famoso architetto Siza Vieira, accompagnato con le decorazioni del pittore Ângelo de Sousa. Alla fermata Parque, ad essere le protagoniste della metro sono le storie che raccontano scoperte geografiche e animali immaginari. Nella fermata del Jardim Zoológico, sempre gli animali invadono tutta la stazione e, a Laranjeiras, un’atmosfera all’insegna di frutti colorati regala un’accoglienza del tutto esotica.
Lisbona è stata la protagonista da maggio a luglio 2007 della prima edizione della Triennale Internazionale di Architettura. Tema dell’intera esposizione i "Vuoti Urbani" aree più o meno abbandonate e degradate, generalmente in zone di periferia, spazi indefiniti di "non città", spesso ignorate e aliene ai sistemi di strutturazione territoriale sottoposti in tale occasione a interventi artistici. La manifestazione della Triennale di Lisbona ha racchiuso due momenti particolarmente importanti: la cerimonia di premiazione di Álvaro Siza Vieire, architetto di fama internazionale (insignito di premi internazionali tra cui il Premio Pritzker del 1992) e la Conferenza Internazionale di Architettura, che ha riunito a Lisbona architetti, urbanisti e accademici provenienti da tutto il mondo.
the world carries on without you
but nothing remains the same
i'll be lost without you
until the last of days
- a fine frenzy, last of days
obvious answer to wanting a shot outside and it being 9 PM: leave your headlights on and point them towards the shot. haha
today was the viewing for my piano teacher's husband. i stood in line for over an hour because pretty much everyone loves her/her family, so the crowd was huge... this was at the second viewing, too. all these people that knew each other, laughing and talking and smiling, and me all alone just sitting there thinking about people dying and disappearing from your life and the void that they leave...
i saved this in my phone while i was waiting:
people are talking and pushing and hurrying and happy, and i just don't understand it because jamie died, someone is dead. isn't this a little disrespectful? stop gossiping for five minutes and just sit here and think, think about karen and how her life will never be the same because jamie is dead. just slow down for a second. just slow down.
a woman is standing so close behind me that she bumped into me when she turned around.
jamie never gets to stand in a line again.
you're all such fucking pigs.
____
so what do you do when the spot beside you that's been kept warm at night for the majority of your life is suddenly empty?
what do you do...?
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
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.)
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.
Shelter area Refugee Camp in the Heart of the City
A free, interactive, awareness-raising event
The set contains 2010 photos of the Toronto MSF display- Refugee Camp in the Heart of the City.
Photos © Linda Dawn Hammond / IndyFoto.com 2010, with usage granted to Médecins Sans Frontières / Doctors Without Borders (MSF)
Médecins Sans Frontières / Doctors Without Borders (MSF) Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
2011
Join Médecins Sans Frontières / Doctors Without Borders (MSF) at
Refugee Camp in the Heart of the City, a free, interactive, awareness-raising exhibit. You'll be personally guided through the camp by an experienced MSF field worker and gain insight into the daily realities of 43 million people uprooted by war and conflict.
The exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee crisis.
DATES & LOCATIONS
St. John’s: Bannerman Park, September 8-11, 2011
Halifax: Garrison Grounds, September 15-18, 2011
Moncton: Riverfront Park, September 22-25, 2011
Québec: Place d’Youville, September 29-October 3, 2011
We encourage you forward this invitation to anyone you know who may have the opportunity to visit the exhibit.
Thank you!
In Spring 2010, Médecins Sans Frontières / Doctors Without Borders (MSF) brought The Refugee Camp in the Heart of the City exhibit to Ontario and Québec on a four-city tour.
Ottawa: Confederation Park, May 13-16, 2010
Montréal: Parc Jeanne-Mance, May 20-23, 2010
Toronto: Christie Pits, May 27-30, 2010
Waterloo: Waterloo Public Square, June 3-6, 2010
The goal of the exhibit is to raise awareness about the plight of the world’s 42 million refugees and internally displaced people (IDPs) uprooted by war and conflict.
The Refugee Camp in the Heart of the City exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee or IDP crisis.
