FREE GRAFFITI AND STREET ART PDF Anna Waclawek | 208 pages | 30 Dec 2011 | Thames & Hudson Ltd | 9780500204078 | English | London, United Kingdom Graffiti vs. Street Art Make The GraffitiStreet newsletter your first port of call, and leave the rest to us. As well as showcasing works from established artists we will be continuously scouring the globe to discover and bring you the freshest upcoming artist talent. Around the clock, GraffitiStreet's dedicated team of art lovers are here to bring you the best and latest street art in the world! So, what are you waiting for? Explore the world of street art! The son of Entitled after the quality of Graffiti and Street Art strong, much needed in the A new mural by the elusive Banksy has been painted on Graffiti and Street Art side of a hair and beauty salon on the corner of Rothesay Avenue in Nottingham. 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Street and Graffiti Art Movement Overview | TheArtStory Graffiti, defined simply as writing, drawing, or painting Graffiti and Street Art walls or surfaces of a structure, dates back to prehistoric and ancient times, as evidenced by the Lascaux cave paintings in France and other historic findings Graffiti and Street Art the world. Scholars believe that the images of hunting scenes found at these sites were either meant to commemorate past hunting victories, or were used as part of rituals intended to increase hunters' success. During World War II, it became popular for soldiers to write the phrase "Kilroy was here," along with a simple sketch of a bald figure with a large nose peeking over a ledge, on surfaces along their route. The motivation behind this simple early graffiti Graffiti and Street Art to create a motif of connection for these soldiers during their difficult times, cementing their unique brotherhood amongst foreign land and to make themselves "seen. Contemporary or "hip-hop" graffiti dates to the late s, generally said to have arisen from the Black and Latino neighborhoods of New York City alongside hip-hop music and street subcultures, and catalyzed by the invention of the aerosol spray can. Early graffiti artists were commonly called "writers" or "taggers" individuals who write simple "tags," or their stylized signatures, with the goal of tagging as many locations as possible. Indeed, the fundamental Graffiti and Street Art principle of graffiti practice was Graffiti and Street Art intention to "get up," to have one's work seen by as many people as possible, in as many places as possible. The exact geographical location of the first "tagger" is difficult to pinpoint. Some sources identify New York specifically taggers Julio and Taki of the Washington Heights areaand others identify Philadelphia with tagger Corn Bread Graffiti and Street Art the point of origin. Yet, it goes more or less undisputed that New York "is where graffiti culture blossomed, matured, and most clearly distinguished itself from all prior forms of graffiti," as Eric Felisbret, former graffiti artist and lecturer, explains. Soon after graffiti began appearing on city surfaces, subway cars and trains became major targets for New York City's early graffiti writers and taggers, as these vehicles traveled great distances, allowing the writer's name to be seen by a wider audience. The subway rapidly became the most popular place to write, with many graffiti artists looking down upon those who wrote on walls. Sociologist Richard Lachmann notes how the added element of movement made graffiti a uniquely dynamic art form. He writes, "Much of the best graffiti was meant to be appreciated in motion, as it passed through dark and dingy stations or on Graffiti and Street Art tracks. Photos and graffiti canvases cannot convey the energy and aura of giant artwork in Graffiti and Street Art. Graffiti on subway cars began as crude, simple tags, but as tagging became increasingly popular, writers had to find new ways to make their names stand out. Over the next few years, new calligraphic styles were developed and tags turned into large, colorful, elaborate pieces, aided by the realization that different spray can nozzles also referred to as "caps" from other household aerosol products like oven cleaner could be used on spray paint cans to create varying effects and line widths. It did not take long for the crude tags to grow in size, and to develop into artistic, colorful pieces that took up the length of entire subway cars. By the s, the city of New York viewed graffiti's inherent vandalism as a major concern, and a massive amount of resources were poured into the graffiti "problem. The Metropolitan Transit Authority MTA received a significant increase in their budget inallowing them to erect more sophisticated fences Graffiti and Street Art to better maintain the train yards and lay-ups that were popular targets for writers due to the possibility for hitting several cars at once. However, writers saw these measures as a mere challenge, and worked even harder to hit their targets, while also becoming increasingly territorial and aggressive toward other writers and "crews" groups of writers. Inthe MTA launched its Clean Car Program, which involved a five-year plan to completely eliminate graffiti on subway cars, operating on the principle that a graffiti-covered subway car could not be put into service until all the graffiti on it had been cleaned off. This program was implemented one subway line at a time, gradually pushing writers outward, and by many of the city's lines were completely clear of graffiti. Lieutenant Steve Mona recalls one day when the ACC crew hit cars in a yard at Graffiti and Street Art Island, assuming that the MTA wouldn't shut down service and that the graffitied trains would run. Yet the MTA Graffiti and Street Art to not provide service, greatly inconveniencing citizens who had to wait over an hour for a train that morning. That was the day that the MTA's dedication to the eradication of graffiti became apparent. However graffiti was anything but eradicated. In the past few decades, this practice has spread around the world, often maintaining elements of the American wildstyle, like interlocking letterforms and bold colors, yet also adopting local flare, such as manga-inspired Street Art in Japan. Graffiti and Street Art is important to note that contemporary graffiti has developed completely apart from traditional, institutionalized art forms. Art critic and curator Johannes Stahl writes that, "We have long since got accustomed to Graffiti and Street Art art history as a succession of epochs [ Modern graffiti did not begin as an art form at all, but rather, as a form of text-based urban communication that developed its own networks. As Lachmann notes, rather than submitting to the criteria of valuation upheld by the institutionalized art world, early graffiti writers developed an entirely new and separate art world, based on their own "qualitative conception of style" and the particular "aesthetic standards" developed within the community for judging writers' content and technique. During the late s and early s, many graffiti writers began to shift away from text-based works to include imagery. Around the same time, many artists also began experimenting with different techniques and materials, the most popular being stencils and wheat paste posters. Since the turn of the millennium, this proliferation has continued, with Graffiti and Street Art using all sorts of materials to complete illegal works in pubic spaces. The myriad approaches have come to be housed under the label of "Street Art" sometimes also referred to as "Urban Art"which has expanded its purview beyond graffiti to include these other techniques and styles. The term "graffiti" comes from the Greek "graphein," meaning "to scratch, draw, or write," and thus a broad definition Graffiti and Street Art the term includes all forms of inscriptions on walls. More specifically, however, the modern, or "hip-hop" graffiti, that has pervaded city spaces since the s and s involves the use of spray paint or paint markers.