This essay concerns graffiti, and in particular graffiti removal regarded as iconoclasm. Graffiti is described as a visual symbol laden with both negative and positive values, and sometimes as a meaningful expression in the urban public space. One problem with graffiti as a field of study is the diversity of both the meaning of the term as well as the diversity of the phenomenon itself. Therefore I have defined the term graffiti as follows: words and images painted on public walls by a person usually in an unauthorised manner. Specific examples of graffiti and related phenomena are presented. Within the Swedish anti-graffiti discourse the pejorative term klotter (scribbling) is used to describe what I above define as graffiti. A short analysis of this discourse is followed by case studies of specific examples of graffiti removal that can be regarded as iconoclasm.

This study explored the content, tone and amount of graffiti produced in South African bathrooms in KwaZulu-Natal. Raw graffiti was collected during 2008 from „institutions of higher education?. One of the primary aims of this study was to investigate if gender identities continue to operate in private, anonymous contexts. Politeness theory is utilized as a theoretical framework to generate hypotheses about the direction of influence gender may exert on graffiti if it continues to operate in private contexts. Inscriptions were written down in books. Thematic analysis was then applied, which led to the generation of content categories in content analysis on which chi-squared statistical procedures were applied. The categories were analysed in terms of amount, dominant content and tone, and were stratified in relation to gender. Ecosystems theory was used in an attempt to more holistically understand our sample within the context in which it was created. This study has found that gender had a significant influence on the amount, content, and tone of the graffiti produced. It was found that males dominantly produced tags and political graffiti content, and were more likely than females to produce neutral and negatively toned graffiti. Females produced significantly more graffiti than males and dominantly produced interpersonal content. We hypothesised that our findings were due to gender roles being internalised and continuing to operate in private contexts, especially in contexts where gender is salient, like a bathroom. We argued that the cognitive representation of an inscriber?s gendered audience influences them to behave in gendertypical ways, and in this behaviour their gender is performed, even in the private, anonymous context of the bathroom. / Thesis (M.Soc.Sci.)-University of KwaZulu-Natal, Durban, 2011.

Magíster en artes, mención teoría e historia del arte / La actividad muralista en Latinoamérica constituye hoy en día una de las apuestas artísticas más reconocidas y originales del continente. Como propuesta de vida, política y arte se le ha achacado como antecedente las rupestres pinturas, incluso geo y petroglifos de los antiguos habitantes. Sin embargo, su germen nominal y moderno tendría como contexto la revolución mexicana y las transformaciones estructurales que vivió aquel país en el campo político, social y educacional. El ejercicio de la pintura en los muros y su constitución en las primeras décadas del siglo XX como muralismo y fiel representante de los ideales inspiradores de la revolución se manifestó y utilizó no sólo en un sinnúmero de edificios públicos del país centroamericano, sino que, se amplió, a su vez, con diversos sentidos, a otras latitudes al sur del continente, aliándose con las ideologías de izquierda, los cambios sociales y culturales ocurridos en varios de los países de esta parte del mundo, entre ellos Chile.

Street art and graffiti are predominantly made by urban residents to assert their presence in society; address social, political, and economic issues; and transform the physical spaces of a city. Historically dominated by men, the graffiti/street art subcultures are experiencing a rise in the participation by and recognition of women. Existing literature has generally focused on men's involvement, while the discussion of women writers/artists is often limited to how they have remained on the periphery. With the growing use of social media to publicize their artwork and connect with other artists, women are expanding their reach within the subcultures. By adapting traditionally masculine content and approaches to graffiti/street art while incorporating their own perspectives, relationships to the material and social environment, and expressions of identity, women graffiti/street artists are creating unique spaces of artistic expression and transgression, both online and offline. This case study in Oakland, California, uses semi-structured interviews with thirty informants, document analysis, participant observation, and creative practices to examine how women graffiti/street artists change the urban landscape. My research indicates that women artists are both performing and representing their socio-cultural identities, and thus redefining the subcultures in ways that are increasingly nonpatriarchal, nonhierarchical, and decolonial. In contrast to studying only the broad, structural forces in a city, this research contends that examining the individual identities of participants—their lived, daily experience and senses of agency—is crucial for understanding the workings of urban space. This research also contributes to our grasp of how women further important feminist approaches to urban space and dialogue. Situated within the traditions of feminist geography and the geohumanities, this case study aims to contribute to the body of literature on street art and graffiti by emphasizing the transformative impact of women street artists on urban space, urban identities, and an urban aesthetic.

