3/27/2023 0 Comments Graffiti a![]() ‘Our desires are ungovernable’: Writing graffiti in urban space. Tearing down the streets: Adventures in urban anarchy. Boston: Northeastern University Press.įerrell, J. Crimes of style: Urban graffiti and the politics of criminality. Youth gangs and definitional issues: When is a gang a gang, and why does it matter ? Crime and Delinquency, 47(1), 105–130.įerrell, J. The Professional Geographer, 57(1), 1–12.Įsbensen, F. Investigating the spatiotemporal links between disorder, crime, and the fear of crime. Critique of Anthropology 28 (1), 27–45.ĭoran, B. The making of space, race and place: New York City’s War on graffiti, 1970 – present. Placing post-graffiti: The journey of the Peckham Rock. Portland: Microcosm Publishing.ĭickens, L. Minneapolis: University of Minnesota.ĭaniel, B. ![]() In place/out of place: Geography, ideology and transgression. New York: Henry Holt and Company.Ĭresswell, T. Retrieved on from Ĭooper, M., & Chalfant, H. Graffiti and activism: Unmediated access & communication in space. Portland State University.Ĭonklin, T., & Peters, D. The art of rebellion: World of streetart. The Barnhart concise dictionary of etymology (p. Taylor (Eds.), Ancient graffiti in context (pp. ![]() Ancient graffiti in context: Introduction. Journal of Criminal Justice and Popular Culture, 14(4), 292–316.īaird, J. Graffiti and perceptions of safety: A pilot study using photographs and survey data. New York: Columbia University Press.Īustin, D. Taking the train: How graffiti art became an urban crisis in New York City. Writing on the plywood: Toward an analysis of hurricane graffiti. New York: First Run Features.Īlderman, D., & Ward, H. Regardless of one’s aesthetic view of graffiti, the ability to better understand the language of graffiti allows us to better understand places and the people who live there. Graffiti is a language that many are trying to eradicate, thus graffiti abatement is likewise examined. The most common contemporary forms of graffiti (and street art) are considered, including tags, throw-ups, pieces, stencils, characters, wheatpaste, stickers, messages and etchings. A typology for studying and understanding graffiti in its many forms is suggested. This chapter examines how graffiti has been and continues to be used to articulate resistance to dominant powers. This chapter considers how the aesthetics and meanings associated with graffiti differ from place to place and the role the media plays in how we understand it. Those who make graffiti today are called many things including vandals, artists, and (most importantly here) writers. The reaction to graffiti at the time and since must be seen in the context of urban politics, global economics and efforts to control the city. Modern graffiti emerged in late 1960s to early 1970s, with spray paint and ink the preferred writing implements. Reflecting its ancient roots, the word graffiti roughly translated from Latin means “to scribble.” What appear to be scribbles to most people is a rich language encoded in urban landscapes worldwide. Using city walls as a canvas is a phenomenon thousands of years old. This chapter examines graffiti as a means of communication and a vehicle for creating and contesting meanings in discrete places.
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