DOCSLIB.ORG

Facets of Graffiti Art and Street Art Documentation Online: a Domain and Content Analysis Ann Marie Graf University of Wisconsin-Milwaukee

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Facets of Graffiti Art and Street Art Documentation Online: a Domain and Content Analysis Ann Marie Graf University of Wisconsin-Milwaukee University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 Facets of Graffiti Art and Street Art Documentation Online: A Domain and Content Analysis Ann Marie Graf University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Library and Information Science Commons Recommended Citation Graf, Ann Marie, "Facets of Graffiti Art and Street Art Documentation Online: A Domain and Content Analysis" (2018). Theses and Dissertations. 1809. https://dc.uwm.edu/etd/1809 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FACETS OF GRAFFITI ART AND STREET ART DOCUMENTATION ONLINE: A DOMAIN AND CONTENT ANALYSIS by Ann M. Graf A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Information Studies at The University of Wisconsin-Milwaukee May 2018 ABSTRACT FACETS OF GRAFFITI ART AND STREET ART DOCUMENTATION ONLINE: A DOMAIN AND CONTENT ANALYSIS by Ann M. Graf The University of Wisconsin-Milwaukee, 2018 Under the Supervision of Professor Richard P. Smiraglia In this dissertation research I have applied a mixed methods approach to analyze the documentation of street art and graffiti art in online collections. The data for this study comes from the organizational labels used on 241 websites that feature photographs of street art and graffiti art, as well as related textual information provided on these sites and interviews with thirteen of the curators of the sites. The goal of the research is to demonstrate the existence of a coherent domain of street art and graffiti art documentation that may in turn be used to inform the formal design of systems to record evidence of the art movement and the works. Open coding was applied to the organizational text used by the websites to reveal a set of four categories of descriptive facets. The categories are related to general aspects of the websites themselves, the supports upon which works are created or placed, the various types of works, and location information. There are several facets included within each of these four categories. When a website shared information about the site itself, most frequently on an about sub-page, this was analyzed for audience, explicit organization methods, motivations for creating the site, and art style vocabulary used. Audience and explicit organization methods were rarely shared. Motivations were coded as internal, external, or mixed with emphasis on ii internal or external. Art style vocabulary varies and is tied to motivations, but the most commonly named style is graffiti or a variant thereof. Sites that feature work from internally motivated sites feature the widest variety of art style terminology and tend to avoid use of graffiti and graffiti-related terms. All website curators that could be contacted were offered the opportunity to participate in an interview regarding website organization for graffiti art and street art. Thirteen interviews were conducted: one by phone, one by Skype, and eleven by email. The interview data reveals varying opinions on what terminologies or categories should be used to organize photographic collections of graffiti art and street art online, but there is general agreement that the name of the artist or crew (if known), the year of the work, and the location of the work are the most important facets. The curators demonstrate that the size of the collection, geographic focus, and scope of works featured will have an impact on how the site should be organized. The ontological formation of the domain of street art and graffiti art documentation is evidenced by the combined results of the website analyses and interviews. iii © Copyright by Ann M. Graf, 2018 All Rights Reserved iv To Bert Hartinger v TABLE OF CONTENTS ABSTRACT .........................................................................................................................................ii TABLE OF CONTENTS....................................................................................................................... vi LIST OF FIGURES ............................................................................................................................. xii LIST OF TABLES .............................................................................................................................. xiii ACKNOWLEDGEMENTS ................................................................................................................. xiv Chapter 1. Introduction .................................................................................................................. 1 1.0 Introduction ................................................................................................................. 1 1.1 Background - Knowledge Organization .......................................................................... 2 1.7.1 Graffiti and Graffiti Art ................................................................................................... 5 1.2 Background - Street art ................................................................................................. 6 1.3 Local Urban Environment as Contextual Organization – Place, Ownership, Surface ...... 10 1.7.3 Public Art ...................................................................................................................... 13 1.4 Organic Organization Practices: An Ontology of Street Art .......................................... 14 1.5 Social Organization and the Hierarchy of the Streets ................................................... 16 1.6 Social Semantics ......................................................................................................... 18 1.7 Definition of Terms Used in This Research................................................................... 19 1.7.1 Tagging .......................................................................................................................... 20 1.7.2 Discourse Community ................................................................................................... 20 1.7.3 Curator .......................................................................................................................... 