102 Works

Why can’t our wall paintings last forever?

Alice Nogueira Alves
The concept of ephemerality has been used in the last decades as the opposite of memory preservation. In this article, I seek to understand the valorization of street art as cultural heritage, as well as the strategies that have been adopted for its preservation in a non-institutional context.

Walk the Line project in Genoa:

Gabriele Boero
The Walk the Line Street Art project, organized in the north-western Italian city of Genoa, starting from summer 2016 has brought a new face to the skyway of the city, mostly hated by both residents and tourists but strictly necessary for the city’s fluid control of the traffic flow. Working on the surface of the pillars of the skyway, the artists called by the curators have been participating in a project that not only wants...

Routledge Handbook of Graffiti and Street Art – Book Review

Pedro Soares Neves
This review is of the Routledge Handbook of Graffiti and Street Art, included in the Routledge International Handbooks collection. Published in 2016, this book will be of great interest to Graffiti and Street Art scholars. This publication is of significant importance in a context were there is so much to share and understand about the phenomena of graffiti and street art. The shared common goals of the Routledge Handbook of Graffiti and Street Art with...

Street Art and related terms

Ulrich Blanché
This paper gives a short introduction and discussion of the term Street Art and related terms like Graffiti and Urban Art. A major part discusses my definition of Street Art and other definitions and the differences and commonalities of these terms. Street Art consists of self-authorized pictures, characters, and forms created in or applied to surfaces in the urban space that intentionally seek communication with a larger circle of people. Street Art is done in...

The evolution of Halls of Fame in graffiti writing and my run to a masterpiece

Hilmer, Christopher D,
Cultural and urban geographical research related to graffiti and street art poses interdisciplinary questions and employs multi-methodical approaches. In recent years, research methods in the field of ethnography have been receiving more and more attention in the German-speaking community of human geography. With this in mind, the following working paper presents a methodological experiment for examining the everyday urban practice of graffiti writing and its spatial relevance. “My run to a masterpiece” presents the current...

Resilience and adaptability through institutionalization in graffiti art:

Tania Di Brita
The subject of this paper is the institutionalization of graffiti art. It examines the contextual and formal aesthetic shifts of graffiti within the urban space to graffiti art exhibited in art institutions. The goal of this paper is to demonstrate the adaptability and resilience of graffiti art within an institutional framework conducted by formal aesthetic shifts within the art works. Graffiti is always in the verge of the institution and seems challenging to integrate into...

Street Art & Urban Creativity

Catarina Vaz Pinto
In recent decades, Urban Art has become one inescapable reality in the public space of cities throughout the world. It is such a significant trend that we can now talk about it as one of the main artistic movements of the 21st century, not only because of its geographical profusion, but also because of the diversity of artists, techniques, medium, discourses and languages that it embraces. It is a phenomenon that is as global as...

Approaching the White Cube or Approximating the Streets

Theodore Kuttner
The work of OSGEMEOS is used to shed light on the issues arising from the intersection between the realms of street art and high art. The paradox of displacing street art into a gallery or museum setting is discussed, with a particular focus on the transitional period for OSGEMEOS from 2005 to 2010, during which they established their position as artists spanning the gap between the street art scene and the institutional art world. In...

The myth of the “street artist”:

Peter Bengtsen
Among researchers within the field of street art studies, a discussion crops up repeatedly, both in publications and in conversations at conferences. It is usually set off by someone asking one or more interrelated questions, including the following: How do we define street art? Is it still street art if it is shown in a gallery or museum? And what, precisely, makes someone a street artist?

Graffiti, Street Art, and Culture in the era of the Global City

Luis Menor
What is the role of art in the reinforcement or rejection of current models of public space management in our cities? To answer this question, we must attend to the ties of all artwork with public institutions, and whether or not it questions the dominant order. In this article, I will focus on the works of the Ana Botella Crew, a group of artists from Madrid, as an example of “artivism” that challenges the City...

Creative city practices in the Lusophone space

Kata Murányi
The purpose of this paper is to discuss the creative city, and thus urban creativity in the Portuguese-speaking world, through eight in-depth interviews with leading figures of creative city practices in São Paulo and Lisbon. Both cities share a common language, similarities in history and culture, and in recent years they have been facing serious economic, political and social problems. Over the last few decades, various initiatives have been created with aims of involving and...

Passing Through Walls:

Chris Parkinson
his paper outlines an assemblage of ideas developing a broader understanding of graffiti from East Timor. Addressing concerns of the center and the periphery, theory and practice as encountered in the study of graffiti in East Timor, the paper draws from James C Scott’s concept of hidden transcripts to illustrate the nuanced notions of identity and resistance in the country’s graffiti and the unique interface of its existence located across both the public and private...

The hands behind the cans

Marcus Willcocks, Adam Thorpe, Gamze Toylan, Gemma Galdon Clavell & Liliana Arroyo Moliner
Nowadays, walking around any city is a guarantee of seeing graffiti, while the public transportation are still a good canvas for writers. It is a well-established social phenomenon and has catch the attention of ethnographers, academic artists and other scholars that have entered the worlds of graffiti writers to explain their origins, trajectories, motivations, their identity construction, their conception of the self and their role and relation with society at large. However, still there is...

