FEJTOVÁ, Klára. Graffiti and street art, their's socioculturals and art's contextes. Prague, 2013. Thesis. Charles University in Prague, Faculty of Education, Department of Fine Arts. Supervisor PhDr. Jan Šmíd, Ph.D., 232 pages.(Appendices: 3 plastic objects) In my diploma paper, I attempted to map the origins and evolution of graffiti and street art. Their possible starting point, sources of inspiration and connection to art throughout history and the present day. I have also mentioned the overlapping into and use in advertising, contemporary art and design. I have briefly dealt with the socio-cultural influence and its connection to this form of art. In the theoretical part of my paper, I devoted my attention to new trends in graffiti and street art. In the didactic part, I used specific ecological trends to create art series. Through this I linked art and environmental education and verified that students in the specific group are interested in incorporating this topic into their curriculum. A part of the is a research survey which shows the opinions and principally confirmed the interest of students in the specific group in this topic.

Graffiti is a game in which heroic courage and great tension are applied. It is an unusual and risky activity beyond the law, associated with dangerous and illegal intrusion into the secured areas of the underground metro system or climbing the roofs of buildings and high walls. All this means for the writer to write his name on the wall and reap the recognition of his colleagues from the subculture for it. The work looks at graffiti from the perspective of their representatives. Its aim is to answer the question whether the writer's motives to remain in the graffiti subculture change over time, how the writers perceive the sanctions of their surroundings, and whether the sanctions of the institutions affect the end of the writer's career. Data collection will take place through semi-structured interviews with respondents from the graffiti environment, participatory observation and qualitative content analysis of printed materials and websites, used for the exchange of information, especially between active members of the subculture. Keywords Graffiti, subculture, art, vandalism, subcultural career, criminal liability, social sanctions Title The End of Writer's Career: Urban Folklore Which Breaks the Law.

Ostlänken, Sweden's first high-speed railway is to be completed in 2027. Nyköping is located right in between the two end destinations. The initiative aims to link the regional economies and reduces the travel time to Stockholm from todays’ one hour to 40 minutes. Today we are getting fed the  word "resecentrum" that more or less equals adding a vast amount of shopping facilities to the station building. The often mall-like environments focuses on commerce, targeting travelers with money, who in reality may not spend as much time in the station as calculated. In a fairly small town like Nyköping, it would be risky to propose a station with a shopping mall, which risks to outcompete the well-functioning and vibrant city center. My proposal for a new bus- and train station in Nyköping will instead target those who actually spend some time there - the young people! Many students actually live outside the city but go to school there. They also use public transport and the municipality pay their bus card. With that said, many young people will be using Nyköpings' new station on a daily basis. I have sought a robust, tolerant feeling throughout the proposal, as it subsides well with the environments associated with bus and train stations. Graffiti, parkour and skateboarding cultures has long taken these areas in use. If not that kind of cultural expressions are allocated a place in the city, it will most likely be exercised there anyway. A graffiti wall in my station is therefore so obvious that it has got a prominent position. / Ostlänken, Sveriges första höghastighetsjärnväg ska vara färdig år 2027. Nyköping ligger placerad precis mitt emellan de två slutstationerna på sträckningen. Satsningen syftar till att knyta samman arbetsmarknaderna i regionen och reducerar restiden till Stockholm från dagens 1h ner till 40 minuter.   Idag är vi vana vid begreppet resecentrum som med stort utbud av service i anslutning till tågplattformar ska kunna tillgodose resenärernas behov i samband med deras resa. De ofta gallerialiknande miljöerna riktar in sig på resenärer med pengar i plånboken men som i realiteten kanske inte spenderar så mycket tid på platsen. I en stad av Nyköpings storlek vore det också riskabelt att föreslå en station med en galleria då det riskerar att konkurrera ut den väl fungerande och levande centrumhandeln. Mitt förslag går ut på att göra Nyköpings centralstation till en plats för i första hand de som faktiskt vistas där allra mest – ungdomarna! Många skolungdomar bor utanför Nyköping men går i skolan i staden. De åker också kollektivtrafik och kommunen bekostar busskortet. Därmed kommer många ungdomar att vistas vid Nyköpings nya station dagligen. Jag har strävat efter en oöm, tillåtande känsla i förslaget, då det klingar väl med verksaheten jag föreslår. Graffiti, parkour och skatekulturen har länge tagit stationen i anspråk. Om inte den typen av kulturyttringar tillåts en plats i staden, kommer den med största sannolikhet att utövas där ändå. En grafittivägg i min station är därför så självklart att den får en framträdande roll.