21 1.7.4 Documenter .................................................................................................................. 21 1.7.5 User ............................................................................................................................... 21 1.7.6 Collection ...................................................................................................................... 22 1.7.7 Metadata ...................................................................................................................... 22 1.8 Summary and Conclusion ........................................................................................... 22 Chapter 2: Literature Review—The Research Problem ................................................................ 25 2.0 Introduction ............................................................................................................... 25 vi 2.1 KO Studies of Specific User Communities .................................................................... 26 2.2 Organization of Online Collections and Websites ........................................................ 28 2.3 Street Art Studies Useful for Description of Artworks .................................................. 31 2.4 Problems Specific to Street Art Documentation in Contrast to Traditional Art Documentation ................................................................................................................ 33 2.4.1 Ephemerality ................................................................................................................. 33 2.4.2 Little to No Institutional Support .................................................................................. 34 2.4.3 Context - From Onsite to Online .................................................................................. 36 2.5 Justification of the Use of the Term “Community” ...................................................... 41 2.6 The Proliferation of Media - Precursor to Online Collections ....................................... 42 2.7 Taxonomy of Terms .................................................................................................... 45 2.8 Summary .................................................................................................................... 48 Chapter 3: Methodology ............................................................................................................... 50 3.1 Research Questions .................................................................................................... 50 3.2 Methodological Paradigms: Domain Analysis and Content Analysis ............................. 51 3.2.1 Domain Analysis ........................................................................................................... 51 3.2.2 Content Analysis ........................................................................................................... 51 3.3 Quantitative Analysis of Website Capture Data ........................................................... 52 3.3.1 Selecting
Load more

Recommended publications
  • Education Kit Years 7-12 the Writing’S on the Wall - a Short History of Street Art
    Education Kit Years 7-12 The Writing’s on the Wall - A Short History of Street Art The word graffiti comes from the Italian language and means to inscribe. In European art graffiti dates back at least 17,000 years to wall paintings such as are found in the caves of Lascaux in Southern France. The paintings at Lascaux depict animals from the Paleolithic period that were of cultural importance to the people of that region. They are also believed to be spiritual in nature relating to visions experienced during ritualistic trance-dancing. Australian indigenous rock art dates back even further to about 65,000 years and like the paintings at Lascaux, Australian indigenous rock art is spiritual in nature and relates to ceremonies and the Dreaming. The history of contemporary graffiti/street art dates back about 40 years to the 1960s but it also depicts images of cultural importance to people of a particular region, the inner city, and their rituals and lifestyles. The 1960s were a time of enormous social unrest with authority challenged at every opportunity. It is no wonder graffiti, with its strong social and political agendas, hit the streets, walls, pavements, overpasses and subways of the world with such passion. The city of New York in the 1970s was awash with graffiti. It seemed to cover every surface. When travelling the subway it was often impossible to see out of the carriage for the graffiti. Lascaux, Southern France wall painting Ancient Kimberley rock art Graffiti on New York City train 1 The Writing’s on the Wall - A Short History of Street Art In 1980 an important event happened.
    [Show full text]
  • Chart Action News
    Thursday, April 21, 2016 NEWS CHART ACTION No. 1 Challenge Coin—Cole Swindell New On The Chart —Debuting This Week ! Artist/song/label—chart pos. ! Zac Brown Band/Castaway/Dot Records— 53 ! Aaron Watson/Bluebonnets/Thirty Tigers— 60 ! Brett Young/Sleep Without You/Republic Nashville— 74 ! !Keith Walker/Friends With Boats— 76 ! Greatest Spin Increase ! Artist/song/label—Spin Increase ! Carrie Underwood/Church Bells/Arista Nashville— 481 ! Zac Brown Band/Castaway/Dot Records— 429 ! Keith Urban/Wasted Time/Capitol Nashville—385 ! Jason Aldean/Lights Come On/Broken Bow— 338 ! !Aaron Watson/Bluebonnets/Thirty Tigers— 309 MusicRow’s Troy Stephenson (L) with Cole Swindell (R) Most Added Cole Swindell is not only an accomplished artist and songwriter of his Artist/song/label—No. of Adds own hits, he’s had a hand in writing for others as well. This week, Cole Zac Brown Band/Castaway/Dot Records—28 received his Challenge Coins for co-writing Luke Bryan’s “Roller Coaster” Aaron Watson/Bluebonnets/Thirty Tigers—26 and Florida Georgia Line and Bryan’s “This Is How We Roll.” To see the Tucker Beathard/Rock On/Dot Records— 18 full list of Challenge Coin recipients, click here. Cole’s new album, You Rachael Turner/Aftershock/Rustic Records—14 Should Be here, will be available on May 6. Read more about it here. Lonestar/Never Enders/Shanachie Entertainment—13 ! Carrie Underwood/Church Bells/Arista Nashville—13 Dan + Shay To Release Sophomore Album In June Charles Kelley/Lonely Girl/Capitol Nashville—13 ! Craig Campbell/Outskirts Of Heaven/Red Bow Records—10 Duo Dan + Shay will released their sophomore album, Obsessed, on June 3 via Warner Bros.