During the tour, each visitor will learn some of the challenges a refugee or IDP faces in trying to access food, shelter, water and medical care. The 740 m2 (8,000 square feet) exhibit is designed to accommodate approximately 800 to 1,200 visitors per day, and consists of the following areas:
•Shelter area
•Food distribution area
•Latrine area
•Water supply
•Health clinic
•Nutrition treatment centre
•Cholera treatment centre
•Vaccination tent
About the Refugee Camp exhibit
Guided by MSF aid workers, visitors are asked to imagine that they are among the millions of people fleeing violence and persecution in, for example, Somalia, Colombia, the Democratic Republic of Congo, or Sudan.
The exhibit is made up of materials used by MSF in its emergency medical work around the world, including emergency refugee housing, a food distribution tent, water pump, health clinic, vaccination tent, therapeutic feeding center, and a cholera treatment center. It addresses questions such as:
•Will I be safe?
•What will I eat?
•How do I find water?
•Can I get medical care?
•Where will I live?
Learn more about the issues refugees and internally displaced persons (IDPs) face with this interactive guide.
The exhibit is free and open to the public. If you are planning to come with a group of 15 or more please schedule a group visit for your city. Individuals are welcome without reservations.
The Refugee Camp in the Heart of the City was first launched in France in 1995, and has toured in countries in Asia, Europe, the Middle East and North America. In 2008, the exhibit attracted close to 30,000 visitors during a 4 city tour of Western Canada and 4 city tour of California.
Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
.... una sesión divertida, unos chic@s geniales...
Bare sb600 1/2 left for shadows on the wall and sb28 1/1 with softbox for fill from right
Without instructions or communication, spiders innately know how to build incredible, complex structures. Mind boggling.
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All rights reserved. Please, do not use my photos/videos without my written permission. Please note that the fact that "this photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados.
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Mercedes-Benz 300 SL - W198
La sigla W198 identifica la Mercedes-Benz 300 SL, un'autovettura sportiva di lusso prodotta dal 1954 al 1957 come coupé (nella cui configurazione era nota anche con il soprannome "Ali di Gabbiano") e dal 1957 al 1963 come roadster dalla Casa tedesca Mercedes-Benz. La Mercedes-Benz 300 SL è contraddistinta da raffinate soluzioni tecniche, oltre che per una linea esteriore che ha affascinato intere generazioni di appassionati, con essa la Daimler-Benz riaffermò il proprio prestigio in quei settori che l'avevano resa celebre nel periodo pre-bellico, ossia la classe e l'eleganza delle sue vetture, ma anche il loro peso nelle competizioni sportive. Un altro fattore che dà molta importanza alla 300 SL è il fatto che si tratta della capostipite di tutta una serie di vetture sportive di lusso contrassegnate dalla sigla SL, una sigla ancora utilizzata ai giorni nostri e che sta per Sport Leicht, ossia Sport Leggera. La storia della 300 SL affonda le sue radici al momento in cui, nel 1949, alla Daimler-Benz viene concesso nuovamente di tornare a produrre automobili. Fino a quel momento non le era stato permesso dalle autorità alleate che occupavano e si spartivano il territorio tedesco dopo la fine della seconda guerra mondiale. L'unica eccezione era costituita dalla gamma W136, il cui progetto risaliva agli anni trenta. Una delle priorità che la Daimler-Benz si prefissò fu quello di tornare a vincere nelle gare di automobilismo di tutto il mondo. Doveva essere quindi progettata e realizzata una vettura in grado di adempiere a tale scopo, tenendo presente che le risorse economiche non erano ancora sufficienti per sviluppare una vettura ex novo, appositamente per le competizioni. Bisognava quindi arrangiarsi con quanto già a disposizione. È il 27 marzo 1950. Del progetto fu incaricato Rudolf Uhlenhaut, brillante progettista della Casa tedesca, che in un tempo relativamente breve realizzò la 300 SL da corsa, mossa dal motore 6 cilindri in linea di 3 litri M194, anch'esso non nuovo, ma derivato a sua volta dal 3 litri M186 montato sulle grosse berline Typ 300. Sempre dalla produzione di serie vennero presi anche il cambio e le sospensioni. Tale vettura avrebbe poi vinto praticamente tutte le corse a cui partecipò (eccezion fatta per la Mille Miglia del 1952, vinta da una Ferrari 250S). La