Monday, 16 April 2007
Sunday, 15 April 2007
Abstract
Abstract
In recent years, there has been an increasing interest in a specific art form outside of formal art discipline i.e. street art. The audiences that reconsider surroundings of our daily life via graffiti movement appreciated the various messages from graffiti. The concept evolved from vandalism to avant-garde, integral elements from spray cans and concrete walls to canvases and pieces of work displayed in galleries. An old technology was applied to the execution of street art, which is stencil graffito; it has taken graffiti into a new expressional status.
The combinations of visual language and communication behind surfaces made both stencil graffiti artists such as Blek le Rat, Shepard Fairey and Banksy who established careers in the art world, and also gained itself a worldwide fame. In terms of technics and images. The influence of stencil graffiti is becoming increasingly difficult to ignore in the design field. However, these rapid changes are causing a major discussion, because when stencil graffiti separated itself from the original conception it caused the popular uprising it led it to fail.
In recent years, there has been an increasing interest in a specific art form outside of formal art discipline i.e. street art. The audiences that reconsider surroundings of our daily life via graffiti movement appreciated the various messages from graffiti. The concept evolved from vandalism to avant-garde, integral elements from spray cans and concrete walls to canvases and pieces of work displayed in galleries. An old technology was applied to the execution of street art, which is stencil graffito; it has taken graffiti into a new expressional status.
The combinations of visual language and communication behind surfaces made both stencil graffiti artists such as Blek le Rat, Shepard Fairey and Banksy who established careers in the art world, and also gained itself a worldwide fame. In terms of technics and images. The influence of stencil graffiti is becoming increasingly difficult to ignore in the design field. However, these rapid changes are causing a major discussion, because when stencil graffiti separated itself from the original conception it caused the popular uprising it led it to fail.
Table of Contents
Table of Contents
The Introduction
Chapter I The Origin of Stencil Graffiti
Murals
Graffiti within street art
Stencil graffiti
Chapter II Context
Street art
From street to gallery
Chapter III Intentions
Placement
Purposes: sociopolitical issues
Purposes: personality development
Chapter IV Forms
Typography
Iconography
Photograffiti
The Conclusion
The Images
The Bibliography
Books
Online images
Film
Newspaper Articles
World Wide Web Documents
The Introduction
Chapter I The Origin of Stencil Graffiti
Murals
Graffiti within street art
Stencil graffiti
Chapter II Context
Street art
From street to gallery
Chapter III Intentions
Placement
Purposes: sociopolitical issues
Purposes: personality development
Chapter IV Forms
Typography
Iconography
Photograffiti
The Conclusion
The Images
The Bibliography
Books
Online images
Film
Newspaper Articles
World Wide Web Documents
The Introduction
The Introduction
Over the past twenty to thirty-five years, developments in the field of stencil graffiti have led to a renewed interest in street art. (MacPhee, 2004) It is enjoyable to observe the evolution of human's behaviour via movements or revolutions. Somehow similar consequences can be found in different actions or movements, and various thoughts provoke a sequent result. The collective unconscious which was explored by the psychologist Carl Gustav Jung, indicated that 'there was a myth-creating level of mind, common to both psychotics and normals, and common also to people of different times and different cultures.' which is explained by Dr. Storr. (Storr, 1973 a p. 35)
This introduced the concept that the behaviour of human beings is not entirely personal; that a compelling progress follows after the unconsciousness, and then obtains an analogical result. The analysis can be proved giving influence in numerous spontaneous productions of mentality, e.g. myths, visions, religions or dreams, which act on physical reflexes. Those productions were common to different cultures and periods of history. (Storr, 1973 b) Therefore, an implication of this is the possibility that the collective unconscious can provide a common result in different cultural movements. Besides, in the processes of movements can be discovered a similarity which follows the human unconscious.
' Each generation attempts to resolve collectively experienced structural problems, and time has passed sufficiently that through mass media records, youth is able to respond to its own subcultural history ' indicated by Professor Michael Brake of Carleton University School of Social Work. (1985 p. 27) He also defined subculture as:
Subcultures are the meaning system and modes of expression developed by groups in particular parts of the social structure in the course of their collective attempts to come to terms with the contradictions of their shared social situation. More particularly subcultures represent the accumulated meanings and means of expression through which groups in subordinate structural positions have attempted to negotiate or oppose the dominant meaning system. They therefore provide a pool of available symbolic resources with particular individuals or groups can draw on in their attempt to make sense of their own specific situation and construct a viable identity. (Brake, 1985 p. 27)
One of the functional positions of graffiti within subculture can be seen as a rebellion against the control of the status quo, a counteraction to the hierarchical system from a particular section of society, especially the middle-class. One particular example is that graffiti of the punk movement which took place in the East Village in New York in late '80s, because most of the punk rockers were white and came from the middle-class. (Robinson, 1990) It had been discussed that in fact the main reward for graffiti activists is the derivation of a psychological or emotional way to satisfy the desire for expressing personal values through action. (Brake, 1985 b)
As a contemporary phenomenon within subcultures, the graffiti movement tends to revive its popularity and organic growth in several areas, such as Brazil where the graffiti movement, influenced by politics and music, divided into several forms and has become more mainstream since the mid-20th century. (Tristan Manco et al, 2005) The results of this research support the idea that there is a potentiality in each alternative culture to motivate itself by connections with the mainstream.
Aside from stencil technology, the phenomenon of a great impact is provided with graffiti movement, which is alternatively named as writing movement. 'Today the world of digital graphics and design cannot be imagined without the influences of the writing movement.' pronounced Ata Bozac (Toast. Atalier) in 2007, who is an online game designer and graffiti artist in Switzerland. The point that the progress of graffiti movement is continued and rebellious, because of 'Countless variations and combinations are now possible through the fundamental elements of design and graffiti that already exist.' supported by Atalier. (Schlee, 2005 p. 66)
This dissertation locates in the reformulation of a branch that has a specific format within graffiti, which is stencil graffiti, further to analyse the observation of how it transmits the position of notion from subculture to mainstream, and the contradiction of the outcome transgress its original conception. The aim of study is to evaluate and justify the explanation that there are several qualified elements of stencil graffiti that cause it easily been involved in mainstream. They can be divided into four chapters respectively, which are the origin of stencil graffiti, the context provides it transmits from different areas to popularity, the tendency of intentions and the influences of form changing by computer technology. Consequentially, the popularity of stencil graffiti is permeated by its essential elements.
Over the past twenty to thirty-five years, developments in the field of stencil graffiti have led to a renewed interest in street art. (MacPhee, 2004) It is enjoyable to observe the evolution of human's behaviour via movements or revolutions. Somehow similar consequences can be found in different actions or movements, and various thoughts provoke a sequent result. The collective unconscious which was explored by the psychologist Carl Gustav Jung, indicated that 'there was a myth-creating level of mind, common to both psychotics and normals, and common also to people of different times and different cultures.' which is explained by Dr. Storr. (Storr, 1973 a p. 35)
This introduced the concept that the behaviour of human beings is not entirely personal; that a compelling progress follows after the unconsciousness, and then obtains an analogical result. The analysis can be proved giving influence in numerous spontaneous productions of mentality, e.g. myths, visions, religions or dreams, which act on physical reflexes. Those productions were common to different cultures and periods of history. (Storr, 1973 b) Therefore, an implication of this is the possibility that the collective unconscious can provide a common result in different cultural movements. Besides, in the processes of movements can be discovered a similarity which follows the human unconscious.
' Each generation attempts to resolve collectively experienced structural problems, and time has passed sufficiently that through mass media records, youth is able to respond to its own subcultural history ' indicated by Professor Michael Brake of Carleton University School of Social Work. (1985 p. 27) He also defined subculture as:
Subcultures are the meaning system and modes of expression developed by groups in particular parts of the social structure in the course of their collective attempts to come to terms with the contradictions of their shared social situation. More particularly subcultures represent the accumulated meanings and means of expression through which groups in subordinate structural positions have attempted to negotiate or oppose the dominant meaning system. They therefore provide a pool of available symbolic resources with particular individuals or groups can draw on in their attempt to make sense of their own specific situation and construct a viable identity. (Brake, 1985 p. 27)
One of the functional positions of graffiti within subculture can be seen as a rebellion against the control of the status quo, a counteraction to the hierarchical system from a particular section of society, especially the middle-class. One particular example is that graffiti of the punk movement which took place in the East Village in New York in late '80s, because most of the punk rockers were white and came from the middle-class. (Robinson, 1990) It had been discussed that in fact the main reward for graffiti activists is the derivation of a psychological or emotional way to satisfy the desire for expressing personal values through action. (Brake, 1985 b)
As a contemporary phenomenon within subcultures, the graffiti movement tends to revive its popularity and organic growth in several areas, such as Brazil where the graffiti movement, influenced by politics and music, divided into several forms and has become more mainstream since the mid-20th century. (Tristan Manco et al, 2005) The results of this research support the idea that there is a potentiality in each alternative culture to motivate itself by connections with the mainstream.
Aside from stencil technology, the phenomenon of a great impact is provided with graffiti movement, which is alternatively named as writing movement. 'Today the world of digital graphics and design cannot be imagined without the influences of the writing movement.' pronounced Ata Bozac (Toast. Atalier) in 2007, who is an online game designer and graffiti artist in Switzerland. The point that the progress of graffiti movement is continued and rebellious, because of 'Countless variations and combinations are now possible through the fundamental elements of design and graffiti that already exist.' supported by Atalier. (Schlee, 2005 p. 66)
This dissertation locates in the reformulation of a branch that has a specific format within graffiti, which is stencil graffiti, further to analyse the observation of how it transmits the position of notion from subculture to mainstream, and the contradiction of the outcome transgress its original conception. The aim of study is to evaluate and justify the explanation that there are several qualified elements of stencil graffiti that cause it easily been involved in mainstream. They can be divided into four chapters respectively, which are the origin of stencil graffiti, the context provides it transmits from different areas to popularity, the tendency of intentions and the influences of form changing by computer technology. Consequentially, the popularity of stencil graffiti is permeated by its essential elements.