    [Show full text]
  • 3-8 Lower Polk CBD-Fern Street Mural Project-2021.Pdf
    Mural Design Information Form LEAD ARTIST ADDRESS CITY STATE ZIP CODE EMAIL PHONE PROJECT COORDINATOR ADDRESS CITY STATE ZIP CODE EMAIL PHONE SPONSORING ORGANIZATION ADDRESS CITY STATE ZIP CODE EMAIL PHONE FUNDING SOURCES PROPOSED SITE (address, cross street ) DISTRICT District numbers can be found at http://sfgov.org/elections/district-citywide-maps MURAL TITLE DIMENSIONS ESTIMATED SCHEDULE (start and completion dates) 1. Proposal (describe proposed design, site and theme. Attach a separate document if needed). 2. Materials and processes to be used for wall preparation, mural creation and anti-graffiti treatment. 3. List individuals and groups involved in the mural design, preparation and implementation. Attach the following documents to this form: 1. Lead artist's resume/qualifications and examples of previous work 2. Three (3) letters of community support 3. Letter or resolution approving proposal from city department or; 4. Letter of approval from private property owner along with Property Owner Authorization Form 5. Signed Artist Waiver of Property Rights for artwork placed upon city property or; 6. Signed Artist Waiver of Proprietary Rights financed in whole or in part by city funds for artwork placed upon private property 7. Maintenance Plan (including parties responsible for maintenance) 8. Color image of design 9. One image of the proposed site and indicate mural dimensions Elaine Chu [email protected] 1639 MacArthur Blvd, Oakland CA 94602 (267) 975-4631 www.twinwallsmuralcompany.com Education Maryland Institute College of
    [Show full text]
  • This Is Modern Art 2014/15 Season Lisa Portes Lisa
    SAVERIO TRUGLIA PHOTOGRAPHY BY PHOTOGRAPHY BY 2014/15 SEASON STUDY GUIDE THIS IS MODERN ART (BASED ON TRUE EVENTS) WRITTEN BY IDRIS GOODWIN AND KEVIN COVAL DIRECTED BY LISA PORTES FEBRUARY 25 – MARCH 14, 2015 INDEX: 2 WELCOME LETTER 4 PLAY SYNOPSIS 6 COVERAGE OF INCIDENT AT ART INSTITUTE: MODERN ART. MADE YOU LOOK. 7 CHARACTER DESCRIPTIONS 8 PROFILE OF A GRAFFITI WRITER: MIGUEL ‘KANE ONE’ AGUILAR 12 WRITING ON THE WALL: GRAFFITI GIVES A VOICE TO THE VOICELESS with classroom activity 16 BRINGING CHICAGO’S URBAN LANDSCAPE TO THE STEPPENWOLF STAGE: A CONVERSATION WITH PLAYWRIGHT DEAR TEACHERS: IDRIS GOODWIN 18 THE EVOLUTION OF GRAFFITI IN THE UNITED STATES THANK YOU FOR JOINING STEPPENWOLF FOR YOUNG ADULTS FOR OUR SECOND 20 COMMON CORE STATE STANDARDS SHOW OF 2014/15 SEASON: CREATE A MOVEMENT: THE ART OF A REVOLUTION. 21 ADDITIONAL RESOURCES 22 NEXT UP: PROJECT COMPASS In This Is Modern Art, we witness a crew of graffiti writers, Please see page 20 for a detailed outline of the standards Made U Look (MUL), wrestling with the best way to make met in this guide. If you need further information about 23 ACKNOWLEDGEMENTS people take notice of the art they are creating. They choose the way our work aligns with the standards, please let to bomb the outside of the Art Institute to show theirs is us know. a legitimate, worthy and complex art form born from a rich legacy, that their graffiti is modern art. As the character of As always, we look forward to continuing the conversations Seven tells us, ‘This is a chance to show people that there fostered on stage in your classrooms, through this guide are real artists in this city.
    [Show full text]
  • Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................
    [Show full text]
  • Copyright by Cary Cordova 2005
    Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez.
