The aim of this thesis is to examine and analyse the images of graffiti contained within the portfolio of ‘Pudu Jail’s Graffiti (PJG)’, documented work from the abandoned prison facility in Kuala Lumpur, Malaysia, between 2002 and 2003. The objective has been to discover whether the ‘Pudu Jail’s Graffiti’, has a distinct visual narrative(s) compared with other prison graffiti research, concluding that its qualities lies in the complexity of visual cultures brought within the space of the prison cells. The prison graffiti retrieved from this portfolio has been analysed through a process of qualitative review; in order to find its thematic alignments based on comparative categorical contexts. This research will assess the concepts of the proposed themes of the PJG (there are ten themes such as Names, Time, Food, Religious gates, God(s), etc.) noting that the graffiti’s visual and textual narrative context was based on the local, vernacular culture, and social influences, which remained as part of the inmates’ or the cells’ previous occupants memories and the cultural embodiment that they had reflected onto the cell walls. It will look into the PJG’s significance and function, which contained a mixture of memories, events, places, professions of love, religious commitments and various tell-tale signs of messages that seemed to have been made exclusively for the inmates themselves. These personalised marks would throw light on the relationship between the inmates and the prison cells’ embodiment of their narratives. Thus, this research represents a continued effort to obtain an updated description of prison graffiti by finding an alternative approach within prison graffiti research. Combining both elements of the research, namely the meaning of the images and the acknowledgment of the space in which they reside, may lend greater argument to prison graffiti research and reveal the deeper connections that graffiti may have towards its cultural surroundings.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica. / Hoy el graffiti ha invadido las calles de Santiago, como ya lo hab¡a hecho en muchas de las ciudades latinoamericanas. Es éste un fenómeno de escritura, propio de los jóvenes y originario, aunque no exclusivo, de los sectores socialmente bajos. Esta preeminencia de la escritura, en tiempos de (des)anclaje, es lo que me propongo estudiar. En vistas de su carácter en-criptado y eventual, lo defino como expresión de la época (pos)moderna y a partir de esto formulo la siguiente tesis: El graffiti es manifestación del sublime posmoderno.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-05-11T13:42:24Z No. of bitstreams: 1 Fernanda Brasil Mendes_.pdf: 3127324 bytes, checksum: 9cd838de5e6acb3c52b236ab03019001 (MD5) / Made available in DSpace on 2018-05-11T13:42:24Z (GMT). No. of bitstreams: 1 Fernanda Brasil Mendes_.pdf: 3127324 bytes, checksum: 9cd838de5e6acb3c52b236ab03019001 (MD5) Previous issue date: 2018-04-06 / Nenhuma / Para compreender a inserção de jovens grafiteiros no mercado de trabalho e o processo de construção de suas identidades estéticas e profissionais, investigaram-se os desdobramentos e os novos contornos que eles estão criando para suas inserções no mercado trabalho e divulgação de sua arte. O graffiti passa a ter novas configurações e novos sentidos no âmbito do trabalho, denominado aqui de pós-graffiti. Inicialmente, apresenta-se o contexto histórico do graffiti, suas questões em relação à política e estética, bem como discussões e interpretações em torno do graffiti. Em seguida, analisam-se as questões envolvendo o mundo do trabalho e como este impacta na cultura do graffiti e no perfil dos grafiteiros. Depois, contextualiza-se o pós-graffiti, um produto híbrido, de novas formações sociais e de novas identificações midiatizadas, constituindo-se como um caminho profissional aos grafiteiros. Quais estratégias são utilizadas para inserção e manutenção dos grafiteiros no mercado de trabalho no âmbito do pós-graffiti? Como se dá o processo de construções estéticas e identitárias dos grafiteiros pesquisados? Estas questões são objeto de discussão para que se viabilize a compreensão do processo de transição das identidades estéticas e profissionais de jovens grafiteiros em relação ao mercado de trabalho no âmbito da economia criativa. / To understand the insertion of young graffiti artists in the labor market and the process of construction of their aesthetic and professional identities, were investigated the unfolding and new contours that they are creating for their insertions in the labor market and for the dissemination of their artwork. Graffiti gains new configurations and new meanings in the work context, called here post-graffiti. Initially, is presented the historical context of the graffiti, as well as its issues in relation to politics and aesthetics and the discussions and interpretations around graffiti. Next, are analyzed the issues involving the world of work and how it influences the culture of graffiti and the profile of graffiti artists. Then, post-graffiti is contextualized, being a hybrid product, originated from new social formations and from the dissemination of new identifications, thus being a professional path for graffiti artists. What strategies are used for the insertion and the maintenance of graffiti artists in the post-graffiti labor market? How does the process of constructing the aesthetics and identities of the graffiti artists surveyed take place? These issues are the subject of discussion in order to facilitate the understanding of the process of transition from the aesthetic and professional identities of young graffiti artists in relation to the labor market in the framework of the creative economy.

Th. doct.--University of Stockholm, 2003. / Bibliogr. p. 163-178.