caratteristica maggiormente visibile di tale vettura stava nel telaio a traliccio di tubi, una soluzione leggera e dotata di una notevole rigidità, sconosciuta all'epoca. Tale struttura, molto ingombrante lungo le fiancate, specie all'altezza delle portiere, costrinse i progettisti ad ideare delle portiere incernierate sul tetto anziché sul parafango. Questa soluzione ebbe un grande effetto scenico, molto gradevole anche a giorni nostri. Fu a quel punto che entrò in scena un altro personaggio molto particolare, un certo Max Hoffman, importatore di auto europee negli Stati Uniti, il quale propose alla Casa tedesca di realizzare in serie una versione della 300 SL da gara, debitamente modificata laddove necessario per l'omologazione stradale, e con qualche raffinatezza in più. Hoffmann si impegnò personalmente ad acquistare 1000 esemplari della vettura stradale finita, garantendo risultati in termini di vendite. Stava ripetendosi un po' la stessa cosa accaduta nel 1900, quando un certo Emil Jellinek ordinò 36 vetture prodotte dalla DMG su sue specifiche. Per il motore si scelse di utilizzare una soluzione all'avanguardia, rappresentata dall'alimentazione ad iniezione diretta, in un periodo in cui tutte le auto a benzina erano a carburatore. La base rimaneva la consueta da 3 litri, ma le prestazioni subirono un deciso incremento. Inoltre, della parte estetica, vennero incaricati Karl Wilfert e Friedrich Geiger, quest'ultimo già autore, prima della guerra, delle splendide carrozzerie delle 500K e 540K. Dopo aver realizzato alcuni prototipi non definitivi, i due riuscirono a disegnare un corpo vettura molto gradevole, caratterizzato da elementi che ne avrebbero reso celebre il design, molte delle cui soluzioni stilistiche sarebbero state imitate e riprese da altre Case automobilistiche nei decenni successivi.
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Some of my photos from Wekfest East in NJ. I had the pleasure of working with some awesome people at Canibeat to cover the event.
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Fotos para el Web Magazine The Concert in Concert (www.theconcertinconcert.com/) Primavera Pop 2014 - Palacio Vistalegre - Madrid - 24/05/14
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St Mary and St Peter, Barham, Suffolk
The large, combined village of Barham and Claydon sits to the north of Ipswich, as near to being a suburb as can be without actually joining on. It has two hilltop churches, half a mile apart at each end of the village, above the high street. St Peter, Claydon, the more southerly of the two, sits by bungalows, new housing and Claydon High School. But it was declared redundant in the 1970s, and Barham church, out on the western edge on the way to Hemingstone, serves the whole community alone. Its dedication of St Mary has been extended to include that of Claydon church.
The hilltop setting here is quite different to that of the church that formerly served the Claydon part of the parish. Here, the church is above the houses, above the village, in a vast open graveyard, one of the biggest in Suffolk. You climb the narrow lane up the hill, and then cross from the corner of the graveyard to the big church. There is a comfortable bulkiness to the church, the massive south tower forming a porch as many do in the Ipswich area. The southern face of it has been generously decorated with flushwork, the first indication of the thorough yet restrained 1860s restoration by Edward Hakewill. Curiously, the nave has a clerestory on the south side, but no aisle. The view from the west is singular, the tower/porch balanced across the stark western face of the nave by the modern meeting room on the highest point to the north. The early 16th Century terracotta window on the north side of the vestry was probably made at the same time as those of the original Shrublands Hall - there is another one in the church at Henley nearby. The reason for its location will be revealed inside.
At one time, Barham church was kept locked, and there was a very good reason for this, as we shall see. But CCTV has been installed, and since the end of July 2019 the church has been open every day. You step beneath the tower down into a richly coloured interior. Hakewill's restoration has been softened by the feel of the ritualism of the early part of the 20th century. The western end of the nave is raised and carpeted to form a baptistry, the font a 19th Century reimagining of the kind of wide fonts of the early 14th Century that you more commonly find outside of East Anglia, in areas where no 15th century wealth could provide a replacement.