Chapter I The Origin of Stencil Graffiti
Chapter I The Origin of Stencil Graffiti
Murals
To begin a discussion of the origin of stencil graffiti, it is preferable to trace back murals, graffiti within street art, and stencil graffiti severally. Drawing on walls has always been a spontaneous behaviour, the meaning of leaving some evidences on the walls to prove the existence of human beings. Painting the interior or exterior of buildings is an ancient activity in human history that took place in numerous areas. (Cooper G., Sargent D., 1979)
According to the research of the importance of wall decoration, murals used for decorative semblance in public places or used as a landmark dates from prehistoric times. The example of murals provided as historical attestation is that of the Cave of Lascaux discovered on 12 September in 1940. It was an entrance into the past when humans were less developed socially and technologically, and lived in underground dwellings or caves. Little information about the prehistoric era exists excluding the findings of Cave of Lascaux. i1 (Aujoulat (N.) et al, 2007)
The iconography of the cave is three basic themes, which include animals, human descriptions and signs. The rudimentary figures and symbolic ideograms, 'a cave painting created a precedent for nature.' described by Richard (Freeman, 1966) 'If these marks are authentic, then they are the oldest graffito ever discovered in the British Isles.' However, the graffiti photographer David Robinson (1990) explained the discrimination between graffiti and murals on the observation. He found out that ' a further distinction between murals and graffiti is based on style and medium.' (Robinson, 1990 p. 6)
Graffiti within street art
GRAFFITO (graf, fīto) P1.-ti 1851 (It., f. graffito, a scratch).
A drawing or writing scratched on a wall or other surface, as at
Pompeii and Rome. Also, a method of decoration by
scratches through a superficial layer of plaster, glazing, etc.
on a ground of different colour; chiefly attrib., as in g.-pottery, etc.
Shorter Oxford English Dictionary
There is a broad range of graffiti within our surrounding. Examples of exterior painting of built surfaces such as the murals outside of temples in Asia, or the drawings that children scribble on school desks. Those experiences express the instinct of human beings to attempt to improve our environment by the deconstruction of drab and lifeless surfaces, the façades are camouflaged with diverse pictures and colours. (Cooper G., Sargent D., 1979) Besides, the action within graffito verifies the conception of defending the territory via various genus of graffiti styles, devised both from the physical region and mental states.
Moreover, a wide coverage contained graffiti represents a variety of formats, they are distinguished by styles or production methods. For example, the dimension of letters separates the difference between two types of signature writing Tags and Throw-up 2, which is the font size. In general, 'people who practices graffiti prefer to be called writer rather than artists.' (Michiko, 2002) That is basically because the original form of graffiti is to scrawl on surfaces. Writers take advantage of occasions offered by the urban landscape. By extension, the use of stencils renders spraying of symbols on the surfaces of dwellings much easier. (Mangler, 2006)
A stencil graffito requires few simple elements. In the opinion of Louis Bou, (2005) the three essential elements are idea, stencil and a bottle of spray can. Although it gives the impression of low technique to compare with an art form, but from different point, stencil is an effective and reproducible medium. Different from the traditional hand drawing, using stencil extends practitioners a convenient method to produce a graffito; furthermore, the speed of creating images is expedited by using stencil, which means the danger of arrest for artists working within time limits is diminished.
Stencil graffiti
According to The history of stencil graffiti, (Manco, 2002 p. 9) the origin of stencil graffiti is ordinarily related to the Latin countries of South Europe and South America, where it was a tool of the propaganda of II Duce painted by Italian fascists during the Second World War. In addition, the Basques in Spain and France, and the Mexicans of Mesoamerica had used it for protest purposes by 1970. Subsequently, the combination of protest art and Art Deco took place in Paris in the early 1980. The purpose was to create a form out of the ordinary.
One of the originators and innovators was Blek le Rat, who was influenced by the finely detailed wall paintings created by Ernest Pignon. Blek and his friend, Gérard first attempted to use spray cans as brushes and outside surrounding as canvases in Paris. Blek le Rat's high motivation and enthusiasm for stencil graffiti speedily attracted other practitioners who incorporated it into the graffiti movement across Europe and New York from 1980.
Before the expandsion of the graffiti movement, the style of graffiti was described that 'The modern concept of graffiti was conceived in New York and the term is still most strongly identified with "hip-hop" or "New York style" graffiti.' (Manco, 2002 p. 9) During the development of graffiti evolution, meanwhile, the art school, new wave and punk movement had arrived. The intergradation of conceptions influenced the graffiti movement, the images were not only limited to innovative letterforms and images, but also broadened in subject matter, especially in sociopolitical issues.
Although graffiti and stencil graffiti are consisted with individual distinctions, e.g. elements and production methods, they influence each other within the movement. As stated by Manco '… the pieces and messages of both genres develop and expand beyond recognizable boundaries, much of today's work is best described in more general term as street art.' (Manco, 2002 pp. 9-11)
Murals
To begin a discussion of the origin of stencil graffiti, it is preferable to trace back murals, graffiti within street art, and stencil graffiti severally. Drawing on walls has always been a spontaneous behaviour, the meaning of leaving some evidences on the walls to prove the existence of human beings. Painting the interior or exterior of buildings is an ancient activity in human history that took place in numerous areas. (Cooper G., Sargent D., 1979)
According to the research of the importance of wall decoration, murals used for decorative semblance in public places or used as a landmark dates from prehistoric times. The example of murals provided as historical attestation is that of the Cave of Lascaux discovered on 12 September in 1940. It was an entrance into the past when humans were less developed socially and technologically, and lived in underground dwellings or caves. Little information about the prehistoric era exists excluding the findings of Cave of Lascaux. i1 (Aujoulat (N.) et al, 2007)
The iconography of the cave is three basic themes, which include animals, human descriptions and signs. The rudimentary figures and symbolic ideograms, 'a cave painting created a precedent for nature.' described by Richard (Freeman, 1966) 'If these marks are authentic, then they are the oldest graffito ever discovered in the British Isles.' However, the graffiti photographer David Robinson (1990) explained the discrimination between graffiti and murals on the observation. He found out that ' a further distinction between murals and graffiti is based on style and medium.' (Robinson, 1990 p. 6)
Graffiti within street art
GRAFFITO (graf, fīto) P1.-ti 1851 (It., f. graffito, a scratch).
A drawing or writing scratched on a wall or other surface, as at
Pompeii and Rome. Also, a method of decoration by
scratches through a superficial layer of plaster, glazing, etc.
on a ground of different colour; chiefly attrib., as in g.-pottery, etc.
Shorter Oxford English Dictionary
There is a broad range of graffiti within our surrounding. Examples of exterior painting of built surfaces such as the murals outside of temples in Asia, or the drawings that children scribble on school desks. Those experiences express the instinct of human beings to attempt to improve our environment by the deconstruction of drab and lifeless surfaces, the façades are camouflaged with diverse pictures and colours. (Cooper G., Sargent D., 1979) Besides, the action within graffito verifies the conception of defending the territory via various genus of graffiti styles, devised both from the physical region and mental states.
Moreover, a wide coverage contained graffiti represents a variety of formats, they are distinguished by styles or production methods. For example, the dimension of letters separates the difference between two types of signature writing Tags and Throw-up 2, which is the font size. In general, 'people who practices graffiti prefer to be called writer rather than artists.' (Michiko, 2002) That is basically because the original form of graffiti is to scrawl on surfaces. Writers take advantage of occasions offered by the urban landscape. By extension, the use of stencils renders spraying of symbols on the surfaces of dwellings much easier. (Mangler, 2006)
A stencil graffito requires few simple elements. In the opinion of Louis Bou, (2005) the three essential elements are idea, stencil and a bottle of spray can. Although it gives the impression of low technique to compare with an art form, but from different point, stencil is an effective and reproducible medium. Different from the traditional hand drawing, using stencil extends practitioners a convenient method to produce a graffito; furthermore, the speed of creating images is expedited by using stencil, which means the danger of arrest for artists working within time limits is diminished.
Stencil graffiti
According to The history of stencil graffiti, (Manco, 2002 p. 9) the origin of stencil graffiti is ordinarily related to the Latin countries of South Europe and South America, where it was a tool of the propaganda of II Duce painted by Italian fascists during the Second World War. In addition, the Basques in Spain and France, and the Mexicans of Mesoamerica had used it for protest purposes by 1970. Subsequently, the combination of protest art and Art Deco took place in Paris in the early 1980. The purpose was to create a form out of the ordinary.
One of the originators and innovators was Blek le Rat, who was influenced by the finely detailed wall paintings created by Ernest Pignon. Blek and his friend, Gérard first attempted to use spray cans as brushes and outside surrounding as canvases in Paris. Blek le Rat's high motivation and enthusiasm for stencil graffiti speedily attracted other practitioners who incorporated it into the graffiti movement across Europe and New York from 1980.
Before the expandsion of the graffiti movement, the style of graffiti was described that 'The modern concept of graffiti was conceived in New York and the term is still most strongly identified with "hip-hop" or "New York style" graffiti.' (Manco, 2002 p. 9) During the development of graffiti evolution, meanwhile, the art school, new wave and punk movement had arrived. The intergradation of conceptions influenced the graffiti movement, the images were not only limited to innovative letterforms and images, but also broadened in subject matter, especially in sociopolitical issues.
Although graffiti and stencil graffiti are consisted with individual distinctions, e.g. elements and production methods, they influence each other within the movement. As stated by Manco '… the pieces and messages of both genres develop and expand beyond recognizable boundaries, much of today's work is best described in more general term as street art.' (Manco, 2002 pp. 9-11)
Chapter II Context
Chapter II Context
Street art
Robert A. white states that 'Every subculture should be provided with the means to project its identity into the public forum' (Hoover S., Lundby K., 1997) As this is related to the concerns of contributers equipped with stencil graffiti, the technique breaches the limitation of display places of artworks between streets and academic locales such as galleries or museums. The messages appreciated by fanciful and ambitious manifestations. 'Street art exploits public spaces in the same way as graffiti, tags or writing, but its messages and pictures are far more specific.' Described by Sevn. (Zimmermann, 2005) The information is sent forth speedily and widely through a direct way of communication with the audiences, which allows immediate public appreciation of the aura of art works taking place in our surroundings.
