This thesis aims to form the basis of research on the Icelandic street art by detailing the main events that spurred the development of this art movement and by describing the key factors that shaped the evolution of this artistic movement in Iceland and the societal reaction towards it. The presented theoretical material aims to enable discussion on street art substance in this one particular country, taking into consideration the scope of definitions applied in international street art research. While regarding already existing studies on this artistic movement in other countries, this thesis presents the local specifics in order to highlight the differences in artistic and social approach. The topic was chosen due to personal interests that grew expansively while the author was living in Iceland. The possibilities to directly observe the evolving contemporary art scene and participate in the ongoing changes served as a factual basis for further research. Author noticed the sizeable gap in the research on Icelandic art, especially available to international academic forums. Moreover, there has been no previously conducted research on Icelandic street art, and, to date, only limited study on Icelandic contemporary art is available. Another factor for the choice of theme was the particular interest in the contemporary artistic movements that raise the question of applicable art definitions and hence also the scope of research, which demands a multidisciplinary approach. Street art, as a dynamic socio – artistic movement, encompasses such an approach and challenges the researchers to apply various methods of art history, combined with sociological approach, in order to conduct research on graffiti, street art or broader urban creativity. Due to the ambivalent nature of street art as well as the possible legal consequences it carries, accessing the functional sources for academic purposes is crucial. This study involves materials obtained direct in local research, through interviews and field work but also municipal documentation and information provided in domestic press and social media. It seemed essential to present the most important occurrences in local political and social history and to summarize the factors that allowed the formation and development of Icelandic street art. Due to the pioneering element of the study, the monography of the movement seemed more appropriate than a detailed analysis of particular artworks or artists’ biographies adopting methodologies designed for the history of art.:PART I Theory 1. Methodology and research goals 1.1 Subject matter and research tools 1.2 Historical background reasoning the topic choice 1.3 Development of history of art as a discipline reasoning the topic choice 1.4 Information sources used in research, collection methods and value assessment 1.5 Specifics of Iceland 2. Fluctuating scope of the area of interest 2.1 Change in the approach 2.2 Widening research and multidisciplinary approach 3. Nomenclature in the street art and urban activity studies 3.1 Overview of milestones in attempts of street art definitions 3.2 Newest points of view 3.3 Definitions used hereby 4. Institutionalization as an inseparable part of street art history 4.1 Scope of definition 4.2 Institutionalization as an inseparable part of street art 4.3 The side effect of sponsored street art 4.3.1 Graffiti in large-format advertising 4.3.2 Substitute for freedom in curated urban space 4.3.3 Zero Tolerance Policies and clean cities 4.4 Publicity of the public art 4.5 Research on the institutionalization of street art 5. Icelandic street art in the context of the current state of international research 5.1 Area of interest – social studies and the edge of different disciplines 5.2 Different means of research on street art 5.2.1 Festivals, conferences and street art museums as a research tool 5.2.1.1 Street art festivals 5.2.1.2 Street art conferences 5.2.1.3. Street art museums 5.2.2 Material published in book forms 5.2.3 Online accessible articles and reviews, blogs 5.3 Icelandic art 5.4 Street art in Reykjavík 5.4.1 The Reykjavík Grapevine 5.4.2 Online sources: personal blogs, tourist information, social media accounts 5.4.3 Hard copy published materials 5.4.4. Social media and sharing platforms 5.4.5 Film materials 5.4.6 Publications of cultural and educational institutions 6. Icelandic street art 6.1 Environment for street art development in Iceland. Artistic society after the Second World War 6.2 Hlíðargöngin as the first scene for Icelandic street art 6.3 Bloom and expansion time 6.4. Zero Tolerance Policy Implementation in Reykjavík 6.4.1 Reasons for the implementation of Zero Tolerance 6.4.2 Scandinavian inspirations for Implementation of Zero Tolerance Policy 6.4.3 The costs of Zero Tolerance Policy 6.4.4 Obtaining permission for graffiti 6.4.5 An assigned place for graffiti 6.4.6 Icelandic version of Zero Tolerance Policy 6.5 The peak of urban creativity around 2012 6.5.1 Hjartagarðurinn 6.5.2 Guido van Helten Sailors, Skagaströnd 2013 Afi, Reykjavík 2013 No exit, Reykjavík 2013 – 2014 Halla, Vestmannaeyar, 2014 Girl, Akureyri 2014 Jón from Vör, Kópavogur 2015 Sæfari, 2015 6.5.3. Sara Riel 6.5.3.1 Education, early recognition and awards 6.5.3.2 Beginnings on the street art scene 6.5.3.3 Time of growing up 6.5.3.4 In the vibrant city 6.5.3.5 Natural Kingdoms 6.5.3.6 Memento Mori 6.5.3.7 Is it legal? 6.5.3.8 Turn into abstract organic art 6.5.3.9 What plant would you like to be and why? 6.6 Street art intensity around 2012 – 2013 and balancing the scene off 6.7 Wall Poetry 6.7.1 Iceland Airwaves Festival 6.7.2 Urban Nation 6.7.3 Wall Poetry 2015 6.7.3.1 Project description 6.7.3.2 Artworks 6.7.4 Wall Poetry 2016 6.8 Current situation on Icelandic street art scene 7 The official and social approach towards street art in Iceland 7.1 Street art reception 7.2 Reykjavík´s mayor Jón Gnarr and Banksy 7.3 Educational institutions 7.4 Artists associations 7.5 Exhibition rooms and artists-run spaces 8. ”Icelandness”? 9. Summary List of the Icelandic names and their translation in English Photography credentials Bibliography PART II Photographic material Fig. 1 Research on social reception of street art Photographs