As mentioned earlier, there is no south aisle, but the Middleton chapel forms a raised aisle on the north side of the church. The aisle was built by the custodians of Shrublands Hall, and what is now the vestry at the eastern end of the aisle was their chantry chapel, hence the placing of the terracotta window. The western end of the aisle has been enclosed by part of the 15th Century roodscreen, and between the two sits one of the most striking objects in any Suffolk church. This is the Claydon war memorial, a sculpture of the Madonna and Child, by Henry Moore. It was moved here under Moore's direction when Claydon church closed and the two parishes combined. It must have been quite something, getting it in and out the churches, up and down the hills. Mary sits patiently, quietly, her arms relaxed but encircling her son protectively, pondering things in her heart.
The chancel was largely rebuilt in the 19th century, and obviously designed for shadowy, ritualist worship. However, it still contains a tall mid-17th Century memorial with the recumbent figures of John and Margaret Southwell. If moving Henry Moore's work from one end of the village to the other in the 1970s seems an extraordinary feat, then consider the inscription on the Southwell monument, which reveals that this memorial is sente over from the cittie of Limrick Ireland by Sir Richard Southwell K second sonne of John Southwell of Barham Esq and Margrett his wife as a pious remembrance of them to be left to their posteri(tie) An Do 1640. She raises herself on one elbow, looking into the face of her husband who stares heavenward, holding a small skull in the left hand.
Enclosing the sanctuary, the communion rails are striking and memorable. They are richly carved with angels, sea creatures, flowers and fruit, and one panel is dated 1700. Mortlock thought they were probably Italian. Do they perhaps show another connection with Shrublands Hall? The glass is largely by Ward & Hughes for Hakewill's restoration, and if it is not exciting it contributes to a harmonious whole. The exception is a rather good window set high in the clerestory. The vinework suggests it is by Powell & Sons. It depicts Christ with his hand on the head of a small child, and remembers Henry Pye Phillips who died at the age of ten in 1895. Oddly, the glass is not glazed into the clerestory as you might expect, but set in front if it.
Barham church provides a stark contrast with the church at Claydon, now in the care of the Churches Conservation Trust, looked after but no longer home to a community. And half a mile to the south of Claydon church is a third church, St Mary Akenham, also now redundant and in the care of the Churches Conservation Trust. In contrast with its neighbours Akenham is a lost and lonely place, half a mile from the nearest road with only an abandoned farmhouse and a couple of cottages for company. As the survivor of the three, Barham church now serves a community of not far short of 4,000 people, and it is obvious to any visitor that is well-used and well-loved, a happy eventuality.
An 1900 sculpture representing Bartholdi
As an officer, he took part in the defense of Colmar , On September 13, 1870, Auguste Bartholdi was appointed Adjutant Major of the 1st Battalion. The Haut-Rhin prefect's orders were precise:
"You are to take up arms at three o'clock in the morning, quietly and without alarm. You will move along the road to Horbourg, about one kilometer from the town. If the enemy forces are too numerous, you will fall back on Colmar" [1].
Leading a squad, Bartholdi rushed to meet them. The battle began on the Horbourg bridge, quickly turning against the French, who suffered several casualties. "Bartholdi wrote in his diary: "The Badeners, victors over one hundred and fifty francs-tireurs and a hundred national guards, triumphantly occupied the town of Colmar with a whole army corps. The sculptor will build the funeral monument for the three fallen francs-tireurs. In October 1870, Bartholdi was appointed aide-de-camp to Garibaldi, commander of the Vosges army of volunteer francs-tireurs.
"The two men struck up a genuine friendship. They talked politics, philosophy and religion. They discovered their shared convictions" [2].
On February 13, 1871, at the Assembly in Bordeaux, Victor Hugo defended the "only general who fought for France and was not defeated". Bartholdi was to accompany the fighter in the red shirt until his return to Italy. On February 15, 1871, he wrote in his diary:
"A moving farewell. Garibaldi embraces us.
