Graffiti Art Research Articles

Manajemen Event Rokest Party 2024 Sebagai Media Komunikasi Pengenalan Seni Grafiti

Graffiti art is a form of art that possesses unique qualities and distinct market value compared to other art forms. However, it is still often seen as vandalism that damages public property in the eyes of society. There is a need for communication channels to introduce graffiti to the Indonesian public in order to change this perception. Through the Rokest Party 2024 event held on July 6th at Cafe Kaldi.Id Juanda Depok, the Rokest community, together with Communication Science students from the Faculty of Social and Political Sciences at Muhammadiyah University of Jakarta, organized this event with the intention of introducing graffiti and promoting the market value of graffiti artworks within the Rokest community. The event implementation method followed Glodblatt's event planning model, which includes research, design, planning, coordination, and evaluation. Therefore, this event can be considered successful as a communication medium for introducing graffiti, despite needing further improvements and evaluation.

GRAFFTI ART AND TUNÇ DİNDAŞ İN THE LIGHT OF TECHNOLOGY

Writing and language in the past are at the forefront of people's self-expression and communication methods. It can be considered as an important communication tool, one of the four main elements of hip-hop culture. Graffiti is a wall art that is written, drawn or sprayed. Along with technology, the boundaries of art began to expand, and works of art in virtual universes emerged in contemporary art. Graffiti, which is an artistic production area, has also turned into a new art platform. In the traditional graffiti understanding; Instead of using marker pens or spray paint on the walls, it has become possible to make drawings digitally without risk. However, the technological possibilities provided in the art of digital graffiti can also bring about deficiencies such as reducing the amount of physical and emotional experiences and depriving the experience of living. In this context, an interview was held with Tunç Dindaş, one of the graffiti artists, in order to determine the graffiti artists' approaches to technology and their usage purposes. Tunç Dindaş, nicknamed "Turbo", one of the artists who made a name for himself in the graffiti world, shapes his worksis shaped around Turkish culture and Istanbul. The artist, who prefers technological tools in the production process of his works, continues to expand his traditional work area in the name of real graffiti production. In the research, graffiti art and its interaction with technology; A general evaluation was made by trying to reveal the art of graffiti, the artist's approach to technology, and the intellectual infrastructure of his works, based on what Tunç Dindaş narrated.

Roblox Graffiti Art Using Virtual Reality Devices: Reality and Spatial Presence in a Virtual Space

Graffiti makes a city’s landscape beautiful while simultaneously being considered illegal and violating a city’s cleanliness and respect for public spaces. To solve these problems, we present metaverse virtual-world technology. Within the metaverse, graffitists can freely create, share works, and express themselves through graffiti art by virtually reproducing the walls or public facilities of a city. The created virtual space used by the graffitists in this paper is Sungnyemun, a traditional Korean heritage site. When comparing Roblox PC content and VR content experiences through IPQ surveys, it was confirmed that participants in the VR content experienced a high level of realism and local presence. Accordingly, there is a new possibility for graffiti to be recognized as a form of urban culture and artistic expression through the metaverse.

PECULIARITIES OF THE FORMATION OF PUBLIC ART IN THE LATE 20TH AND THE EARLY 21ST CENTURIES: CONCEPTUAL CONTENT AND TERMINOLOGY

The article is devoted to the study of the conceptual and terminological essence of public art, an artistic phenomenon in the art of the late twentieth and early twenty-first centuries. The article reveals the characteristic features of public art and related areas of “street” art, primarily street art and graffiti art, phenomena that share a common space with public art in the city and at the same time use identical artistic mechanisms of addressing the audience. The universality of public art’s position in the extremely saturated visual field of contemporary art is comprehended. The constant growth of forms and development of public art techniques significantly actualizes the issue of studying its conceptual and terminological nature. The author of the article proposes to consider public art as a synthetic artistic phenomenon, the formation of which is associated with attempts to interpret various aspects of urban culture and give it an artistic assessment. Based on the analysis of the historiography of the problem, two stages can be traced in the definition of public art. At the first stage (the1980s – 1990s), there were attempts to define the main conceptual field of public art, to coordinate its coexistence with other forms of urban artistic practices. During the second stage (the 2000s – 2010s), the analysis of the internal genealogy of public art and the study of its artistic properties continues. The historical genealogy of public art shows constant attempts to define its own artistic boundaries. This process has a mediative form, as it requires reconciliation of various points of view: artists, customers, city authorities, and viewers. From our point of view, this feature gives grounds to define the artistic essence of public art as an art of mediation. The materials in this article provide many different examples of public art that clearly reveal some of the artistic features of this artistic phenomenon