The aura of art is an atmosphere and resonance which is built whenever audiences unscramble artworks, the connection between artworks and viewers. It usually takes place in academic artistic areas. However, as a photographer, David Robinson, challenges (1990 p. 5) et al. 'Why people can gaze reverently at paintings in museums but completely ignore the unsanctioned stimulus of their environment once they step outside.' A renaissance of phenomenon through street art responses that '…artists from all over the world who display their innovative works of art on the streets, using them as a gigantic museum.' (Bou, 2005)
An explanation of the idea called a public gallery that is a renowned phenomenon in contemporaneity. (Robinson, 1990 p. 5) According to Roland Barthes, 'Art exists from the moment in which the viewer has the Signifier for an object.' (Lea, 1996 p. 73) Therefore, the method of graffiti provides visual language into public space. 'Street art turns big-city streets into open-air art exhibitions, producing significant socio-culture impact and making for more universal communication.' (Bou, 2005 pp. 7,9) The prominence of popularity had formed graffito as an epithet as street art. Those messages of graffiti are communicated directly into public through a sui generis style, as the same as the statement made by the urban artist, Dave Kinsey in the book Stencil Graffiti. (Manco T., 2002 p. 6)
‘The idea of using the urban landscape as a canvas remains constant.
If you want to get your point across there’s only one-way to do it: get
your message to where the public can see it. Poster, sticker, stencil
and cover the streets, signs, walls and whatever else is out there.’
In consequence, graffiti evoke challenges to the position of artists in a community, and the relationship between environment and public. More or less, the limitation of artistic works are created by artists had been broken. The abstract evidence is proved by the meaning within activities which is almost identical to Pop art, same as Roland Barthes recounted in Pop Art. Evoluzione di una generazione in 1980. '… the play upon the meaning, and Its abolition and reappearance is nothing but a "question of place".' (Lea, 1996 p. 73) The activity of vandalizing environment is far more important than graffiti itself, principally because the notion of being a graffito activists encourages a value that going out and creating culture than fallowing the culture.
Not only influenced by Pop art, graffiti is also a composite phenomenon that inspired by Dadaism circa 1918. (Kirk V. and Adam G., 1990) 'Dada was a public art- if not always for the people, at least against the art-for-art's-sake position that made art in the late nineteenth century the cultural frosting on middle-class triumph.' indicated by Lucy R. (Lippard, 1971) an interactive motive between Dadaism and graffiti is shown by a significant example, that is the photomechanical reproduction Rectified Readymade created by Marcel Duchamp. A piece of mustached and goateed Mona Lisa 3 was penciled in 1919, along with five letters added below the image, L.H.O.O.Q, which is a witty abbreviation pronounced like 'Elle a chaud au cul' in French, or roughly translating as 'she's got a hot ass'. The merger between simple mark and writing was taken into graffiti, it had be described that 'Duchamp's little defacement identifies graffiti-writing as a reactive rather than creative activity.' (Kirk V. and Adam G., 1990 pp. 77-79)
'The greatest crimes in the world are not committed by people breaking the rules but by people following the rules. It's people who follow orders that drop bombs and massacre villages.' (Banksy, 2005 p. 51) The ironical concept of a series mimic official city council notices This wall is a designated area4 are painted on several areas in San Francisco and London. After the first graffito appeared on the wall, then graffiti spread over it like a rash within days. Although the result probably not follows the original idea, but it represents a phenomenon supplied with graffiti that is a contribution provided through the cooperative manitestations. In other words, it is a spontaneous activity that images are constituted organically by different artists and practitioners, the experiences can be explain as the phenomenology of Obey Campaign as 'the process of letting things manifest themselves.' described by Heidegger. (Shepard, 2002)
'The reproducible is the easier of two to distinguish from graffiti as it consists of stencils and poster art that can be reproduced infinitely.' like the explanation of Alex MacNaughton. (2006) Reproducibility is the mainly reason that stencil graffito is more easily be accepted by commercial market than others, also because of its visibility, less mysterious and communicating to wider audiences. Stencil graffiti is a term that exposes a renaissance of graffiti movement, since it can be displayed in either street or gallery for the work, such as the stencil graffito of the monkey with slogan that Laugh now, but one day we’ll be in charge 5, which is both painted and displayed either as an exhibition at Glasgow Arches in 2001, (Manco, 2002) or around district line in London in 2002. (Banksy, 2005)
From street to gallery
A definition of the trend of graffiti that 'Post-graffiti and neo-graffiti are more recent phrases used to describe street art and a graffiti scene in flux between established ideas and new directions.' by Manco T. (2004 p. 7) Following the process, graffiti movement finds its way into shop window or exhibition, it is possible that stencil graffiti probably become accommodated into the lives of radical chic. 'Just like all art forms, the art on the streets has begun to evolve.' Indicated by Justin Kees in 2006. (Hundertmark, 2006)
It seems that street art has been treated as a fashionable trend more than a real art form, because since public are frequently received the image of graffiti had be displayed in galleries, the more changing it has been through. However, 'Everything has its price, and in this case the upshot is that when ephemeral and secret doings see the light, and become icons of time, they are polluted on being sucked into the system.' criticized by Social observer and cultural activist, Joaquin Ruiz Millet in 2003. (Joaquin, 2003)
The evolution of Post-graffiti movement has led to artists and practitioners in the field of graphic design using it as elements to create works. 'One big down side to the popularity is the fact that it is being used it sell products that have little, or nothing to do with the art.' (Hundertmark, 2006) The misuse of reproducibility and computer technology causes stencil graffiti takes its leave of streets, and be entailed in small businesses such as fashion industry or magazine ad design. Although some may concern that there is a largo application for stencil graffiti, which is used in commercial world. However, 'painting away from the street environments is not graffiti, because it is distanced from the underground and closer to accepted art.' (Bou, 2005)
Due to the placement changing influences the aura of graffiti, 'When street art makes it into the gallery (or into a book), to some extent, the work becomes domesticated and loses its teeth.' which commented by Burns. (2005) According to the comment by stencil graffiti artist Blek. 'When this art is taken away from the street, somehow it dies.' In other words, as long as stencil graffito starts to leave streets, it loses its meaning. (Manco, 2002)
Street art
Robert A. white states that 'Every subculture should be provided with the means to project its identity into the public forum' (Hoover S., Lundby K., 1997) As this is related to the concerns of contributers equipped with stencil graffiti, the technique breaches the limitation of display places of artworks between streets and academic locales such as galleries or museums. The messages appreciated by fanciful and ambitious manifestations. 'Street art exploits public spaces in the same way as graffiti, tags or writing, but its messages and pictures are far more specific.' Described by Sevn. (Zimmermann, 2005) The information is sent forth speedily and widely through a direct way of communication with the audiences, which allows immediate public appreciation of the aura of art works taking place in our surroundings.
The aura of art is an atmosphere and resonance which is built whenever audiences unscramble artworks, the connection between artworks and viewers. It usually takes place in academic artistic areas. However, as a photographer, David Robinson, challenges (1990 p. 5) et al. 'Why people can gaze reverently at paintings in museums but completely ignore the unsanctioned stimulus of their environment once they step outside.' A renaissance of phenomenon through street art responses that '…artists from all over the world who display their innovative works of art on the streets, using them as a gigantic museum.' (Bou, 2005)
An explanation of the idea called a public gallery that is a renowned phenomenon in contemporaneity. (Robinson, 1990 p. 5) According to Roland Barthes, 'Art exists from the moment in which the viewer has the Signifier for an object.' (Lea, 1996 p. 73) Therefore, the method of graffiti provides visual language into public space. 'Street art turns big-city streets into open-air art exhibitions, producing significant socio-culture impact and making for more universal communication.' (Bou, 2005 pp. 7,9) The prominence of popularity had formed graffito as an epithet as street art. Those messages of graffiti are communicated directly into public through a sui generis style, as the same as the statement made by the urban artist, Dave Kinsey in the book Stencil Graffiti. (Manco T., 2002 p. 6)
‘The idea of using the urban landscape as a canvas remains constant.
If you want to get your point across there’s only one-way to do it: get
your message to where the public can see it. Poster, sticker, stencil
and cover the streets, signs, walls and whatever else is out there.’
In consequence, graffiti evoke challenges to the position of artists in a community, and the relationship between environment and public. More or less, the limitation of artistic works are created by artists had been broken. The abstract evidence is proved by the meaning within activities which is almost identical to Pop art, same as Roland Barthes recounted in Pop Art. Evoluzione di una generazione in 1980. '… the play upon the meaning, and Its abolition and reappearance is nothing but a "question of place".' (Lea, 1996 p. 73) The activity of vandalizing environment is far more important than graffiti itself, principally because the notion of being a graffito activists encourages a value that going out and creating culture than fallowing the culture.