The diploma thesis as a whole deals with the topic of tracks in contemporary art. It is divided into three parts. Theoretical, didactic and practical part. In the theoretical part, I first define what a track means to me and I apply this definition when searching for tracks in the works of contemporary artists. The theoretical part of the work includes an interview with Patrik Proška, an artist creating some of his works in public space. In the didactic art project, created for high school students, the topic of tracks is viewed somewhat more freely. The main goal of the thematic unit is to lead students to think about tracks through their own artistic activity. Based on the experience gained, they should be able to think about the transience of the tracks, the meaning of our legacy and the consequences of our existence. I especially focus on the art area related to land arts and street art or graffiti. The practical part is the result of my reasoning about the tracks left in public space. I established my reasoning on the knowledge gained in the theoretical part. The result is a set of author's books that document my thoughts on the tracks found or created. I focused my attention mainly on the human desire to leave their tracks in the public space. KEY WORDS track, public space, art, land art,...

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

Using a multiple baseline design across settings, baseline measures were taken on the amount of graffiti in three settings in the Stockton area. An intervention developed to reduce graffiti, which consisted of a community mural program, was implemented sequentially during the different phases of the study. The intervention lasted three weeks in each phase, after which 5 weeks of follow-up measures were taken to assess the durability of treatment effects. The hypothesis was that the intervention would contribute to an overall decrease in graffiti occurrences once it was implemented. Results suggested an effect in one site, but not in the other two. Problems encountered during the study and suggestions for future research are discussed.

This project investigates how youth in San Salvador, El Salvador define and participate in the co-creation of safety in their neighborhoods. For many years, El Salvador topped the rankings of most dangerous countries because of street gang violence and homicides. As the homicide rates have fallen in recent years, due to mass incarceration of street gang members, trust in state authority to effectively participate in the co-creation of safety has empowered young Salvadorans to also participate in that co-creation through reclaiming space. By painting over gang graffiti, the youth are participating in discourse in a public sphere, making claims to safety in their communities. Feelings and understanding of safety are also influenced by the representation and reputation of a place, thus this project included the creation of a participatory documentary for the youth to be a part of the representation of their country and communities. The documentary shows the painting over of gang graffiti and includes participant responses to questions about safety and representation. The video along with the interview responses show that the youth’s feelings of safety are tied to their physical environment, including the presence of gang graffiti, and that they are eager for their country to overcome the historical representation of being a dangerous place.

[pt] Pichações textuais (cujos conteúdos são frases, palavras de ordem, etc., em diferença, neste recorte, às taggeadas) aparecem em diferentes pontos dos espaços urbanos. Esta prática, oficialmente delituosa, agrupa em seu gesto de feitura e, muitas vezes, em seu conteúdo literal resistências a um sistema de poder opressor e silenciador. Para além do gesto de pichar, a pichação em si representa, na leitura deste trabalho, o vestígio da ação performática de corpos em dissenso a uma ordenação política e social estabelecida. Nesta dissertação, as pichações textuais são lidas como coreorasuras (LEPECKI, 2012), e atuam como fagulhas para o desenvolvimento de um pensamento sobre narrativas que partem de um sujeito e são lançadas para fora de si. Assim, surge a proposição do texto como escrita-fricção: proposições literárias de si nas quais figuram um forte atrito (HALLIDAY; RESNIK, 2012) entre autor e texto, e entre corpo do autor e sistema de poder. / [en] Textual spraypaintings (in which content are made of phrases, words of demand, etc, in opposition, at this work, to the tagged ones) appear at different spots of urban spaces. That practice, officially declared as crime, agroup in its gesture of occurance and, mostly, in its literal content, resistances to an opressive and silencing power system. Furthermore the gesture of deface the city, to spraypaint it, the spraypainting itself, at the city walls, represents, at this work s vision, the trace of a performing act executed by dissonant bodies before a social and political established ordenation. At this dissertation, textual spraypaintings are read as choreodisruptions (LEPECKI, 2012), and act as sparks to the development of a thought about narratives that start from a self-subject and then are thrown out of that centered self. Therefore, comes up the proposition of the text as a friction-writing: self-fiction alike literary proposals in which figures a high friction between the author and the literary text, and between the author s body and the power system.

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