Graffiti and new media: Levearaging technology to advance creativity and learning in Nigeria

The paper explored the relationship between graffiti and new media, with specific focus on the effect of new media appropriation on the growth of graffiti writing in Nigeria. Qualitative research design and methodologies were used. The theory of technological determinism provided the conceptual directions. Findings showed that graffiti artists were increasingly active on social media; and, used social media for different purposes, including graffiti-based artistic activities. While a wide range of social media were used, only Instagram was the most preferred, because of its unique technical qualities. The engagements of graffiti artists with new media were, in varying ways, bearing innovative and socio-cultural benefits. Apart from providing opportunities for the showcasing of talents or the digital documentation of graffiti, the interface had also allowed for improved artistic creativity, through the placements of graffiti arts unto virtual spaces as Non-Fundable Token Arts (NFTs), as well as the education of young adults online/offline on graffiti arts. Also, in order to mitigate the low status of public awareness on graffiti in Nigeria, graffiti artists should heighten their engagements with social media to popularize the practice in its contextual form; and, the placements of graffiti arts on NFT panels should be seen as a step in the right direction, towards the preservation of graffiti arts for posterity.

THE BALKANS FROM THE OTTOMANS TO THE PRESENT: CULTURAL DIPLOMACY DISCOURSES OF TRT DOCUMENTARY

Cultural diplomacy is supported by the government to promote national interests. Thus, it plays an instrumental role in cultural diplomacy. In other words, culture is used as a source, of symbolic capital, and a source of soft power. Cultural diplomacy provides state actors with an appropriate starting point, by demonstrating cultural policy internationally. The most common source of soft power is culture, and it covers cultural literature, art, education, and popular culture called the mass pastime of today. Thus cultural diplomacy, which takes on a significant responsibility in building national identity and in the process of representation, contributes to the development and maintenance of modernity. This study discusses the contribution of cultural documentaries to the formation of image and reputation. This study aims to reveal the cultural diplomacy discourses in the documentaries made by TRT Belgesel. This study is also essential to reveal the discourses on cultural diplomacy activities in Balkan countries. Bosnia-Herzegovina, Moldova, and Macedonia sections of the Traces and Lines documentary have been analyzed by discourse and content analysis methods in the Maxqda program. The analysis's findings are as follows: country promotion, Graffiti art, and TIKA activities. Explanations of cultural diplomacy are classified as traces of Turkish culture, the feeling, and cultural affinity, and the institutions opened by TIKA in these geographies, restoration activities, and donations. In documentaries, macro-discourse topics in terms of culture diplomacy include country promotions, Graffiti art, and TIKA activities. The country's religious structure and history are included in its promotion. The history of the country is associated with the Ottoman Empire's investments in the Balkans and with the cultural characteristics of the Turks living in those regions. Documentaries include the art of graffiti and the position of this art to reflect the cultural characteristics of countries. Artists emphasize the efforts of Turks living in the Balkans to maintain cultural values and the awareness to preserve the national values that thereby occur. In terms of micro-discourse, the documentaries include we, our, our Turks, and Türkiye words. Sentences are used in a simple structure, a simple language. Strategies for providing historical reference and exploiting personal experience in the documentary are persuasive. As a result; It creates discourses that will contribute positively to the image and reputation of the country by including cultural heritage protection and cultural diplomacy tools in the cultural documentaries of TRT Belgesel.

Graffiti enquanto arte contratada: proteção da moralidade artística

After decades of marginalization, graffiti has started to appear in public contracts related to the composition of the landscape in important metropolitan areas. Despite the prestige achieved worldwide, there are still disagreements between graffiti artists and public managing officials, especially in the context of urban maintenance policies in which these paintings are targeted for deletion without prior dialogue with its authors — This action may be considered a violation of the author’s moral right to ensure the integrity of the work. Motivated by the controversial removal of the mural on Avenida 23 de Maio (São Paulo city, 2017), this paper aims to verify within the Copyright Law, the hypothetical existence of a gap in the law that undermines the exercise of this right, using the hypothetic deductive method. Some pertinent cases are commented, to refine the contours of this prerogative and of the protection offered by Law 9.610/98, also aiming to assess whether it covers the preservation of graffiti in urban support. The conclusion is that the law does not present obstacles to the right to ensure the integrity of the graffiti artwork, and that artists do face vulnerabilities, but it is unrelated to a gap in copyright law.