Bartholdi was born in Colmar, France, 2 August 1834.[4] He was born to a family of Alsatian Protestant heritage, with his family name adopted from Barthold.[5] His parents were Jean Charles Bartholdi (1791–1836) and Augusta Charlotte Bartholdi (née Beysser; 1801–1891). Frédéric Auguste Bartholdi was the youngest of their four children, and one of only two to survive infancy, along with the oldest brother, Jean-Charles, who became a lawyer and editor.[citation needed]
Bartholdi's father, a property owner and counselor to the prefecture, died when Bartholdi was two years old.[5] Afterwards, Bartholdi moved with his mother and his older brother Jean-Charles to Paris, where another branch of their family resided.[5] With the family often returning to spend long periods of time in Colmar,[5] the family maintained ownership and visited their house in Alsace, which later became the Bartholdi Museum in 1922.[6] While in Colmar, Bartholdi took drawing lessons from Martin Rossbach. In Paris, he studied sculpture with Antoine Étex. He also studied architecture under Henri Labrouste and Eugène-Emmanuel Viollet-le-Duc.[5]
Bartholdi attended the Lycée Louis-le-Grand in Paris and received a baccalauréat in 1852. He then went on to study architecture at the École nationale supérieure des Beaux-Arts[citation needed] as well as painting under Ary Scheffer[3][5] in his studio in the Rue Chaptal, now the Musée de la Vie Romantique.[citation needed] Later, Bartholdi turned his attention to sculpture, which afterward exclusively occupied him and his life.[3]
Career
Early sculptures and work in Colmar
Bartholdi early in his career
In 1853, Bartholdi submitted a Good Samaritan-themed sculptural group to the Paris Salon of 1853. The statue was later recreated in bronze. Within two years of his Salon debut, Bartholdi was commissioned by his hometown of Colmar to sculpt a bronze memorial of Jean Rapp, a Napoleonic General.[5] In 1855 and 1856 Bartholdi traveled in Yemen and Egypt with travel companions such as Jean-Léon Gérôme and other "orientalist" painters. The trip sparked Bartholdi's interest in colossal sculpture.[5]
In 1869, Bartholdi returned to Egypt to propose a new lighthouse to be built at the entrance of the Suez Canal, which was newly completed. The lighthouse, which was to be called Egypt Carrying the Light to Asia and shaped as a massive, draped figure holding a torch, was not commissioned.[5] Both the khedive and Lesseps declined the proposed statue from Bartholdi, citing the high cost.[7] The Port Said Lighthouse was built instead, by François Coignet in 1869.
A COLOSSAL LION, TERRIBLE IN HIS FURY
Close to moderate republicans such as Léon Gambetta and Adolphe Crémieux, both ministers in the government of national defense, Bartholdi condemned the Commune, which he accused of dividing France. At the end of 1871, the city of Belfort decided to erect a monument to commemorate the 103 days of resistance against the Prussians [3]. To the astonishment of the town, Bartholdi proposed to sculpt "a colossal lion, harassed, cornered and still terrible in its fury" under the citadel overlooking the town. Completed in 1880, the statue is 11 meters high and 22 meters long. In the Lion of Belfort room on the second floor of the Colmar Museum, a display case contains several terracotta models of the monument. After the Lion, Bartholdi tackled an even larger statue: Liberty Enlightening the World, better known as the Statue of Liberty, to celebrate the centennial of American independence (1776-1876). The Colmar museum has the oldest surviving model (1870), as well as original photographs of the various stages of construction in the workshop on rue de Chazelles, near Parc Monceau in Paris.
