The Bahamian archipelago covers over 5,000 square miles of the Atlantic Ocean at the northwestern edge of the Caribbean Sea. In the Age of Sail, from the late 15th to early 20th centuries, these islands were on major sailing routes between the Caribbean, Central America, and Europe. Bahamians developed life-ways using their islands’ location to their advantage. Archaeological evidence of the significance of shipping activity is quite lacking. This research aimed to help fill the void by documenting examples of ship graffiti throughout the Bahamas. Examples of ship graffiti were documented with photographs and tracings. The Bahamian examples all date to the 19th and 20th centuries, 100 years later than other examples from the Caribbean and North America. They are also unique in being incised into the stone surfaces of building walls, caves, stones on a hillside, even on a slate fragment. It is possible that ship graffiti were also engraved on wooden surfaces but these have not survived in the archaeological record. Images depict locally-built vessels such as sloops and schooners as well as larger, ocean-going vessels. Ship graffiti are at sites associated mainly with people of African heritage, another possible social grouping being persons of lower economic status. Graffiti details consistently indicate that the artists were familiar with ship construction and rigging. This analysis of ship graffiti gives some understanding of the significance of ships and shipping in the Bahamian economy.

Over 11,000 graffiti once covered the site of ancient Pompeii, inscribed upon many buildings in the city including houses, temples, and public buildings. Their messages include greetings, proclamations of love and desire, and bits of poetry. These inscriptions have fascinated scholars since the first walls were unearthed at Pompeii in the eighteenth century and this interest has yielded a wide array of methodologies and approaches. As archaeology has evolved over the centuries, so too has the approach to this material. The unique position of graffiti as objects of both philological and archaeological study has necessitated the need for a multidisciplinary approach. This dissertation recontextualizes Pompeian graffiti as artifacts and examines the distribution of graffiti within domestic space in Pompeii including the relationship between content and context. Specifically, this dissertation examines a corpus of graffiti from twelve buildings in Pompeii. I analyze the locations of the graffiti and the rationale for these locations using space syntax, a theory for analyzing the configuration of space. From an examination of their locations, I propose how the Pompeians used the spaces within these buildings and postulate how their use may have changed over time. This analysis indicates that, in general, Pompeians chose highly visible, accessible, and well-trafficked locations in which to write graffiti, indicating that writers of ancient graffiti, unlike many modern, wrote these messages in areas under surveillance. Visitors and inhabitants wrote them in areas where they would be seen doing so. Further analysis of the interaction between graffiti and their context shows that while these messages occupy highly visible areas, they were written in such a way as to not detract from the overall aesthetic appearance of the space. Close study of the content of the individual messages shows how the substance of the graffiti responded to the spaces in which they were written and the other graffiti written around them. This combination of archaeological and philological inquiry allows an identification of types of space and, to some degree, organization of movement within a space, which, in the absence of other artifacts, has been difficult to interpret.

Ända sedan graffiti började förekomma i Sverige för ca 20 år sedan har den, nästan utan undantag, ständigt ökat i omfattning. Sveriges kommuner har försökt bemöta den illegala graffitins framfart med olika sorters förebyggande åtgärder. Dock har dessa metoder sällan utvärderats kvantitativt, och resultaten av de implementerade åtgärderna är ofta osäkra. Syftet med denna studie är att med ekonometrisk metod utvärdera två av dessa metoder; lagliga väggar och snabbsanering. Förhållandet mellan dessa åtgärder och anmälda graffitibrott undersöks med OLS-regressioner genomförda för en panel med 172 svenska kommuner under perioden 1996-2004. De viktigaste resultaten i uppsatsen är 1) den vanligaste åtgärden i Sveriges kommuner – snabbsanering – uppvisar ingen negativ effekt på illegal graffiti. Tvärtom ger resultaten indikationer på att anmälda graffitibrott ökar som en följd av denna metod 2) resultaten för lagliga väggar visar att denna metod inte verkar påverka illegal graffiti överhuvudtaget, vilket således motsäger både förespråkare och kritiker av detta som en klotterförebyggande åtgärd.