The city of Valparaiso is an incredibly complex city with multiple actors each with a different cultural agenda. Compounded by the unclear laws and politics surrounding the 2003 UNESCO world heritage designation, it is an urban center brimming with tension. Within this space, graffiti articulates an unmediated, anti-hegemonic voice within the public sphere. The tactics and strategies used to disseminate this cultural expression have allowed graffiti to find a tenuous, if ever present existence in the city. Paradoxically, as the individual authors tactically and strategically align to produce a forceful graffiti movement, they have also put themselves and their graffiti in a position where it can be usurped and used for the purposes of promoting Valparaiso as a hip, bohemian site of authentic, consumable culture. Graffiti can be read as a written signal of disaccord, yet its move into the codified gallery spaces of Chilean government re-inscribe graffiti within a historical cannon determined by cultural and government authorities. By exploring graffiti in São Paulo as a parallel to graffiti in Valparaiso and the Expo Graffiti Porteño, I problematize the practice of delineating graffiti into categories of art verses vandalism. This division is polemical and divisive and obscures the significance of all and any graffiti within the public sphere. Ultimately, this project seeks to examine graffiti’s marginal position and the consequences of its acceptance by institutions that confer artistic or cultural legitimacy. / text

The primary focus of this dissertation is to examine how graffiti is emplaced in Hong Kong. Artifactual and contextual photographs have been collected of examples of graffiti and will be considered according to their place in the semiotic aggregate, the facets and foci of thirteen styles of graffiti, and as they represent the inscription site. Geosemiotics, defined as ‘signs in place’, will be utilized to analyze the transgressive nature of graffiti. Gestural routines are also studied as they relate to the body of the graffiti writer acting in space, inscribing place. The subsets of graffiti as it relates to urban and street art is weighed as well as the tools and means at its disposal. An understanding of Hong Kong’s situated cultural experience in negotiating meaning and contesting perception through inhabiting public space made cultural space will be sought in this dissertation. The way in which previous cultural understandings of rock-carving and inscription, as well as a study of the terms as used in Hong Kong can help to illuminate the background of graffiti as it has occurred within Hong Kong and China. Finally, a purposeful look at the active sight of the individual in coming to terms with the language systems in urban spaces can give a nuanced perception of how the material placement of graffiti challenges planned space and provides a ‘street-wise’ aesthetic. / published_or_final_version / English Studies / Master / Master of Arts

Tema aktuali tuo, kad jaunimas ir paaugliai vis labiau domisi graffiti veiklomis. Tai jiems yra labai svarbu, nes tai vienas iš saviraiškos būdų. Dalyvavimą graffiti veiklose galima sieti su pozityvia socializacija, nes joje galima įžvelgti pozityvių aspektų. Šiais laikais, graffiti populiarėjimo jaunimo ir paauglių tarpe negalime išvengti, tačiau suyeikus galimybes galima graffiti veiklas nukreipti pozityvia linkme. Šio magistrinio darbo objektas – paauglių ir jaunimo socializacijos galimybės dalyvaujant graffiti veiklose. Darbo tikslas – ištirti jaunimo ir paauglių pozityvios socializacijos galimybes dalyvaujant graffiti veikloje. / Topic relevant to the fact that young people and teenagers are more interested in graffiti activities. It is very important to them, because it is one of the ways of expression. Participation in the activities of the graffiti may be related to positive socialization, as it can see the positive aspects. Nowadays, young people and graffiti popularity among adolescents can not be avoided, but opportunities suyeikus graffiti activities can be directed in a positive direction. The master thesis - teenagers and young people opportunities for socialization activities in the presence of graffiti. Aim - to investigate youth and teen opportunities for positive socialization activities in the presence of graffiti.

För vissa är graffiti konst, för andra är det ett tecken på förlorad kontroll. För mig är det ett redskap för att mötas.  Jag har delat in mitt examensarbete i två delar. Den första behandlar visionen jag baserat mitt arbete på. Den andra handlar om design och placering av de fysiska paviljongerna.  I den första delen har jag utgått ifrån ett scenario där den fysiska arkitekturen återspeglas i ett virtuellt gallerisystem jag get namnet Gallery Wall. Denna del finns bara på idébasis men har varit utgångspunkt då jag formgivit mina paviljonger.  Jag har skapat fem olika paviljongstyper som tillsammans på ett teoretiskt plan utgör en och samma virtuella huvudform. I, eller rättare sagt på, paviljongerna ges tillfälle för vem som helst att måla och presenteras sin gatukonst.  Min förhoppning är att mina paviljongtyper skall inspirera andra att bygga egna varianter som alla är del av Gallery Wall. Systemet är tänkt att vara open source.  Jag vill också med mitt arbete ifrågasätta och belysa vad som får visas upp och värdesätts inom konstvärlden och i samhället.  Mitt examensarbete är baserat på en dröm som förhoppningsvis i framtiden blir verklighet.

This paper brings together past and contempary elements that play a role in the body of work, I prepared in the Master's project and which I call, 'Omen Wallpaper'. The title draws on the idea that 'omens' as signs and 'wallpaper', as a decoration somewhat on the periphery, surround us in the urban environment. The paper begins by describing the influences and historical movements from which I have drawn. These range, for example, from. Duchamp, Schwitters to Rauschenberg, Warhol and Basquiat. Many of these traditions share the idea of 'anti-art', particularly 'anti painting', manifested in the use of found materials, text and 'unpainterly' techniques like printing and collage. The paper then moves in to ideas more local to me and this body of work, as for example, graffiti. I explore styles of graffiti and some of the most significant artists of this movement. Artists such as 'Misstic' from Paris and 'Banksy' I also investigate some of the problematics associated with that territory, by describing the conflicts I encounter in my research. I also consider another type of' street aesthetic' that operates in a different way, exploiting the general decay and wear and tear of posters. I focus this part of my enquiry, on the French Nouveaux Realist, Jacques de la Villegle who has worked with this medium since the 1950's. Villegles work began central to my research in Paris as well as becoming a inspiration for adopting the technique of 'affiches laceries' or 'tom posters'. This technique allows one to capture a moment culturally, stylistically and randomly amoung many other things with minimal mediation which became a significant turning point in the development of my own style.

Thesis (M.A.)--Bowling Green State University, 2008. / Document formatted into pages; contains vi, 71 p. Includes bibliographical references.