By youth for youth: Empowering youth experiencing homelessness in Managua, Nicaragua.

There is a dearth of effective, evidence-based programming to support youth experiencing homelessness, particularly in low- and middle-income countries where the majority of these young people live. Programs focused on youth engagement and leadership appear to be promising means to effectively engage and promote positive outcomes in this population. By Youth for Youth (BYFY) is a peer-led youth leadership framework developed to promote youth engagement, empowerment, and skill development. To date, BYFY has been successfully implemented with promising process and outcome indicators for youth experiencing homelessness, both in Toronto and with Indigenous youth in Thunder Bay. In this article, we present the application of BYFY with 30 street-involved youth in Managua, Nicaragua. We highlight the key implementation factors leading to BYFY's success in Nicaragua as perceived by facilitators from the implementing organization, Covenant House International, and youth leaders. Using a General Inductive analysis of interview data, field notes, and artistic output generated by the project (rap video, graffiti art, street theater), we identify the processes that appeared to underlie positive outcomes observed in participants, including creating a sense of safety and providing opportunities to challenge negative self-perceptions. This article provides evidence for a scaleable model for youth engagement and empowerment that (a) is practical to implement in low-resource settings and (b) is effective at engaging street-involved youth across diverse cultures and contexts. We summarize practical implications and actionable measures that can be taken by stakeholders to capitalize on these findings. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

STREET ART AND GRAFFITI IN RIGA: MOTIVATION, OPINION AND WORK PROCESS OF ARTISTS

This article describes characteristics of graffiti and street art in Riga. The aim of the article is to present features of street art and graffiti phenomenon, as well as to highlight portrait of a typical urban Riga artist by analysing types of activities, motivation and other characterizing aspects of graffiti writers and street artists. The author of the article introduces general street art and graffiti phenomenon, highlighting differences between these forms of art, following analysis of such topics as manifestation of street art and graffiti in Riga, the most common forms of street art and graffiti in urban environment of Riga. The author of the article also provides analysis of street art and graffiti artists’ motivation of their activities and describes street artist’s one-night run that was studied during conducted inclusive observation thus allowing understanding the characteristics of typical Riga urban environment artist.

Reading the Paintings—Watching the Poems: Toward the Post-Media Inquiry With Networked City Textualities

The article explores rhizomatic poetic practices of Medellín-based graffiti artist Señor Ok. His work is the city revealed as a relational, multidimensional texture. It transforms striated urban space to smooth by bringing other meanings from the periphery to the surface and decentralizing the dominant image of the city. I look at his work as poetry as an entanglement of his relationship and his daily life in the city, in the country, in the broader world. I argue that as an assemblage that forms assemblages within the urban textures, his art becomes methodology for critical non-representational affective inquiry of urban spaces.

To Live and Die in Hip-Hop

Hip-hop began in the Bronx, New York City as a ­­relatively obscure cultural movement during the 1970s. New York’s African American and Caribbean communities pioneered and incubated break ­­dancing (B-boying), graffiti art, disc jockeying (affectionately known as turntablism), and MCing (rapping). In time, the culture spread like wildfire—first to other Black communities and then out of American cities altogether. The suburbanization and globalization of hip-hop during the 1990s eventually transformed the culture into a worldwide billion-dollar industry. Hip-hop struggled to come to terms with its own growth—popularity and authenticity are not always compatible. The late bell hooks argued in We Real Cool: Black Men and Masculinity (2003), “While the patriarchal boys in hip-hop crew may talk about keeping it real, there has been no musical culture with black men at the forefront of its creation that has been steeped in the politics of fantasy and denial as the more popular...