Not only influenced by Pop art, graffiti is also a composite phenomenon that inspired by Dadaism circa 1918. (Kirk V. and Adam G., 1990) 'Dada was a public art- if not always for the people, at least against the art-for-art's-sake position that made art in the late nineteenth century the cultural frosting on middle-class triumph.' indicated by Lucy R. (Lippard, 1971) an interactive motive between Dadaism and graffiti is shown by a significant example, that is the photomechanical reproduction Rectified Readymade created by Marcel Duchamp. A piece of mustached and goateed Mona Lisa 3 was penciled in 1919, along with five letters added below the image, L.H.O.O.Q, which is a witty abbreviation pronounced like 'Elle a chaud au cul' in French, or roughly translating as 'she's got a hot ass'. The merger between simple mark and writing was taken into graffiti, it had be described that 'Duchamp's little defacement identifies graffiti-writing as a reactive rather than creative activity.' (Kirk V. and Adam G., 1990 pp. 77-79)
'The greatest crimes in the world are not committed by people breaking the rules but by people following the rules. It's people who follow orders that drop bombs and massacre villages.' (Banksy, 2005 p. 51) The ironical concept of a series mimic official city council notices This wall is a designated area4 are painted on several areas in San Francisco and London. After the first graffito appeared on the wall, then graffiti spread over it like a rash within days. Although the result probably not follows the original idea, but it represents a phenomenon supplied with graffiti that is a contribution provided through the cooperative manitestations. In other words, it is a spontaneous activity that images are constituted organically by different artists and practitioners, the experiences can be explain as the phenomenology of Obey Campaign as 'the process of letting things manifest themselves.' described by Heidegger. (Shepard, 2002)
'The reproducible is the easier of two to distinguish from graffiti as it consists of stencils and poster art that can be reproduced infinitely.' like the explanation of Alex MacNaughton. (2006) Reproducibility is the mainly reason that stencil graffito is more easily be accepted by commercial market than others, also because of its visibility, less mysterious and communicating to wider audiences. Stencil graffiti is a term that exposes a renaissance of graffiti movement, since it can be displayed in either street or gallery for the work, such as the stencil graffito of the monkey with slogan that Laugh now, but one day we’ll be in charge 5, which is both painted and displayed either as an exhibition at Glasgow Arches in 2001, (Manco, 2002) or around district line in London in 2002. (Banksy, 2005)
From street to gallery
A definition of the trend of graffiti that 'Post-graffiti and neo-graffiti are more recent phrases used to describe street art and a graffiti scene in flux between established ideas and new directions.' by Manco T. (2004 p. 7) Following the process, graffiti movement finds its way into shop window or exhibition, it is possible that stencil graffiti probably become accommodated into the lives of radical chic. 'Just like all art forms, the art on the streets has begun to evolve.' Indicated by Justin Kees in 2006. (Hundertmark, 2006)
It seems that street art has been treated as a fashionable trend more than a real art form, because since public are frequently received the image of graffiti had be displayed in galleries, the more changing it has been through. However, 'Everything has its price, and in this case the upshot is that when ephemeral and secret doings see the light, and become icons of time, they are polluted on being sucked into the system.' criticized by Social observer and cultural activist, Joaquin Ruiz Millet in 2003. (Joaquin, 2003)
The evolution of Post-graffiti movement has led to artists and practitioners in the field of graphic design using it as elements to create works. 'One big down side to the popularity is the fact that it is being used it sell products that have little, or nothing to do with the art.' (Hundertmark, 2006) The misuse of reproducibility and computer technology causes stencil graffiti takes its leave of streets, and be entailed in small businesses such as fashion industry or magazine ad design. Although some may concern that there is a largo application for stencil graffiti, which is used in commercial world. However, 'painting away from the street environments is not graffiti, because it is distanced from the underground and closer to accepted art.' (Bou, 2005)
Due to the placement changing influences the aura of graffiti, 'When street art makes it into the gallery (or into a book), to some extent, the work becomes domesticated and loses its teeth.' which commented by Burns. (2005) According to the comment by stencil graffiti artist Blek. 'When this art is taken away from the street, somehow it dies.' In other words, as long as stencil graffito starts to leave streets, it loses its meaning. (Manco, 2002)
Chapter III Intentions
Chapter III Intentions
Placement
Stencil graffiti is an effective medium of public communication, mainly because it provides a direct and attractive visual expression. Besides, one image can be reproduced repeatedly in different places by one piece of stencil, which means the dissemination of information is sprayed much broader than others e.g. tags or writing.
The quantity of stencil productions motivates artists to choose it as an essential tool. Burns K. describes that 'This art feels like a language with a mind of its own, a visual language that evolves and operates on a frequency just slightly over our head.' (Burns, 2005) Although there are vast purposes of stencil graffiti, but the intentions behind graffiti are gave the impression of being utilitarian. The types of utilitarian purposes can be divided into two genres. One is space i.e. the interaction between environment and images, the other is the communication between images and audiences.
The effect of how stencil graffiti interact directly with surroundings is the most substantial motivation for artists, the placement adds to its own meaning through the imagination of grandstands, Manco T. explained the decision of placements which are made by graffiti artists is similar with mural artists, and mainly because of 'by creating art in public places, artists draw attention to city spaces and re-examine areas thought to have had no artistic interest.' (2004 p. 11) Colour graphics supplied the sense of regarding the environment, especially when people have the opportunity to take part of creating them. Except for the desire of changing the appearance of our surroundings and bring it into question, a deconstruction of façades and passerby is built at first glance. It can be explain as 'A sense of discovery and the continual metamorphosis of the city space keep the viewer positive and open to new experiences.' (Manco, 2004 p. 9)
As Manco pointed the importance of choosing spaces that' Placement is crucial for the artist to be able to communicate symbolically, politically and artistically to an audience.' (Manco, 2002 p. 11) An extraordinary example of using graffiti as a medium to play with environment is that the French artist Blek 6, who studied architecture and engraving at the Ecole des Beaux-Arts in Paris. He created his first stencil graffiti in 1980. The significant style basic on life-sized and easily to mistaken about the environment that effected by traditional techniques, the elements he used that inspirited from the location surprise of the viewers, such as silhouettes, mythological and classical figures. An illusion is therefore created between reality and images. It misleads the public into thinking there was a real person standing around a corner. The imagery speaks out his thought with a commentary of humanity such as love and hate, life and death. For him, the action of paint itself is a vital of art. As he described that 'I highlight the finer things in life by covering the walls with images that delight in distracting passers-by from their own concerns.' Now he works parallel to the line of both an urban artist with a gallery of characters and an individual stencil graffiti artist in Paris. (Manco, 2002 pp. 37,38)
Purposes: sociopolitical issues
'An alternative form of social reality is experienced, rooted in a class culture, but mediated by neighbourhood, or else a symbolic community transmitted through the mass media' (Brake, 1990) The inducement for graffiti artists whom adventure the risks of been cop is that aggressive conceptions proceed with the actual defacement. In the interview with Gene Swenson in Art News No.7 in New York in the 1963s, Jim Dine indicated that '… but any work of art, if successful, is in itself a critical comment about its own content.' (Lea, 1996 p. 76) This gives an explanation of the utilitarian purposes. Graffiti has been used to compose the signs of revolutions, especially in sociopolitical topics. Counteraction is developed with visual languages against the force from government or social order in favor of a new system. In parallel, stencil technique had been utilized to be an element as propagandas such as in Italy for reunite displaced families during Second World War and also the promotion of political issue in post-war Germany. MacPhee explicated the advantage of using stencil technique is because 'it is much harder to remove than posters and flyers, and it creates a uniform clean image that can be repeated over and over, saturating an area.' (MacPhee, 2004 p. 62)
This application was expanded into liberation conflict in the 1970s to the Third World, particularly in the areas like Nicaragua and South Africa. Political groups operated the motivations of making territory or showing indication of resistance, stencil graffiti show signs of being a cheaper but permanent alternative poster, like Banksy describes that '…generally is the voice of people who aren't listened to.' (Banksy, 2001) Functionality has led itself into sociopolitical critiques, for a contemporary instance, the rage of protesting against George W. Bush7 for the purpose of announcing the second war in Iraq was unacceptable. Thousand of Bush's face takes place in different cities in the world, such as Melbourne and Brighton. Those stencil graffiti serve notice on one theme i.e. to stop the war. (MacPhee, 2004)
Iconography is abounding used of creating stenciling images, the symbology of militaries such as guns, bombs are perfectly used to represent the sociopolitical subject matters. Those symbols are constituted a panorama of multiform global issues across the world, e.g. the protest of Bush, which is appeared in both America and Iran, the oil problems between America and the Middle East, anti-nuclear and nuke in Asia, and the statement of protecting human rights or against globalization like MNC, which means Multi National Corporation. What's more, the imagery of figureheads is an important element as well. Simplification of portraitures dominates by stencil graffiti on political issues, the imagery of caciques or revolutionists such as Lenin Stalin, Chairman Mao or Che Guevara represents the ideology of revolution, especially in twentieth century. (Manco, 2002)
Since April 1966, a huge mural of Che Guevara was painted on the wall of a bus terminal in Havana; the heroic Guerrilla image was built on a portrait photograph, which is shot by Alberto Korda Gutierrez in 1960. (Dawson, 2001) However, the iconography phenomenon of the Cuban revolutionist imagery was grown until the iconic portrait was published in 1967. Amount of derivation of the Che Guevara iconographic has appeared everywhere in Cuba, and became a universally recognizable icon. Under an influence of the imagery, a rank of Che Guevara's posters is painted in West London by British stencil artist, Banksy explained that 'I think I was trying to make a statement about the endless recycling of an icon by endlessly recycling an icon.' (Banksy, 2005 p 41) Ironically, the word 'Brandaliam' was first used for his exhibition by himself in London in 2003, which to illustrate the situation of antipathy vis-à-vis corporate branding. (Manco, 2004)
Purposes: personality development
'The motives of the graffiti writers seem to have been similar to those of the community muralists: self-assertion, pride and self-expression.' (Robinson, 1990 p 6) Like Shepard Fairey commented in the book Stencil Graffiti. (Manco, 2002) 'In a world saturated with high-priced corporate imagery, beyond just having a charming aesthetic, the stencil is a cheap and effective way for an artist or activist to put their work in front of public and level the playing field.' To the contrary, Shepard Fairey9 is seemed as a celebrity in street art field who based in Los Angles, the imagery of Andre the Giant renowned for its concept that anti-advertising control, and bring surrounding into question, i.e. to reawaken a sense of wondering about our environment.
However, after he stuck the first giant sticker in 1989, somehow the position of Obey campaign switch ironically from an underground organization over a worldwide brand, by developing the Giant clothing and skateboard line between 1992 and 1996. As well as various gallery shows ensued since 1992, the terms of the cooperation Obey Giant with commercial graphic design e.g. sports and music industry. The statement is no longer existent through the popularity with the typography of Obey campaign and the iconography of Andre the Giant. (Shepard Fairey, 2002)
Except for the sociopolitical issues, ego making is one of foundations of utilitarian; the word ego is the consciousness or projection of oneself i.e. a sense of self as a unique and separate individual. Like other art forms, the intention of contemporary graffiti artists tends to create their own images by personality development. The mystical subjects10, such as devils with angels, monsters within myths, expend the imagination of passerby. The imagery of hero and villains shows the reflection of humanity and creates a narrative for our surroundings. However, the ego making style is easily grown into a brand name, especially when the style consists more personal individuality. A connection is built between commercial industry and artists; those low-tech images suddenly commence irrupting into record shops, clothing stores and magazines.