This study is about howStockholm’s policy for zero tolerance of graffiti from 2007 affected the graffiti culture inStockholm. We have researched what consequences there were for the practice of graffiti, and what consequences there were for the stylistic performance of graffiti. In doing so, we have had two focus group interviews and one deep interview including eight graffiti writers from Stockholm. The individuals in the groups have been practising graffiti for a varied amount of time, but we have representation from both before, and after/during the policy of zero tolerance from 2007.  Our study shows that the result ofStockholm’s policy for zero tolerance of graffiti for the graffiti culture inStockholmwas a ”subcultureification”, a ”stylistic generalization” and the ”subculture’s ambivalent identity”. With ”subcultureification” we mean that the labelling process from the politicians in acting against the graffiti culture and present it as a problem and a deviant and criminal subculture was reinforced within the graffiti culture and resulted in the increased importance of criminalization for the development of sub cultural capital. The ”stylistic generalization” was a consequence of the changed conditions for writing graffiti. Less time and more security have led to a simpler and fast performance and less of the colourful and detailed murals. A consequence which helps keeping the public convinced of the necessity of the zero tolerance policy and the connection between graffiti and criminal damage rather than an artistic expression. The ”subcultures ambivalent identity” referred to the interpretation that the new conditions for writing graffiti changed the way the writers identified the culture. In our research we found three major conflicts regarding if or if not graffiti was ”art”, about practicing legal graffiti or illegal, and how to value graffiti on the internet.   Keywords: Graffiti, subculture, social control, cultural conflict, stylistic progress Sökord: Graffiti, subkultur, social kontroll, kulturell konflikt, stilistisk utveckling   Antal ord: 18 561

Diss. Stockholm : Stockholms universitet, 2006. / DVD i ficka.

Exegesis (MA--Art and Design) -- AUT University, 2007. / Includes bibliographical references. Also held in print (29 leaves : col. ill. ; 30 cm. + 1 CD) in City Campus Collection (T 701 PAR)

Thesis (doctoral)--Universiẗat, Augsburg, 2004. / Includes bibliographical references (p. 247-269).

abstract: Graffiti at the Arena Chapel and Issogne Castle engage in conversation with the frescoes and the functions of the spaces. These marks produce discussions of cultural issues. The graffiti found in the chapel and castle can be considered ritual and performative acts, visually documenting conversations among diverse audiences in the late medieval and early modern periods. Scholars of the Arena Chapel frescoes have studied the intricate painted iconography. Adding graffiti to the analysis of the chapel allows for a different interpretation of one of the most famous fresco programs. Abundant marks appear on figures in the scene of Hell in the Last Judgment, and are analyzed in terms of the medieval concepts of optics and sight, as well as in respect to class. At Issogne Castle, visitors inscribed graffiti on figures and scenes to represent their responses to key social issues. These included questions of class and occupation, along with political and religious concerns. Contextualizing graffiti in this way enables contemporary scholars to uncover a more complex and subtle understanding of the conversations on the wall in the late medieval and early modern periods through case studies of two monuments of art history. / Dissertation/Thesis / M.A. Art History 2012

This thesis traces the transformation of graffiti as it travels from the street to the art institution by closely examining the graffiti and installations of Barry McGee ("Twist"). As a graffitist-turned-artist, McGee looked to his environment and experiences for his art, incorporating the language of graffiti into his installations. They exhibit what I describe as his ethnography of graffiti because he creates them from his unique position as a graffiti writer, representing graffiti as both an aesthetic expression and established youth culture. In order to explain this re-mediation of graffiti, the thesis aligns McGee's works with the sculptural tableaus of Edward Kienholz to emphasize his use of the narrative to bring the audience into both the aesthetic and the social world of graffiti.

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-29Bitstream added on 2014-06-13T20:27:36Z : No. of bitstreams: 1 andriani_bc_me_ia.pdf: 2743782 bytes, checksum: fd4bf7871fa96a94c6fc4d66b9ab6746 (MD5) / Universidade Estadual Paulista (UNESP) / A Arte de Rua se tornou uma forte manifestação cultural ao longo dos últimos trinta anos, elaborando uma linguagem própria e se estabelecendo no mercado artístico. Contudo, o reconhecimento deste tipo de prática enquanto arte ainda é paradoxal, pois tange diversos pontos problemáticos nas relações sociais. A intervenção chega aos olhos do espectador sem pedir permissão, insere-se no contexto urbano quase que naturalmente, e em alguns casos chega a se camuflar como se já fosse parte da arquitetura. Seja qual for a sua base estética, a intervenção urbana alcança um vasto espectro de espectadores, mesmo que eles não queiram. O que se pretende nesta dissertação não é catalogar de forma cartesiana os diversos estilos encontrados nas ruas, mas sim refletir acerca desta prática, sobre seu funcionamento, seus desdobramentos, em uma leitura mais densa e tanto quanto possível objetiva / Street Art became a strong cultural manifestation during the last thirty years, creating a personal language and establishing itself into the art market. However, recognizing this practice as an art form is still a paradox. The intervention comes to the viewer's eyes without permission, inserts itself almost naturally into the urban context, and in some cases camouflages as it was already part of the architecture. Whatever the aesthetic bases are, the urban intervention reaches a huge specter of viewers, even if they don't want to. What is intended in this work is not to catalogue the different styles found in the streets in a Cartesian way, but supply a denser and as possible objective reading about this practice and also reflect about hot it works and unfolds