    [Show full text]
  • The Role of Political Art in the 2011 Egyptian Revolution
    Resistance Graffiti: The Role of Political Art in the 2011 Egyptian Revolution Hayley Tubbs Submitted to the Department of Political Science Haverford College In partial fulfillment of requirements for the degree of Bachelor of Arts Professor Susanna Wing, Ph.D., Advisor 1 Acknowledgments I would like to extend my heartfelt gratitude to Susanna Wing for being a constant source of encouragement, support, and positivity. Thank you for pushing me to write about a topic that simultaneously scared and excited me. I could not have done this thesis without you. Your advice, patience, and guidance during the past four years have been immeasurable, and I cannot adequately express how much I appreciate that. Thank you, Taieb Belghazi, for first introducing me to the importance of art in the Arab Spring. This project only came about because you encouraged and inspired me to write about political art in Morocco two years ago. Your courses had great influence over what I am most passionate about today. Shukran bzaf. Thank you to my family, especially my mom, for always supporting me and my academic endeavors. I am forever grateful for your laughter, love, and commitment to keeping me humble. 2 Table of Contents Acknowledgements……………………………………………………....…………. 1 Introduction…………………………………………………………………….……..3 The Egyptian Revolution……………………………………………………....6 Limited Spaces for Political Discourse………………………………………...9 Political Art………………………………………………………………..…..10 Political Art in Action……………………………………………………..…..13 Graffiti………………………………………………………………………....14 Conclusion…………………………………………………………………......19
    [Show full text]
  • Toronto! Welcome to the 118Th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies
    TORONTO, ONTARIO JANUARY 5–8, 2017 Welcome to Toronto! Welcome to the 118th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies. This year we return to Toronto, one of North America’s most vibrant and cosmopolitan cities. Our sessions will take place at the Sheraton Centre Toronto Hotel in the heart of the city, near its famed museums and other cultural organizations. Close by, you will find numerous restaurants representing the diverse cuisines of the citizens of this great metropolis. We are delighted to take this opportunity of celebrating the cultural heritage of Canada. The academic program is rich in sessions that explore advances in archaeology in Europe, the Table of Contents Mediterranean, Western Asia, and beyond. Among the highlights are thematic sessions and workshops on archaeological method and theory, museology, and also professional career General Information .........3 challenges. I thank Ellen Perry, Chair, and all the members of the Program for the Annual Meeting Program-at-a-Glance .....4-7 Committee for putting together such an excellent program. I also want to commend and thank our friends in Toronto who have worked so hard to make this meeting a success, including Vice Present Exhibitors .......................8-9 Margaret Morden, Professor Michael Chazan, Professor Catherine Sutton, and Ms. Adele Keyes. Thursday, January 5 The Opening Night Public Lecture will be delivered by Dr. James P. Delgado, one of the world’s Day-at-a-Glance ..........10 most distinguished maritime archaeologists. Among other important responsibilities, Dr. Delgado was Executive Director of the Vancouver Maritime Museum, Canada, for 15 years.
    [Show full text]
  • A Critical Analysis of 34Th Street Murals, Gainesville, Florida
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Critical Analysis of the 34th Street Wall, Gainesville, Florida Lilly Katherine Lane Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE A CRITICAL ANALYSIS OF THE 34TH STREET WALL, GAINESVILLE, FLORIDA By LILLY KATHERINE LANE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2005 Copyright © 2005 All Rights Reserved The members of the Committee approve the dissertation of Lilly Katherine Lane defended on July 11, 2005 ________________________________ Tom L. Anderson Professor Directing Dissertation ________________________________ Gary W. Peterson Outside Committee Member _______________________________ Dave Gussak Committee Member ________________________________ Penelope Orr Committee Member Approved: ____________________________________ Marcia Rosal Chairperson, Department of Art Education ___________________________________ Sally McRorie Dean, Department of Art Education The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ..…………........................................................................................................ v List of Figures ..................................................................