Dave Kinsey i11, a San Diego artist who famous for his stylized figures, the composition of stencil technique with posters and stickers creates an urban style across metropolitan California. His images are combined with canvas, skateboard design and record sleeves. (Manco, 2002) The characters are shown on magazines and skateboard stores. As a general rule, mainly because of 'graffiti often borrows from the aesthetics of signage and the jargon of advertising campaigns.' (Manco, 2004 p. 11) However, despite of the output of Dave Kinsey is not be restricted to streets, but for graffito itself, as commented by another graffiti artist, D-Face. 'If the work was taken out of its urban context, placed on a canvas, given a hefty price tag and hung up in a gallery, it's likely those same people that viewed it as vandalism would see it as art.' (Hundertmark, 2003 p. 6)
Ab initio, the basis of traditional graffiti has used to mark the regions of artists themselves, the slogan getting up represents one of the functions of graffiti is to write the names of practitioners as many as possible in different places. The function of using stencils to mark territory is similar with Tags as a rule. In addition, post-graffiti movement had opened a new entrance of street art in early 1980, especially after the combination of Andre the giant has a posse image with the word Obey were created by Shepard Fairey, most of activists imitate the structure of attaching their names around artworks for self-promotion. Following the set of circumstance, this evolution lead 'a clear departure from the pure ephemeral and illegal essence of graffiti.' criticized by Louis Bou. (2005)
Guerrilla artist Bansky, is a famous contemporary artist cross the world, his artworks are shown ubiquitously. To begin with, he has followed the structure of traditional graffiti by tagging his name on most of works on the streets. In consequence, highly visibility has made him as the most renowned artist in the contemporary, and he is therefore taken attention by art world, commercial industry and the news. Such as the article from The Times magazine, Banksy hits the big time, '… few years ago the only place he was a big name was in the niche milieus of Soho ad creatives, Hoxton clubbers and British graffiti artists.' (Leitch, 2006) But recently he is described as 'The subversive political messages Banksy conveys through his stencils and sculptures can be found on streets, walls and buildings across the world, from London to New York.' by BBC News. (Pryor, 2007)
Either the stenciling paint for the Think Tank album cover12 of the band Blur by Banksy in 2006, (Bowes, 2006) or his artwork Bomb Middle England13, which is made from acrylic and spray paint on canvas, was sold a double high estimated price in London in 2007. (Pryor, 2007) Although, an advice 'the time of getting fame for your name on its own is over. Artwork that is only about wanting to be famous will never make you famous. Fame is a by-product of doing something else.' suggested by Banksy. (2005) However, the status presents that the direction of stencil graffiti is shifted gradually from sociopolitical issues to personality development.
Placement
Stencil graffiti is an effective medium of public communication, mainly because it provides a direct and attractive visual expression. Besides, one image can be reproduced repeatedly in different places by one piece of stencil, which means the dissemination of information is sprayed much broader than others e.g. tags or writing.
The quantity of stencil productions motivates artists to choose it as an essential tool. Burns K. describes that 'This art feels like a language with a mind of its own, a visual language that evolves and operates on a frequency just slightly over our head.' (Burns, 2005) Although there are vast purposes of stencil graffiti, but the intentions behind graffiti are gave the impression of being utilitarian. The types of utilitarian purposes can be divided into two genres. One is space i.e. the interaction between environment and images, the other is the communication between images and audiences.
The effect of how stencil graffiti interact directly with surroundings is the most substantial motivation for artists, the placement adds to its own meaning through the imagination of grandstands, Manco T. explained the decision of placements which are made by graffiti artists is similar with mural artists, and mainly because of 'by creating art in public places, artists draw attention to city spaces and re-examine areas thought to have had no artistic interest.' (2004 p. 11) Colour graphics supplied the sense of regarding the environment, especially when people have the opportunity to take part of creating them. Except for the desire of changing the appearance of our surroundings and bring it into question, a deconstruction of façades and passerby is built at first glance. It can be explain as 'A sense of discovery and the continual metamorphosis of the city space keep the viewer positive and open to new experiences.' (Manco, 2004 p. 9)
As Manco pointed the importance of choosing spaces that' Placement is crucial for the artist to be able to communicate symbolically, politically and artistically to an audience.' (Manco, 2002 p. 11) An extraordinary example of using graffiti as a medium to play with environment is that the French artist Blek 6, who studied architecture and engraving at the Ecole des Beaux-Arts in Paris. He created his first stencil graffiti in 1980. The significant style basic on life-sized and easily to mistaken about the environment that effected by traditional techniques, the elements he used that inspirited from the location surprise of the viewers, such as silhouettes, mythological and classical figures. An illusion is therefore created between reality and images. It misleads the public into thinking there was a real person standing around a corner. The imagery speaks out his thought with a commentary of humanity such as love and hate, life and death. For him, the action of paint itself is a vital of art. As he described that 'I highlight the finer things in life by covering the walls with images that delight in distracting passers-by from their own concerns.' Now he works parallel to the line of both an urban artist with a gallery of characters and an individual stencil graffiti artist in Paris. (Manco, 2002 pp. 37,38)
Purposes: sociopolitical issues
'An alternative form of social reality is experienced, rooted in a class culture, but mediated by neighbourhood, or else a symbolic community transmitted through the mass media' (Brake, 1990) The inducement for graffiti artists whom adventure the risks of been cop is that aggressive conceptions proceed with the actual defacement. In the interview with Gene Swenson in Art News No.7 in New York in the 1963s, Jim Dine indicated that '… but any work of art, if successful, is in itself a critical comment about its own content.' (Lea, 1996 p. 76) This gives an explanation of the utilitarian purposes. Graffiti has been used to compose the signs of revolutions, especially in sociopolitical topics. Counteraction is developed with visual languages against the force from government or social order in favor of a new system. In parallel, stencil technique had been utilized to be an element as propagandas such as in Italy for reunite displaced families during Second World War and also the promotion of political issue in post-war Germany. MacPhee explicated the advantage of using stencil technique is because 'it is much harder to remove than posters and flyers, and it creates a uniform clean image that can be repeated over and over, saturating an area.' (MacPhee, 2004 p. 62)
This application was expanded into liberation conflict in the 1970s to the Third World, particularly in the areas like Nicaragua and South Africa. Political groups operated the motivations of making territory or showing indication of resistance, stencil graffiti show signs of being a cheaper but permanent alternative poster, like Banksy describes that '…generally is the voice of people who aren't listened to.' (Banksy, 2001) Functionality has led itself into sociopolitical critiques, for a contemporary instance, the rage of protesting against George W. Bush7 for the purpose of announcing the second war in Iraq was unacceptable. Thousand of Bush's face takes place in different cities in the world, such as Melbourne and Brighton. Those stencil graffiti serve notice on one theme i.e. to stop the war. (MacPhee, 2004)
Iconography is abounding used of creating stenciling images, the symbology of militaries such as guns, bombs are perfectly used to represent the sociopolitical subject matters. Those symbols are constituted a panorama of multiform global issues across the world, e.g. the protest of Bush, which is appeared in both America and Iran, the oil problems between America and the Middle East, anti-nuclear and nuke in Asia, and the statement of protecting human rights or against globalization like MNC, which means Multi National Corporation. What's more, the imagery of figureheads is an important element as well. Simplification of portraitures dominates by stencil graffiti on political issues, the imagery of caciques or revolutionists such as Lenin Stalin, Chairman Mao or Che Guevara represents the ideology of revolution, especially in twentieth century. (Manco, 2002)
Since April 1966, a huge mural of Che Guevara was painted on the wall of a bus terminal in Havana; the heroic Guerrilla image was built on a portrait photograph, which is shot by Alberto Korda Gutierrez in 1960. (Dawson, 2001) However, the iconography phenomenon of the Cuban revolutionist imagery was grown until the iconic portrait was published in 1967. Amount of derivation of the Che Guevara iconographic has appeared everywhere in Cuba, and became a universally recognizable icon. Under an influence of the imagery, a rank of Che Guevara's posters is painted in West London by British stencil artist, Banksy explained that 'I think I was trying to make a statement about the endless recycling of an icon by endlessly recycling an icon.' (Banksy, 2005 p 41) Ironically, the word 'Brandaliam' was first used for his exhibition by himself in London in 2003, which to illustrate the situation of antipathy vis-à-vis corporate branding. (Manco, 2004)
Purposes: personality development
'The motives of the graffiti writers seem to have been similar to those of the community muralists: self-assertion, pride and self-expression.' (Robinson, 1990 p 6) Like Shepard Fairey commented in the book Stencil Graffiti. (Manco, 2002) 'In a world saturated with high-priced corporate imagery, beyond just having a charming aesthetic, the stencil is a cheap and effective way for an artist or activist to put their work in front of public and level the playing field.' To the contrary, Shepard Fairey9 is seemed as a celebrity in street art field who based in Los Angles, the imagery of Andre the Giant renowned for its concept that anti-advertising control, and bring surrounding into question, i.e. to reawaken a sense of wondering about our environment.
However, after he stuck the first giant sticker in 1989, somehow the position of Obey campaign switch ironically from an underground organization over a worldwide brand, by developing the Giant clothing and skateboard line between 1992 and 1996. As well as various gallery shows ensued since 1992, the terms of the cooperation Obey Giant with commercial graphic design e.g. sports and music industry. The statement is no longer existent through the popularity with the typography of Obey campaign and the iconography of Andre the Giant. (Shepard Fairey, 2002)
Except for the sociopolitical issues, ego making is one of foundations of utilitarian; the word ego is the consciousness or projection of oneself i.e. a sense of self as a unique and separate individual. Like other art forms, the intention of contemporary graffiti artists tends to create their own images by personality development. The mystical subjects10, such as devils with angels, monsters within myths, expend the imagination of passerby. The imagery of hero and villains shows the reflection of humanity and creates a narrative for our surroundings. However, the ego making style is easily grown into a brand name, especially when the style consists more personal individuality. A connection is built between commercial industry and artists; those low-tech images suddenly commence irrupting into record shops, clothing stores and magazines.