"My work will be gigantic, made of embossed copper plates, hammered and riveted. (...) Will you, Gustave Eiffel, the wizard of iron, be able to realize it?" asked the sculptor [4
The war and Statue of Liberty
Bartholdi sculpting with a miniature of Liberty Enlightening the World, now known as the Statue of Liberty, to his left
Bartholdi served in the Franco-Prussian War of 1870 as a squadron leader of the National Guard, and as a liaison officer to Italian General Giuseppe Garibaldi, representing the French government and the Army of the Vosges.[citation needed] As an officer, he took part in the defense of Colmar from Germany. Distraught over his region's defeat, over the following years he constructed a number of monuments celebrating French heroism in the defense against Germany. Among these projects was the Lion of Belfort, which he started working on in 1871, not finishing the massive sandstone statue until 1880.[5]
In 1871, he made his first trip to the United States, where he pitched the idea of a massive statue gifted from the French to the Americans in honor of the centennial of American independence. The idea, which had first been broached to him in 1865 by his friend Édouard René de Laboulaye, resulted in the Statue of Liberty in New York harbor.[5] After years of work and fundraising, the statue was inaugurated in 1886.[5] During this period, Bartholdi also sculpted a number of monuments for American cities, such as the Bartholdi Fountain in Washington, D.C., completed in 1878.[5]
Later years
In 1875, he joined the Freemasons Lodge Alsace-Lorraine in Paris.[8][9] In 1876, Bartholdi was one of the French commissioners in 1876 to the Philadelphia Centennial Exposition. There he exhibited bronze statues of The Young Vine-Grower, Génie Funèbre, Peace and Genius in the Grasp of Misery, receiving a bronze medal for the latter.[3] His 1878 statue Gribeauval became the property of the French state.[3]
A prolific creator of statues, monuments, and portraits, Bartholdi exhibited at the Paris Salons until the year of his death in 1904.[5] He also remained active with diverse mediums, including oil painting, watercolor, photography, and drawing,[5] and received the rank of Commander of the Legion of Honor in 1886. Bartholdi died of tuberculosis at age 70 in Paris on 4 October 1904.[10]
Personal life
In 1876, he married Jeanne-Emile Baheux in Providence, Rhode Island.[5] In 1893, Bartholdi and his wife visited the 1893 World's Columbian Exposition in Chicago, where his Washington and Lafayette sculptural group was exhibited.[11] Throughout his life Bartholdi maintained his childhood family home in Colmar; in 1922, it was made into the Musée Bartholdi.[5]
Major projects
The Statue of Liberty (Liberty Enlightening the World)
Main article: Statue of Liberty
Front page of Frank Leslie's 13 June 1885 edition of Illustrated Newspaper
The work for which Bartholdi is most famous is Liberty Enlightening the World, better known as the Statue of Liberty. Soon after the establishment of the French Third Republic, the project of building some suitable memorial to show the fraternal feeling existing between the republics of the United States and France was suggested, and in 1874 the Union Franco-Américaine (Franco-American Union) was established by Edouard de Laboulaye.[3]
Bartholdi's hometown in Alsace had just passed into German control in the Franco-Prussian War. These troubles in his ancestral home of Alsace are purported to have further influenced Bartholdi's own great interest in independence, liberty, and self-determination.[citation needed] Bartholdi subsequently joined the Union Franco-Américaine, among whose members were Laboulaye, Paul de Rémusat, William Waddington, Henri Martin, Ferdinand Marie de Lesseps, Jean-Baptiste Donatien de Vimeur, comte de Rochambeau, Oscar Gilbert Lafayette,[3] François Charles Lorraine, and Louis François Lorraine.[clarification needed]
Bartholdi in 1880
The Statue of Liberty
Bartholdi broached the idea of a massive statue and once its design was approved, the Union Franco-Américaine raised more than 1 million francs throughout France for its building.[3] In 1879, Bartholdi was awarded design patent U.S. patent D11,023 for the Statue of Liberty.
LIBERTY DOMINATING THE ROOFS OF PARIS
"I already have plans for a large tower to be built in the center of Paris, but I like your idea. We'll have to worry about storms and corrosion from the sea air. The interior framework will be difficult to build. What will be the dimensions of the work?
"La Liberté will be 46 m high. Around 100 m with the 3 m wide base," replied Bartholdi. The head will measure just over 5 m, the right arm 13 m without the torch; the index finger 2.5 m. I estimate the overall weight at around 225 tonnes" [5].