Understanding social critique in graffiti art from a (non-)Western perspective: Chinese students comparing Banksy and Zato through photo-elicitation

Although obvious in Western Europe and the US, the controversy about graffiti is not as pronounced in mainland China. While the creative/destructive act of vandalising public spaces and even private property brings with it certain issues and notions attributed to culture jamming, protest action, and subversive aesthetics, this is not necessarily how graffiti thrived within the leftist context of China. Unfortunately, since graffiti practice in China is still an understudied area, many questions would soon be left unanswered as this street art form swiftly vanishes under the communist country’s rapid development in pursuit of globalisation. With the aim of demonstrating why graffiti culture in China functions quite differently from graffiti practices in the UK (and similar ‘Western’ cultures), we investigate how the art of graffiti is understood and defined by Chinese students who participated in our comparative study. The participants contrasted Banksy’s art with the works of Zato, who is quite popular in China’s contemporary graffiti scene. Through a blended method of visual ethnography, photo-elicitation, and focus group discussions conducted via video conferencing, we visualised the two graffitists against a backdrop of clashing social constructs and political contexts. Our findings provide valuable insights into persisting issues surrounding the differences between Western and Chinese graffiti practices. Graffiti art in the UK and in China may have proven comparable in terms of medium but incommensurable as to message. Due to Covid-19 lockdown restrictions, the images included in this article and cited throughout the study were all sourced online.

Julien Breton: Maestro of Light Calligraphy

This paper presents the artistic work of the French artist Julien Breton, known by the nicknameKaalam. In the beginning, he was influenced by graffiti art and Islamic calligraphy. Breton did not follow classical calligraphic styles but sought to find his own calligraphic expression that mirrored diwani, thuluth, and kufi script. The biggest leap in his aesthetics happened when he replaced pen and paper with light calligraphy, and a change of medium made him one of the protagonists of this art. In addition to exploring the possibilities of light calligraphy, Bretoncollaborates with other artists where the most interesting projects are with dance groups.

Lord Byron and Lady Pink: An Orlando Story of Two Graffiti Artists

Lord Byron and Lady Pink: An Orlando Story of Two Graffiti Artists

The Ludic and Human Rights: The Anti-Racist Fight in Science Education for a Political-Scientific Formation through Graffiti Art

Context: With the growing denunciations of violence and injustices in the social relationship, inside and outside schools, education based on human rights is insurgent in the current system of teaching and learning. Using the concept of school as a process of scientific, social and political construction, we planned the teaching and learning process of chemical interactions using the art of graffiti as a playful activity. Objectives: Reflection on chemistry teaching beyond the concepts of natural sciences, but also towards social issues to promote an education that transfigures the traditional model established by the hegemonic power during Brazilian history. Design: We use an ethnographic case study as a method. Scenario and Participants: In this way, we chose to bring graffiti art to chemistry workshops, since the paints are fixed on urban walls through chemical interactions between substances, building images and/or protest phrases that make us rethink the injustices and inequalities existing in Brazilian society and to dialogue the emergence of this art in the black movement with the political aspects of Human Rights. Thirteen students enrolled in a state basic education high school in the city of Goiânia-GO, Brazil, joined the workshops on Human Rights, Graffiti and Chemistry. Eight graffiti artists also participated in the workshop for free. Data collection and analysis: We used transcripts of semi-structured interviews and video-recorded workshops to categorise the data, analysing them with the Descending Hierarchical Classification technique and the use of dendrograms performed by the Iramuteq Software. Results: We obtained categories that evidence the chemical understanding of the content of chemical interactions and the socio-political understanding of human rights, and seven drawings on graffiti murals that show this correlation. Conclusions: The transgression of morals and the empowerment of the subordinate promote playfulness in the individual or collective social visibility of individuals, enabling better assimilation of scientific and social content.

Cultural, Business, and Political Characteristics of Hong Kong Street Art: A Mini Review

With its towering skyscrapers and busy streets, many people think that Hong Kong is all that it appears to be. But look closely and you'll see that behind all this glitz and glamour, Hong Kong has a wealth of fascinating things to offer. As Asia's most vibrant centre for art and culture, Hong Kong has demonstrated its creative spirit in everything from world-class galleries and exhibitions to international art events, especially in street art. Over the past few years, street art has given Hong Kong's cityscape a bold and innovative look - the East meets West murals in Central, the graffiti art in Wong Chuk Hang Industrial Estate, the colourful and creative works in Sham Shui Po. The paper explains and demonstrates cultural and business aspects of Hong Kong Street Art based on its characteristics. Further recommendation of the continuing transformation of Hong Kong Street Art is proposed in the last section of this paper as well.