Dave Kinsey i11, a San Diego artist who famous for his stylized figures, the composition of stencil technique with posters and stickers creates an urban style across metropolitan California. His images are combined with canvas, skateboard design and record sleeves. (Manco, 2002) The characters are shown on magazines and skateboard stores. As a general rule, mainly because of 'graffiti often borrows from the aesthetics of signage and the jargon of advertising campaigns.' (Manco, 2004 p. 11) However, despite of the output of Dave Kinsey is not be restricted to streets, but for graffito itself, as commented by another graffiti artist, D-Face. 'If the work was taken out of its urban context, placed on a canvas, given a hefty price tag and hung up in a gallery, it's likely those same people that viewed it as vandalism would see it as art.' (Hundertmark, 2003 p. 6)
Ab initio, the basis of traditional graffiti has used to mark the regions of artists themselves, the slogan getting up represents one of the functions of graffiti is to write the names of practitioners as many as possible in different places. The function of using stencils to mark territory is similar with Tags as a rule. In addition, post-graffiti movement had opened a new entrance of street art in early 1980, especially after the combination of Andre the giant has a posse image with the word Obey were created by Shepard Fairey, most of activists imitate the structure of attaching their names around artworks for self-promotion. Following the set of circumstance, this evolution lead 'a clear departure from the pure ephemeral and illegal essence of graffiti.' criticized by Louis Bou. (2005)
Guerrilla artist Bansky, is a famous contemporary artist cross the world, his artworks are shown ubiquitously. To begin with, he has followed the structure of traditional graffiti by tagging his name on most of works on the streets. In consequence, highly visibility has made him as the most renowned artist in the contemporary, and he is therefore taken attention by art world, commercial industry and the news. Such as the article from The Times magazine, Banksy hits the big time, '… few years ago the only place he was a big name was in the niche milieus of Soho ad creatives, Hoxton clubbers and British graffiti artists.' (Leitch, 2006) But recently he is described as 'The subversive political messages Banksy conveys through his stencils and sculptures can be found on streets, walls and buildings across the world, from London to New York.' by BBC News. (Pryor, 2007)
Either the stenciling paint for the Think Tank album cover12 of the band Blur by Banksy in 2006, (Bowes, 2006) or his artwork Bomb Middle England13, which is made from acrylic and spray paint on canvas, was sold a double high estimated price in London in 2007. (Pryor, 2007) Although, an advice 'the time of getting fame for your name on its own is over. Artwork that is only about wanting to be famous will never make you famous. Fame is a by-product of doing something else.' suggested by Banksy. (2005) However, the status presents that the direction of stencil graffiti is shifted gradually from sociopolitical issues to personality development.
Chapter IV Forms
Chapter IV Forms
As a medium of visual communication, the counterpart elements are provided with both stencil graffiti and commercial graphic design. The forms are divided broadly into two elements, which are typography and iconography.
Typography
Typography i14 is a mainly element of stencil graffiti, a great transmissible tool is consisted of letterforms and messages. Artists have a freedom to choose suitable fonts for meanings and surfaces. Josh MacPhee (2004) discriminated the stylish typefaces of stencil into two categories. One is tech styles which basically using technology to create typefaces; the other is hand styles which mainly interfuses handwriting and stencil technique. The material of tech styles can be found conveniently in hardware shops or craft stores, despite that the limitation of sizes and styles, such as stencil plate is a productive tool for creating a consistent format that translates a mimic official statement. Alternatively, computers with stencil typefaces permitted artists to create an official-looking typeface without technical difficulty. The stencil fonts e.g. Housebroken clean, Brassplate or AG Book Stencil etc. are available on the Internet or graphic software such as Adobe Illustrator. Wherewith computer technology, expanding typestyles are chose by contemporary artists.
To cf. with tech styles have its standard roots and rigidity, hand styles are more fascinating, owing to the freedom and complex structures of handwriting, it brings a personality and characteristic into letterforms by constructing words. 'Words can turn emotions into ideas' described by Freeman (1966). Wherewith artists create their own typefaces, sic the audiences receive messages; in the meanwhile identify the character of artists with specific letterforms, the notion between separate territory of each artist and the grandstand therefore is created. Further more, the arrangement of intervals within letterforms represents a flexible structures by hand styles. For instance, a compass within A's or O's letter can be filled, either not; gaps in each letters for the sake of easily to hold a single letter such as T's, or a whole words. A sentence is built by horizontal line in English characters, thus the bridges betwixt types provide a function that organizes the letterforms together. (MacPhee, 2004)
'Communication can occur with reasonable success only when the words used refer to ideas and emotions which the author and his readers have had, or can theoretically have, in common.' (Freeman, 1966) The importance of context in typography consist its utilitarian, the uncomplicated method of producing type stencil makes itself more general, i.e. infinite reproductions are scattered by the thousand all over the city, such as a sign system. The meanings of a slogan, a poem or a signature take a part of an extremely powerful medium. 'The ideal sentence for communicating to a mass audience is not longer than eight words or so, and the words should have no more than one or two syllables, unless it can't be helped.' suggested by Richard Freeman. (1966)
The best tripartite combination of typefaces, images with context can be regarded as Miss-Tic in Paris i15. (Manco, 2002) Miss-Tic means a young lady with a habitual spasmodic contraction of the muscles, as the phonogram of mystique. She first began making graffiti by using stencil in the early 1980s. Homogeneity of her name, she extends a range of levels works of short poems or slogans, her stencil graffiti are often cryptic and usually contain some clever wordplay that associates with pictographic. 'Although Miss-tic's work is not intentionally political but rather personal and confessional, there are often underlying feminist themes in the pieces.' that commented by the graphic artist, Tristan Manco. (2002 p. 43)
In general, the words of stencil graffiti convey information in a utilitarian function, i.e. the meaning of slogans or poems is beyond literal, and a convincing example is the parodying official city council notice, which was painted on a white concrete wall by British artist Banksy. (2005 p. 50) This Wall is a Designated Graffiti Area16, the convincingly announcement occasions that it was covered in graffiti within days. (Manco, 2002) However, most of words are probably considered that undertaking no specific meaning. What is more, a posteriori of the repeating and reusable method motivates contemporary stencil artists or activists to tag their cognomen as territory that increases the popularity of stencil graffiti. (Bou, 2005)
Iconography
In the opinion of MacPhee, (2004, p. 47) 'All art represents the world that it was created in, and in many ways stenciling is no different.' The variety of subject matter for creating stencil imagery is the primary reason it has become extremely common. Those images can be categorized into four genres, human figures, consumer goods, animals and movements, the most suitable modus is attended due to how to present images. Making a stencil not only requires considerable skills, but also rigid materials, such as plastic laminates or cardboards. Through cutting shapes from drawing or tracing, the process gives a particularly sharp line, similar to vector line.
The methods of cutting stencils are used to been classified as positive and negative images. According to the investigation of David R. (1990) He identifies that most of stencils show positive images, viz. the cutout figures filled with colours against a clear background, in addition, it is also possible for producing negative images. However, there is a limitation to spray diverse colours on façades, mainly because of the time limit of stencil graffiti, artists rarely spray more than two colours on one stencil. (MacNaughton, 2006)
It is obvious that the image which consists of human figures is the most common subject, within the images about human beings, 'Probably the most common image stenciled is the face.' evaluated by MacPhee (2004 p. 47) Indeed, numerous faces are exploded into public spaces in the same way as the evidences to prove our existence. On the whole, anthropoid stencils are a form of manipulating photographs into graphics, simplifying thee figures and transmitting them as several blocking areas, outlines and shadows. Sometimes a conventional face such as famous screen starts, politicians, revolutionists, cartoon characters or anonymous self-portraits, can be seem as a reflection of the iconology from popular culture. These facial expressions give different emotions and statements to the grandstands. Besides, colour combination provides an exuberantly visual effect.
However, a convenient process has developed by using computer techniques for those non-artists whom attempt transferring concepts to visual image. By modulating the contrast degree of photos, graphic software such as Adobe Photoshop provides an innovative method, viz. the limitation of creating stencil images by hand drawing, because the impression that the specific outlines are used drew by sophisticated artists is broken. 'It is no surprise that there has been an explosion of stencils of movie stars, cartoon characters and commercial symbols. These stencilers have become human pop-culture copy machines.' criticized by MacPhee. (2004 p. 47)
Parallel to this, the subject of consumer goods and animals in stencil graffiti field provides an idea of bring daily objects into creations, which is inspired by Pop art. As claimed by Manco (2002) 'Stencilists have appropriated the idea from Dada and Pop that images of popular culture or commonplace object can be art.' This conception not only against the supremacy of high-art, but also build a bridge between art and our life. From another point of view, the commodity chose by the artists who intend to share their passion of abject, '… the selection shown here is a light-hearted celebration of iconic imagery.' (Manco, 2002 p. 19)
Nevertheless, the situation of 'Stenciling can also shove a culture back into its face.' described by MacPhee (2004, p. 54) Despite of celebrating diurnal objects, the images of munitions e.g. guns and warfare or violent movements such as shot, kill, which are representing political statements or social problems. Thousands of television are sprayed for the reason to remind public the violence from mess media and news report. The best example of incorporation of animals with weapons is a huge amount of rats' army created by Banksy. (2005) Slogans such as Stop believing in authority, start believing in each other, or Beware anti-vandal paint17makes a statement of against the authority.