The body of the statue soon rose above the rooftops of Paris, attracting many curious onlookers to the studio. Among them was Victor Hugo, who paid a visit once the work was completed, on November 29 1884, a few months before his death. Despite being 82 years old, the poet wanted to climb the ten storeys inside the statue, but was dissuaded. A few months later, he wrote these words to Bartholdi:
"Form in statuary is everything and nothing. It is nothing without the spirit; it is everything with the idea" [6].
JOHN SUTTON
Musée Bartholdi: 30 rue des Marchands, 68000 Colmar
Tel: 03 89 41 90 60 www.colmar.fr and www.culture.fr
Further information on the town of Colmar: mon-grand-est.fr/10-curiosites-de-colmar-a-decouvrir/
On 4 July 1880, the statue was formally delivered to the American minister in Paris, the event being celebrated by a great banquet.[3] In October 1886, the structure was officially presented as the joint gift of the French and American people, and installed on Bedloe's Island in New York Harbor .[3] It was rumored in France that the face of the Statue of Liberty was modeled after Bartholdi's mother.[12] The statue is 46m high (151 feet and 1 inch),[13] and the top of the torch is at an elevation of 93m (305 feet 1 inch) from mean low-water mark.[14] It was the largest work of its kind that had been completed up to that time.[3]
Works in Colmar
Musée Bartholdi in Colmar
Bartholdi's hometown Colmar (modern political administrative region of Grand Est) has a number of statues and monuments by the sculptor, as well as a museum founded in 1922 in the house in which he was born, at 30 Rue des Marchands.
Monument du Général Rapp – 1856 (first shown 1855 in Paris. Bartholdi's earliest major work)
"Fontaine Schongauer" – 1863 (in front of the Unterlinden Museum)
"Fontaine de l'Amiral Bruat" – 1864
"Fontaine Roeselmann" – 1888
"Monument Hirn" – 1894
"Fontaine Schwendi", depicting Lazarus von Schwendi – 1898
Les grands soutiens du monde − 1902 (statue in the courtyard of the museum)
Other major works
Bartholdi Fountain in Washington, D.C.
Bartholdi's other major works include a variety of statues at Clermont-Ferrand; in Paris, and in other places. Notable works include:
1852: Francesca da Rimini[3]
1870: Le Vigneron[3]
1876 (plaster version in 1874) : Frieze and four angelic trumpeters on the tower of Brattle Square Church, Boston, Massachusetts, United States.
1876: Marquis de Lafayette (or Lafayette Arriving in America),[3] executed 1872, cast 1873[15] in Union Square, New York City, United States.
1878: The Bartholdi Fountain in Bartholdi Park, the United States Botanic Garden, Washington, D.C., United States.
1880: The Lion of Belfort, in Belfort, France, a massive sculpture of a lion depicting the huge struggle of the French to hold off the Prussian assault at the end of the Franco-Prussian War.[3] A plaster was exhibited in 1878.[3] Bartholdi was an officer himself during this period, attached to Garibaldi.
1889: Switzerland Succoring Strasbourg at Basel, Switzerland, which was a gift from the French city of Strasbourg, in appreciation of the humanitarian help it had received during the Franco-Prussian War.
1890: Statue of Liberty in Potosí, Bolivia.
1892: Fontaine Bartholdi, on the Place des Terreaux, in Lyon, France.
1893: Statue of Christopher Columbus, cast in silver for the 1892 Columbian Exposition in Chicago, Illinois; a bronze replica was erected in Providence, Rhode Island in 1893 and was taken down in June 2020.[16][17]
1895: Lafayette and Washington Monument," in the Place des États-Unis, Paris, and an exact replica at Morningside Park, New York City, United States.
1903: Vercingetorix,[3] equestrian statue in Place de Jaude, Clermont-Ferrand.
Marquis de Lafayette, statue of Gilbert du Motier, Marquis de Lafayette in Union Square, Manhattan, New York City
Marquis de Lafayette, statue of Gilbert du Motier, Marquis de Lafayette in Union Square, Manhattan, New York City
See also
Musée Bartholdi
Statue of Liberty Museum
en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Auguste_Bartholdi
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I spent most of the time trying to get close-ups of the action, but did take a few wider shots.