    [Show full text]
  • June 18, 2018, Issue 606
    June 18, 2018, Issue 606 Inside View: CMT Music Awards Two weeks ago, CMT GM Frank Tanki noted the network’s larger CMA Fest footprint (CAW 6/4) – one that CMT Music Awards viewers may have noticed extended to the show itself. With multiple offsite performances and a venue home unaffected (sadly) by the hockey playoffs, this year’s event focused on new music and earned stable audience numbers (CAT 6/7). CMT VP/Music Events Margaret Comeaux walked Country Aircheck through putting the show together. CA: What was the adjustment, if any, to doing the first CMTMA’s since the departure of longtime network presi- dent Brian Philips? MC: Obviously he’d been here quite a few years, and under his leadership or Frank Tanki’s, our team does what it does. We rally, do our part and just come together to get the job done. When did the planning process for this show start and how did it evolve? Alright, Alright, Alright: Reviver’s David Lee Murphy and his Things always start for the next show the label team celebrate his No. 1 single “Everything’s Gonna moment we’re done with the current one. Cre- Be Alright,” his first since 1995, at the Columbus, OH stop of ativity tends to spark more creativity, so when the Trip Around The Sun Tour Saturday (6/16). Pictured (back, you’re in that mode you’re already thinking l-r) are Gator Michaels, Bob Reeves, Murphy, David Ross, Ben about new things you can do. But what drives Bieri and Dave Collins; (front, l-r) Paul Williams, Rick Hughes, it every year is the music.
    [Show full text]
  • Download The
    S PRING 2 013 BEAUTY OR BLIGHT? Concordia experts analyze graffiti and street art UNIVERSITY MAGAZINE CELTIC CANADIANS > EDUCATING EDUCATORS > CONSIDERING QUEER FILM Discover why over 375,000 graduates enjoy greater savings Join the growing number of graduates who enjoy greater savings from TD Insurance on home and auto coverage. Most insurance companies offer discounts for combining home and auto policies, or your good driving record. What you may not know is that we offer these savings too, plus we offer preferred rates to graduates and students of Concordia University. You’ll also receive our highly personalized service and great protection that suits your needs. Find out how much you could save. Request a quote today 1-888-589-5656 Monday to Friday: 8 a.m. to 8 p.m. Saturday: 9 a.m. to 4 p.m. melochemonnex.com/concordia Insurance program sponsored by the The TD Insurance Meloche Monnex home and auto insurance program is underwritten by SECURITY NATIONAL INSURANCE COMPANY. The program is distributed by Meloche Monnex Insurance and Financial Services Inc. in Quebec and by Meloche Monnex Financial Services Inc. in the rest of Canada. Due to provincial legislation, our auto insurance program is not offered in British Columbia, Manitoba or Saskatchewan. *No purchase required. Contest organized jointly with Primmum Insurance Company and open to members, employees and other eligible persons belonging to employer, professional and alumni groups which have an agreement with and are entitled to group rates from the organizers. Contest ends on October 31, 2013. Draw on November 22, 2013. One (1) prize to be won.
    [Show full text]
  • WOMEN'sspring 2016
    WOMEN’S Spring 2016 RUGGED HEART CONTENTS 05 OUTERWEAR 13 TOPS 21 BOTTOMS 27 ACCESSORIES Style Number Reference Style # Page # Outerwear WJ130 9 Sandstone Active Jac WJ141 10 Sandstone Sierra Jacket WV001 11 Sandstone Mock Neck Vest 100657 11 Sandstone Berkley Jacket 100815 11 Weathered Duck Wildwood Jacket 101046 12 Zeeland Sandstone Bib Overall 101105 8 Force Equator Jacket New Color 101111 7 Mountrail Jacket New Color 101216 10 Camo Active Jac 101409 7 Cascade Jacket New Color 101586 7 Rockford Windbreaker New Color 101732 10 Sandstone Active Jac / Camo Lined 101983 8 El Paso Utility Vest New 101984 9 El Paso Utility Vest / Camo New 101988 8 El Paso Utility Jacket New 102037 9 Brewster Denim Jacket New Style # Page # Tops 100336 15 Calumet V-Neck T-Shirt New Color 100338 15 Calumet Long-Sleeve Crewneck T-Shirt New Color 100434 14 Force Performance T-Shirt New Color 100438 14 Force Performance Tank New Color 100440 15 Force Performance Quarter-Zip Shirt New Color 100704 18 Clarksburg Zip-Front Sweatshirt New Color 100705 19 Clarksburg Quarter-Zip Sweatshirt New Color 100706 19 Dunlow Sweatshirt 101424 18 Hayward Zip-Front Hoodie New Color 101433 18 Clarksburg Camo Zip-Front Sweatshirt Page 2 www.carhartt.com Carhartt Customer Service 1-800-358-3825 Style Number Reference Style # Page # Tops (Continued) 101539 17 Coleharbor Hoodie New Color 102013 16 Signature T-Shirt New 102036 16 Script Logo T-Shirt New 102058 16 Reagan Henley New 102065 17 Coleharbor Hoodie/Printed New 102066 14 Force Performance T-Shirt / Striped New 102069 19 Huron
    [Show full text]