Photograffiti
'The final stage of life for a piece of street art is often its removal, leaving a ghostly impression that can last a great deal longer than the original work.' committed by Alex MacNaughton. (2006) However, like any evolution, a neoteric form is innovating nowadays. Photograffiti, graffiti with camera is seen as a potential solution to resolve the ephemeral phenomenon of stencil graffiti. Once a photograph is taken by a photographer, he or she is involved in the action of graffito within photographs. 'A single picture by itself is nothing, but a single picture among many is part of a system.' Described by the German photographer Christoph. (Mangler, 2006)
Through photography, the action of photograffiti itself is accessible to everyone that goes through cities on foot, and takes pictures with a camera. Furthermore, the combination of photograffiti and the Internet influences the evolution of stencil graffiti; its popularity increases with a massive influx of photos onto the Internet from different areas. An abundance of websites provides the method of producing stencil and process of graffiti, and, through these exchanges of information, stencil graffito itself approaches a promotional consequence. In addition, sending graffiti photos by emails or online photo albums, computers and the Internet make an accessible entrance for the enthusiasts of stencil graffiti. (Macphee, 2004 p. 107) 'Modern graffiti is no longer of the people, so to speak, as it once was, it is now like tattoos or piercing. In a word, it has become popular, it has spread.' Criticized by the director of the H2O gallery, Joaquim Ruiz Millet. (2003)
As a medium of visual communication, the counterpart elements are provided with both stencil graffiti and commercial graphic design. The forms are divided broadly into two elements, which are typography and iconography.
Typography
Typography i14 is a mainly element of stencil graffiti, a great transmissible tool is consisted of letterforms and messages. Artists have a freedom to choose suitable fonts for meanings and surfaces. Josh MacPhee (2004) discriminated the stylish typefaces of stencil into two categories. One is tech styles which basically using technology to create typefaces; the other is hand styles which mainly interfuses handwriting and stencil technique. The material of tech styles can be found conveniently in hardware shops or craft stores, despite that the limitation of sizes and styles, such as stencil plate is a productive tool for creating a consistent format that translates a mimic official statement. Alternatively, computers with stencil typefaces permitted artists to create an official-looking typeface without technical difficulty. The stencil fonts e.g. Housebroken clean, Brassplate or AG Book Stencil etc. are available on the Internet or graphic software such as Adobe Illustrator. Wherewith computer technology, expanding typestyles are chose by contemporary artists.
To cf. with tech styles have its standard roots and rigidity, hand styles are more fascinating, owing to the freedom and complex structures of handwriting, it brings a personality and characteristic into letterforms by constructing words. 'Words can turn emotions into ideas' described by Freeman (1966). Wherewith artists create their own typefaces, sic the audiences receive messages; in the meanwhile identify the character of artists with specific letterforms, the notion between separate territory of each artist and the grandstand therefore is created. Further more, the arrangement of intervals within letterforms represents a flexible structures by hand styles. For instance, a compass within A's or O's letter can be filled, either not; gaps in each letters for the sake of easily to hold a single letter such as T's, or a whole words. A sentence is built by horizontal line in English characters, thus the bridges betwixt types provide a function that organizes the letterforms together. (MacPhee, 2004)
'Communication can occur with reasonable success only when the words used refer to ideas and emotions which the author and his readers have had, or can theoretically have, in common.' (Freeman, 1966) The importance of context in typography consist its utilitarian, the uncomplicated method of producing type stencil makes itself more general, i.e. infinite reproductions are scattered by the thousand all over the city, such as a sign system. The meanings of a slogan, a poem or a signature take a part of an extremely powerful medium. 'The ideal sentence for communicating to a mass audience is not longer than eight words or so, and the words should have no more than one or two syllables, unless it can't be helped.' suggested by Richard Freeman. (1966)
The best tripartite combination of typefaces, images with context can be regarded as Miss-Tic in Paris i15. (Manco, 2002) Miss-Tic means a young lady with a habitual spasmodic contraction of the muscles, as the phonogram of mystique. She first began making graffiti by using stencil in the early 1980s. Homogeneity of her name, she extends a range of levels works of short poems or slogans, her stencil graffiti are often cryptic and usually contain some clever wordplay that associates with pictographic. 'Although Miss-tic's work is not intentionally political but rather personal and confessional, there are often underlying feminist themes in the pieces.' that commented by the graphic artist, Tristan Manco. (2002 p. 43)
In general, the words of stencil graffiti convey information in a utilitarian function, i.e. the meaning of slogans or poems is beyond literal, and a convincing example is the parodying official city council notice, which was painted on a white concrete wall by British artist Banksy. (2005 p. 50) This Wall is a Designated Graffiti Area16, the convincingly announcement occasions that it was covered in graffiti within days. (Manco, 2002) However, most of words are probably considered that undertaking no specific meaning. What is more, a posteriori of the repeating and reusable method motivates contemporary stencil artists or activists to tag their cognomen as territory that increases the popularity of stencil graffiti. (Bou, 2005)
Iconography
In the opinion of MacPhee, (2004, p. 47) 'All art represents the world that it was created in, and in many ways stenciling is no different.' The variety of subject matter for creating stencil imagery is the primary reason it has become extremely common. Those images can be categorized into four genres, human figures, consumer goods, animals and movements, the most suitable modus is attended due to how to present images. Making a stencil not only requires considerable skills, but also rigid materials, such as plastic laminates or cardboards. Through cutting shapes from drawing or tracing, the process gives a particularly sharp line, similar to vector line.
The methods of cutting stencils are used to been classified as positive and negative images. According to the investigation of David R. (1990) He identifies that most of stencils show positive images, viz. the cutout figures filled with colours against a clear background, in addition, it is also possible for producing negative images. However, there is a limitation to spray diverse colours on façades, mainly because of the time limit of stencil graffiti, artists rarely spray more than two colours on one stencil. (MacNaughton, 2006)
It is obvious that the image which consists of human figures is the most common subject, within the images about human beings, 'Probably the most common image stenciled is the face.' evaluated by MacPhee (2004 p. 47) Indeed, numerous faces are exploded into public spaces in the same way as the evidences to prove our existence. On the whole, anthropoid stencils are a form of manipulating photographs into graphics, simplifying thee figures and transmitting them as several blocking areas, outlines and shadows. Sometimes a conventional face such as famous screen starts, politicians, revolutionists, cartoon characters or anonymous self-portraits, can be seem as a reflection of the iconology from popular culture. These facial expressions give different emotions and statements to the grandstands. Besides, colour combination provides an exuberantly visual effect.
However, a convenient process has developed by using computer techniques for those non-artists whom attempt transferring concepts to visual image. By modulating the contrast degree of photos, graphic software such as Adobe Photoshop provides an innovative method, viz. the limitation of creating stencil images by hand drawing, because the impression that the specific outlines are used drew by sophisticated artists is broken. 'It is no surprise that there has been an explosion of stencils of movie stars, cartoon characters and commercial symbols. These stencilers have become human pop-culture copy machines.' criticized by MacPhee. (2004 p. 47)
Parallel to this, the subject of consumer goods and animals in stencil graffiti field provides an idea of bring daily objects into creations, which is inspired by Pop art. As claimed by Manco (2002) 'Stencilists have appropriated the idea from Dada and Pop that images of popular culture or commonplace object can be art.' This conception not only against the supremacy of high-art, but also build a bridge between art and our life. From another point of view, the commodity chose by the artists who intend to share their passion of abject, '… the selection shown here is a light-hearted celebration of iconic imagery.' (Manco, 2002 p. 19)
Nevertheless, the situation of 'Stenciling can also shove a culture back into its face.' described by MacPhee (2004, p. 54) Despite of celebrating diurnal objects, the images of munitions e.g. guns and warfare or violent movements such as shot, kill, which are representing political statements or social problems. Thousands of television are sprayed for the reason to remind public the violence from mess media and news report. The best example of incorporation of animals with weapons is a huge amount of rats' army created by Banksy. (2005) Slogans such as Stop believing in authority, start believing in each other, or Beware anti-vandal paint17makes a statement of against the authority.
Photograffiti
'The final stage of life for a piece of street art is often its removal, leaving a ghostly impression that can last a great deal longer than the original work.' committed by Alex MacNaughton. (2006) However, like any evolution, a neoteric form is innovating nowadays. Photograffiti, graffiti with camera is seen as a potential solution to resolve the ephemeral phenomenon of stencil graffiti. Once a photograph is taken by a photographer, he or she is involved in the action of graffito within photographs. 'A single picture by itself is nothing, but a single picture among many is part of a system.' Described by the German photographer Christoph. (Mangler, 2006)
Through photography, the action of photograffiti itself is accessible to everyone that goes through cities on foot, and takes pictures with a camera. Furthermore, the combination of photograffiti and the Internet influences the evolution of stencil graffiti; its popularity increases with a massive influx of photos onto the Internet from different areas. An abundance of websites provides the method of producing stencil and process of graffiti, and, through these exchanges of information, stencil graffito itself approaches a promotional consequence. In addition, sending graffiti photos by emails or online photo albums, computers and the Internet make an accessible entrance for the enthusiasts of stencil graffiti. (Macphee, 2004 p. 107) 'Modern graffiti is no longer of the people, so to speak, as it once was, it is now like tattoos or piercing. In a word, it has become popular, it has spread.' Criticized by the director of the H2O gallery, Joaquim Ruiz Millet. (2003)
The Conclusion
The Conclusion
In conclusion, the process of movements normally follows a basic rule by the collective unconscious of human beings. Graffiti is one of the art forms prolonged from subcultures. Its original concept is similar with murals, which is to improve our surrounding and awaken public to reconsider our surrounding, because of the composition of images with environment bring our surrounding into questions. The action of making graffiti is more aggressive and practical than traditional art forms, mainly because it challenges the authority and the messages communicate directly with the audiences via visual language.
After the post-graffiti movement had led it into a formal art form, the combination of graffiti and stencil technique extend the possibility of reproducing images, and also build a connection between typography and graphics. The beneficial essentials of stencil graffiti such as simple requirements and repeatability of production, make itself toward a new direction. In addition, computer technology provides a convenience method to create stenciling images. Through exchanging information and photos via the Internet, the popularity of stencil graffiti therefore has been expanded.