Here, almost all of the Illini players use ponytails to keep me from seeing their numbers. Sorry I can't name them without the numbers.
Photographer's notes: this is one of the photos I took with WB on tungsten. Even with processing, it has a different look than most of the other ones I'll post.
Here he is unwrapped, standing without a wig or eyes. Very solid stander. Also, nice bod. Great abs and leg muscle definition. Very happy with this guy, he poses great sitting too.
I ordered him in island skintone. Compared to my normal skin Ellen, he is slightly pinker and slightly less yellow. Both skintones are lovely and it's hard to say which I prefer!
I have bad luck with eyelashes. The default eyes he came with were too big for his eye sockets (I've contacted Luxour Academy about getting them replaced), so I've used some acrylic eyes I ordered in a four-pack off of e-bay a few months ago. Unfortunately, they have a protruding cornea which, while creating a more realistic-looking eye, has caused me to detach both eyelashes in the middle. *sigh* I am just not good at installing eyes. I do love the darker blue of these eyes on him though!
Actually, when the opportunity arises (when I hopefully get my replacement eyes), I may just pull the eyelashes off as they may be a bit long for my taste. We'll see though, maybe they'll grow on me ^_^ Otherwise I'll just glue them back on like I did with Ellen.
one day without shoes: april 8th 2010
wore my TOMS to school and went barefoot the rest of the day(:
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i love these shoes! for every pair you buy, they donate a pair to a child in need! i love love love them to pieces(: www.tomsshoes.com
Finally, Saturn is high enough above the horizon, and early enough in the night, that I can see it from where I live, above nearby houses, and without waiting till just before dawn. I was surprised how bright it was, and how clear the rings were even without the third extender attached (though ultimately I went with the triple stacked images).
Here are two views. The left is my best shot exposed for the planet. On the right I have overexposed for the brightest moons. These are labelled - two I'm sure about, the third I'm not 100%.
PS using an IR remote made this so much easier. No wind, so once focused, I could take lots of shots without any vibrations smearing them.
Canon EOS 5D mark III, Canon EF 500mm f/4L IS II USM, Canon EF Extender 2x II, Canon EF Extender 1.4x III, Kenko MC-7 2x teleconverter (tripod, Live View manual focus, remote control).
2800mm, f/22, 1/50, ISO 6400 (left); f/28, 1 sec, ISO 25600 (right) (exif incorrect).
I'd lived in this region for over 40 years without knowing that the hamlet of Chinook, Washington, was the center of the fish-trap salmon fishery on the Columbia River.
Then I visited the historic 1924 school in Chinook, where reproductions of vintage photos told the story of the fishery.
While the fish traps were certainly a passive means of catching salmon, building and maintaining them was a lot of work. The fishermen and their families made and mended the nets by hand. Part of the preparations for the coming fishing season was tarring the nets to reinforce them and make them invisible to fish.
Here, fishermen can be seen collecting the salmon that were trapped in the maze-like fish trap. However, the catch seems quite meager. Perhaps the people are gleaning fish that were left behind when the catch was collected. It's also possible the photo was taken at the start of the salmon season.
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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Snow White has been deboxed. She is standing without her cape, supported by the including display stand.
Thanks to a tip from a fellow collector, I got my very first Madame Alexander doll, the Alex Collection Snow White 16 inch doll, for a very good price, from Amazon. The doll was new in box, in the original shipper carton. She was released in 2008 in an edition of 300. I happen to have #300 of 300! The number is on the CoA, the lower back of the doll, and on the tag of the satin gown. She also comes with a satin cape. The only other accessory is a display stand. The skirt is very full and floor length, and is most like the Tonner Snow White outfit that I have. There is a satin slip and a tulle petticoat underneath that helps to keep the skirt full. Like Tonner dolls, she has flesh colored tights over cloth panties. She has high heeled shoes with the tops made of satin, with tiny satin bows. The face is much more realistic than my DS Snow White dolls, looking like a high fashion model. Her eyelashes were a little wonky, so I tried to make them a little neater. Her hair is styled into a bun in the back, protected by a hair net, similar to that of the Designer Princess Snow White.