Duvar Resimlerinin Mimari Mekânlar Bağlamında Analizi

The walls assume the task of limiting the space; whereas the wall paintings reflected the history, provided the communication between art and the user, has displayed its corporate identity, shed light on social events, and has saved the place from monotony by affecting the user. In the architectural designs, the positive contributions of wall paintings to user-intensive spaces with the power of affecting and attracting attention are ignored. In this study, it is aimed to determine the wall paintings in the architectural surfaces, buildings and spaces, and to analyze them through concept-space integrity. The wall paintings located in the interiors and the exteriors of the various districts of Istanbul have been identified. On-site observations were done and the data were evaluated on the tables. The wall paintings were preferred in order to contribute to the aesthetics in the interior spaces, on the exterior surfaces, they were used by festival organizers and Graffiti artists, and no political messages were encountered.

An emerging art world: The de-subculturalization and artification process of graffiti and pixação in São Paulo

Graffiti art and street art have been increasingly described as an artistic movement, with a constant presence in the streets, but also in galleries and museums. In this article we use the term urban art to define this institutionalized category, originating from informal street expressions. In the specific context of the city of São Paulo (Brazil), most of the social actors that make up this art world have backgrounds linked to graffiti and pixação. These two urban subcultures are linked to informal forms of appropriation of the urban space through illicit inscriptions. In this article, we aim, on the one hand, to describe the features and singularities of urban art as an emerging art world and, on the other, to understand how careers are developed in this universe. The empirical data derives from a qualitative research (in-depth interviews and ethnographic observation) developed during the past three years.

The Use of Cultural Authority in Constitutional Argument

In this paper I reconcile the need for legal validity with the aspirations of popular constitutionalism, i.e. that the American people should be a source of authority as to the meaning of our Constitution. The Supreme Court has long relied on cultural practices to help it discern constitutional boundaries. However, I argue that because of the erosion of our institutional gatekeepers that the use of and citation to popular forms of constitutional authority is both harder to do but also more necessary. Intrepid scholars like Tom Donnelly have charted some of the ways that judges can marshal popular constitutional argumentation in their decision-making. This paper contributes to this project of how judges and lawyers can cite to popular authority more effectively. I introduce the concept of cultural authority and distinguish it from other forms of authority like social science. I then observe how citation to cultural authority can be used to illuminate the scope of our Constitution. My synthetic approach is informed by iconic Supreme Court cases as well as recent noteworthy cases related to rap music and graffiti art.

ДЕВУШКИ В ГРАФФИТИ: ГЕНДЕРНЫЕ ОСОБЕННОСТИ РОССИЙСКОГО МОЛОДЕЖНОГО СООБЩЕСТВА

The author describes the role of girls in the graffiti community and street art movement. The situation in the United States and in Russia are compared. Russian research results are based on interviews with girls from Samara, Novosibirsk, Gratifying, and Moscow. According to American researchers, the legal and personal dangers and the rebellious nature of writing graffiti are factors that writers conceptualize as male and use as achievements attesting to their masculinity. The purposeful exclusion of female writers is thus essential to the development of a (male) writer's identity. There were just a few women who penetrate the subculture during the 1980s, and they did with some difficulty. The women are typically characterized by male writers as “slutty”. Still, this fact has not deterred female writers but it has affected their numbers and the recognition (or lack thereof) of their work. Beginning with the pioneering work of NYC female writers, women's presence in the male-dominated world of graffiti has greatly expanded to our days. Today's female writers approach their writing from two opposite angles. Some take advantage of the anonymity of writing to disguise their sex or at least not call attention to it, while others are keen to make their work, through subject matter, colour, and style, appear blatantly feminine. In the Russian graffiti subculture, as well as in the American one, there is a gender asymmetry. This is due to the fact that the ideology, values and norms of behavior of this subculture are pronounced masculine in character. Ideology promotes the illegal nature of the activities of graffiti artists which is associated with a high level of danger. Therefore, girls rarely go in this area. In most cases, girls begin to draw graffiti, if their boyfriend is also engaged. They become a mentor and guarantor of security for girls. But girls rarely see graffiti as a way of self-realization. Graffiti for them is a way to expand the range of common interests with their boyfriends. Thus, graffiti for girls often has value not in itself, but as a tool that helps to build relationships with boys. Graffiti attracts girls who have a tendency to creative activity. The opportunity to creatively realize themselves attracts girls to street art: they use it as a means of professional self-realization, as in this art practical artistic abilities are valued, not the physical abilities and danger. Girls choose style in accordance to their aims. The mood inside the graffiti community doesn't affect it. There are no specific female roles in the subculture. Femininity in graffiti is seen as a weakened variant of masculinity.