Studien undersöker och behandlar Snösätra industriområde och konstsamlingen Spring Remake ur ett platsspecifikt perspektiv. De frågeställningar som behandlats är: På vilket sätt skapar individer mening i relation till platsen Snösätra industriområde? Samt: Vilken roll spelar det sociala i meningsskapandet? Studien positionerar sig efter den sociala interaktionen mellan betraktare och hur målningarna i Spring Remake används som kommunikationsmedel. I undersökning av den sociala interaktionens studerades hur mening skapades vid denna plats. Meningsskapande studerades för att se hur viktig platsen var för de personer som brukade området. Materialet bestod av intervjusvar och observation samt analys av området med utgångspunkt i hur platsen brukades. Resultatet visade en plats laddad med artistisk närvaro och mening. Den sociala interaktionen som fyllde platsen var viktig för platsproduktionen, vilket skapat en plats som ligger i gränslandet mellan institution och allmän plats. Konsten var även meningsskapande i sig själv, samtidigt som den sociala interaktionen mellan betraktare och målningar visade sig vara viktigt för individernas meningsskapande. Resultatet betonar hur viktig konst utanför institutionen är, där Spring Remake fungerar som en plats där man kan uppleva konst i offentligheten.

Made available in DSpace on 2018-08-01T23:30:12Z (GMT). No. of bitstreams: 1 tese_10593_DISSERTAÇÃO MESTRADO KATLER FINAL REVISADO.pdf: 25877617 bytes, checksum: b652beb41d4609d2b13306d2b5c9db0f (MD5) Previous issue date: 2017-01-13 / Esta dissertação apresenta a trajetória artística de Alex Vallauri considerado o precursor do graffiti no Brasil. Como ponto de partida, analisamos os precedentes históricos do graffiti contemporâneo e traçamos uma breve historiografia sobre a primeira geração de grafiteiros da cidade de São Paulo a partir de revisão bibliográfica e depoimentos de áudio e vídeo. Na sequência, a obra de Alex Vallauri é analisada em agrupamentos das diferentes técnicas e suportes exploradas, desde as gravuras realizadas no Porto de Santos no final da década de 1960, passando pelas apropriações, carimbos, estêncil, livros de artista, até a instalação Festa na Casa da Rainha do Frango Assado, apresentada na 18ª Bienal Internacional de São Paulo. A pesquisa também aprofunda a investigação sobre a Pop Art e o Kitsch na produção artística de Vallauri. Por fim, propõe-se uma abordagem teórica sobre a relação do graffiti com a cidade e os transeuntes a partir dos conceitos de afeto e cidade-corpo. Palavras-chave: Alex Vallauri; Arte Contemporânea; Graffiti; Cidade; Kitsch.

Diss.--Berlin, 2000. / Bibliogr. p. 215-230.

Graffiti is a near constant problem for historic structures and monuments, particularly in urban environments. Currently available non-destructive techniques are not always adequate for graffiti removal. Acrylic spray paints, the most common graffiti material, are composed of polymers which are subject to degradation by ultraviolet light. The feasibility of using this mechanism as a tool for graffiti removal was explored through practical experiments. Red acrylic paint was sprayed onto samples Indiana limestone which were then exposed to UV-B light sources for two, four, and six weeks. Following exposure, samples were scrubbed with acetone, a common solvent used in graffiti removal. Relative differences in the paint removal on the treated and untreated sides were observed, with more paint being removed from the treated sides in some cases. Additional samples were coated with titanium dioxide and exposed to ultraviolet light, yielded a greater level of overall paint removal. It was concluded that this mechanism offers promise and warrants further study. / Department of Architecture

While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.

Syftet men uppsatsen är att göra en kartläggning av perspektiv på graffiti i det offentliga rummet. Detta görs genom kvalitativa intervjuer av semi-strukturell karaktär med sju olika aktörer som på olika sätt spelar en roll i konflikten om graffitins existens i det offentliga. Uppsatsen präglas av ett humanistgeografisk perspektiv och undersöker även hur dessa sju aktörer upplever det offentliga rummet. Det teoretisk ramverket för uppsatsen är Doreen Massey´s Sense of place. Som också utgör det huvudsakliga källmaterialet. Undersökningen utgår huvudsakligen från Stockholm med bakgrund av Stockholms nolltoleranspolicy mot graffiti. Men det görs även jämförelser med Malmö som präglas av en tolerantare inställning till graffiti med bland annat lagliga graffitiväggar. Uppsatsen innehåller även en mindre kvantitativ enkätundersökning som fungerar som ett komplement till den i övrigt kvalitativa empirin. Den främsta skiljelinjen tenderar att gå mellan att se till graffitins positiva eller negativ konsekvenser.