Made Corrections:

Oliver Walker & Susan Hansen
This paper describes a prison-based street art intervention that took place at a Lithuanian institution for young offenders. During the first stage of the project, existing historical graffiti and murals on the prison walls were uncovered and documented. The second stage of the project involved working with the young offenders to co-produce a series of collaborative large-scale works within the prison walls, some of which incorporated elements of these earlier murals as a form of...

Marketing with graffiti:

Malcolm Jacobson
Graffiti is extensively used within marketing. Products such as cars, sodas, and clothes are fueled with the symbolic capital of illegal graffiti. Graffiti artists transform settings such as hotels, bars and boutiques into daring experiences. Building on ethnographic observations and interviews in Sweden, this article shows that graffiti artists and commercial companies cooperate in maintaining a narrative where graffiti is presented as essentially illegal. This narrative enables graffiti writers to exchange symbolic capital for economic...

Towards the scholarly documentation of street art

Martin De La Iglesia
It is generally acknowledged that street art is a particularly ephemeral art. For instance, graffiti are usually actively removed, thus existing for sometimes only a few days. Otherwise, they deteriorate gradually due to the effects of the weather, or are eventually ‘crossed’ by other graffiti, so that they are visible for a few years at best. Therefore, the documentation of street art should be of paramount importance to researchers. In fact, a lot of photography...

Street Art: Visual scenes and the digital circulation of images

Hela Zahar & Jonathan Roberge
Street art is introduced as a global visual scene that is local, trans-local, and digital, as well as a practice that often expresses various tensions of the visibility regimes in which it exists. This study specifically focuses on Arab-occidental expressions of street art in three locations: Paris (France), Djerba (Tunisia), and Montreal (Canada). The visibility regimes of these visual scenes are physical (Arabic and Occidental), but significantly they are also digital (found on social media,...

In search of a commons of centers

Marcus Willcocks & Gamze Toylan
Photographer Martha Cooper points out that artists and graffitists define street art as pictures and graffiti as words (Cooper, 2016). Meanwhile, municipal authorities, property and transport managers may tell us that street art is framed by what is legal and graffiti by what is illegal. This is not an article about art versus crime, rather it is about disparate and commonly accessible centers for discussing and understanding value, in ways that look toward easier dialogue...


Nicola Schiavottiello & Zozaya Montes
The International Heritage Film Festival “Heritales” took place in the city of Évora, during the 30th anniversary of its declaration of World Heritage site by UNESCO. It was developed especially for this symbolic event, during the months of its commemoration: between September and October 2016. The festival was born with the purpose of disseminating narratives of filmic, digital and graphic nature that deal with Cultural Heritage. Its objectives were to project cinema in public spaces,...

Public space, urban art and social inclusion:

Lucas Matray
The association “La rue est vers l’art” – literally translated as “The street leads to the art” – is a group created in November 2015 by six young people between 22 and 27 years old. All of us are studying cultural management in a joint master’s degree at Sciences Po and at the Institute of Public Management in Aix-en-Provence. We came from different academic backgrounds and from three different countries, but we were brought together...

The wall is dead, short live graffiti and street art!

Sofia Pinto
This article addresses some of the challenges faced by heritagization related to graffiti and street art, namely the changes in context and temporality that this process entails. In order to discuss these issues, I will frame the Berlin Wall as a paradigmatic case that presents a trajectory in time: I will follow the transition of the Wall from a deadly frontier to an obsolete structure and, finally, to a historic monument. I will argue that...

Historical dissemination of graffiti art

David Novak
Historical analysis is performed on the five decades old urban phenomenon represented in “graffiti art”. The article first traces the dissemination of graffiti art from New York City to the Western world in the 1980s. Individual dissemination channels represented in gallery exhibitions, cultural media and interpersonal contact are highlighted. Further, the dissemination of graffiti art in the 1990s to Central and Eastern Europe is demonstrated on the case of Czechoslovakia. Finally, the article summarises information...

Derwanz, H., 2013. Street Artists.

Katja Glaser
In her book “Street Artists. Careers on the Art and Design Markets” Heike Derwanz traces back the careers of three different street artists: Banksy, Shepard Fairey and No Logo/Jens Besser. She addresses questions of self-professionalization and conceptualizes street art as both an art historical and social phenomenon. She asks: How do careers of street artists evolve and under which circumstances are they successful? By outlining a transnational network of the so called ‘street art world’...

Walls of Freedom:

Basma Hamdy
The Egyptian revolution of 2011 produced a massive transformation in the perception of urban space and the interrelated dynamic of people, their bodies, and the language within that space. Cultural expressions such as caricature galleries, makeshift exhibitions, chants, poetry readings, and memorial spaces defined the square as a place where activism and art intersected weaving a lyrical tapestry of the revolution. The most prominent of these expressions was the street art of the revolution where...

No Place for Urban Art

Christos Voutichtis & Jonas Aaron Rehm
The following is an attempt to situate Urban Art within the philosophical tradition with and against Plato’s exclusion of the mimetic artist from the well-ordered city-state. It takes into account modern as well as postmodern literature on the concept of art and the city in order to rehabilitate a place for art within the city limits without sacrificing its potential to call into question any clear-cut limit the philosophical tradition has attempted to draw around...

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  • 2018
  • 2019

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