Parallel to this, the direction of stencil graffiti has a transition from underground to mainstream by following the progress of the graffiti movement. Because of high visibility, stencil graffiti images are now merged into commercial industry, i.e. record stores or magazines. Either the intention switches from sociopolitical issues to personality development, or the placement shifts from streets to galleries. However, stencil graffito is distanced from its origin as its popularity increases. In other words, contemporary graphic designs and artists are influenced by graffiti or street art, which means it is no longer an art form contained within an underground culture.
A concern of the status 'hopefully the misuse of the art doesn't destroy the realness of the streets.' mentioned by a street artist, Justin Kees in Amsterdam. (Hundertmark, 2006) Due to the evolution of organic systems, it is easily predicted that the progress of this phenomenon is continued and rebellious. Besides, further experimental investigations are needed to discriminate between the liberty of speech and vandalism.
In conclusion, the process of movements normally follows a basic rule by the collective unconscious of human beings. Graffiti is one of the art forms prolonged from subcultures. Its original concept is similar with murals, which is to improve our surrounding and awaken public to reconsider our surrounding, because of the composition of images with environment bring our surrounding into questions. The action of making graffiti is more aggressive and practical than traditional art forms, mainly because it challenges the authority and the messages communicate directly with the audiences via visual language.
After the post-graffiti movement had led it into a formal art form, the combination of graffiti and stencil technique extend the possibility of reproducing images, and also build a connection between typography and graphics. The beneficial essentials of stencil graffiti such as simple requirements and repeatability of production, make itself toward a new direction. In addition, computer technology provides a convenience method to create stenciling images. Through exchanging information and photos via the Internet, the popularity of stencil graffiti therefore has been expanded.
Parallel to this, the direction of stencil graffiti has a transition from underground to mainstream by following the progress of the graffiti movement. Because of high visibility, stencil graffiti images are now merged into commercial industry, i.e. record stores or magazines. Either the intention switches from sociopolitical issues to personality development, or the placement shifts from streets to galleries. However, stencil graffito is distanced from its origin as its popularity increases. In other words, contemporary graphic designs and artists are influenced by graffiti or street art, which means it is no longer an art form contained within an underground culture.
A concern of the status 'hopefully the misuse of the art doesn't destroy the realness of the streets.' mentioned by a street artist, Justin Kees in Amsterdam. (Hundertmark, 2006) Due to the evolution of organic systems, it is easily predicted that the progress of this phenomenon is continued and rebellious. Besides, further experimental investigations are needed to discriminate between the liberty of speech and vandalism.
Images
Images (Announcement: All copyright of images belong to the author of works)
1. The cave of Lascaux, the description of animals, such as auroachs and bisons, horses. Animals are the main part of the cave of Lascuax. (Online Images 1)
2. The dimension of letters separates the difference between two types of signature writing Tags and Throw-up, Tags were normally using mark pens and simple lines. To compare with Tags, Throw-up were complicated and colourful, types associate with 3D dimension.
Above: Tags (Murry, James and Murry, Karla, 2002)
Below: Throw-up (Murry, James and Murry, Karla, 2002)
3. Marcel Duchamp. LH.O.O.Q 1919. Rectified Readymade: pencil on a reproduction, 7 3/4 x 4 7/8” (19.7x 12.4 cm) (Ediciones Polígrafa, S.A. 2004 p. 40)
4. This wall is a designated area painted by Banksy in Portobello Road in London.
Above: day 25
Below: day 34. (Banksy, 2005 p 54)
5. Laugh now, but one day we’ll be in charge
Above: district line in London in 2002. (Banksy, 2005 p 15)
Below: exhibition at Glasgow Arches in 2001. (Manco, 2002 p 78)
6. Blek le Rat: Marcel Dassault, Paris. (Manco, 2002 p 37)
7. Disney War by Bsastncl. (MacPhee, 2004 P 65)
8
Above: A mural of Che Guevara in Cuba. (Dawson, 2001 p 38)
Below: Painted by Banksy, Portobello Road in West London. (Banksy, 2005 p 40)
9. Shepard Fairey, Obey Giant stickers. (Shepard Fairey, 2002 p 23)
10. One of the mystical subjects. Virgin painted by Peat Wollaeger. (MacPhee, 2004 p 159)
11. Dave Kinsey, his work associates with stencil, oil and acrylic, painted on canvas. (Manco, Tristan, 2002 p 106)
12. The Think Tank album cover of the band Blur by Banksy in 2006. (Online images 2)
13. The artwork Bomb Middle England made from acrylic and spray paint on canvas by Banksy, which was sold a double high estimated price in London in 2007. (Online Images 3)
14. Typography is a mainly element of stencil graffiti, a great transmissible tool consistes of letterforms and messages. gaps in each letters for the sake of easily to hold a single letter such as O’s and D’s. (MacPhee, 2004 p 37)
15. Painted by Miss-Tic in Paris, 2006. (Online Images 4)
16. The series mimic official city council notices This wall is a designated area are painted on several areas in San Francisco and London by British artist Banky. (Banksy 2005 p 50)
17. Slogans make a statement of against the authority both are painted by Banksy.
Above: Beware anti-vandal paint, London (Banksy 2005 p 87)
Below: Stop believing in authority, start believing in each other, Washington DC. (MacPhee, 2004 p 98)
1. The cave of Lascaux, the description of animals, such as auroachs and bisons, horses. Animals are the main part of the cave of Lascuax. (Online Images 1)
2. The dimension of letters separates the difference between two types of signature writing Tags and Throw-up, Tags were normally using mark pens and simple lines. To compare with Tags, Throw-up were complicated and colourful, types associate with 3D dimension.
Above: Tags (Murry, James and Murry, Karla, 2002)
Below: Throw-up (Murry, James and Murry, Karla, 2002)
3. Marcel Duchamp. LH.O.O.Q 1919. Rectified Readymade: pencil on a reproduction, 7 3/4 x 4 7/8” (19.7x 12.4 cm) (Ediciones Polígrafa, S.A. 2004 p. 40)
4. This wall is a designated area painted by Banksy in Portobello Road in London.
Above: day 25
Below: day 34. (Banksy, 2005 p 54)
5. Laugh now, but one day we’ll be in charge
Above: district line in London in 2002. (Banksy, 2005 p 15)
Below: exhibition at Glasgow Arches in 2001. (Manco, 2002 p 78)
6. Blek le Rat: Marcel Dassault, Paris. (Manco, 2002 p 37)
7. Disney War by Bsastncl. (MacPhee, 2004 P 65)
8
Above: A mural of Che Guevara in Cuba. (Dawson, 2001 p 38)
Below: Painted by Banksy, Portobello Road in West London. (Banksy, 2005 p 40)
9. Shepard Fairey, Obey Giant stickers. (Shepard Fairey, 2002 p 23)
10. One of the mystical subjects. Virgin painted by Peat Wollaeger. (MacPhee, 2004 p 159)
11. Dave Kinsey, his work associates with stencil, oil and acrylic, painted on canvas. (Manco, Tristan, 2002 p 106)
12. The Think Tank album cover of the band Blur by Banksy in 2006. (Online images 2)
13. The artwork Bomb Middle England made from acrylic and spray paint on canvas by Banksy, which was sold a double high estimated price in London in 2007. (Online Images 3)
14. Typography is a mainly element of stencil graffiti, a great transmissible tool consistes of letterforms and messages. gaps in each letters for the sake of easily to hold a single letter such as O’s and D’s. (MacPhee, 2004 p 37)
15. Painted by Miss-Tic in Paris, 2006. (Online Images 4)
16. The series mimic official city council notices This wall is a designated area are painted on several areas in San Francisco and London by British artist Banky. (Banksy 2005 p 50)
17. Slogans make a statement of against the authority both are painted by Banksy.
Above: Beware anti-vandal paint, London (Banksy 2005 p 87)
Below: Stop believing in authority, start believing in each other, Washington DC. (MacPhee, 2004 p 98)
The Bibliography
The Bibliography
Books
• Banksy (2001) Banging Your Head Against a Brick Wall UK: self-published by Banksy.
• Banksy (2002) Existencilism England: Weapons of Mass Distraction
• Banksy (2005) Wall And Piece London: The Random House Group Limited.
• Bou, Louis (2005) Street Art: the spray files 1st ed. New York: Collins Design.
• Burns, Kelly (2005) New York Street Art 1st ed. Berlin: Die Gestalten Verlag GmbH & co. KG.
• Brake, Michael (1990) Comparative Youth Culture: the sociology of youth culture and youth subcultures in America, Britain and Canada 3rd ed. London: Routledge.
• Chalfat, Henry and Prigoff, James (1987) Spraycan Art London: Thames & Hudson Ltd.
• Cooper, Graham, Sargent, Doug (1979) Painting the town Oxford: Phaidon Press Limited.
• Dawson, Barry (2001) Street Graphics Cuba London: Thames & Hudson Ltd.
• Ediciones Polígrafa, S.A. (2004) Marcel Duchamp NewYork: Harry N. Abrams, Incorporated.
• Freeman, Richard (1966) Graffiti London: Hutchinson & co Ltd.
• Hoover, Stewart M, Lundby, Knut (1997) Rethinking Media, Religion and Culture California: Sage Publications, Inc.
• Hundertmark, Christian (2003) The Art of Rebellion: world of street art Corte Madera: Gingko Press Inc.
• Hundertmark, Christian (2006) The Art of Rebellion 2: world of urban art activism Germany: Publikat Verlags und Handels GmbH & Co. KG.
• James T. and Murray,Karla L. (2006) Burning New York 1st ed. USA: Gingko Press Inc.
• Joaquin Ruiz Millet (2003) Photograffiting: scenes, graffiti in Barcelona Barcelona: Index Book.
• Kirk Varnedoe and Adam Gopnik (1990) High & Low: Modern Art and Popular Culture New York: The Museum of Modern Art.
• Labonté, Paul (2003) All City: the book about taking space Canada: ECW Press.
• Lea Vergine (1996) Art on the Cutting Edge: a Guide to Contemporary Movements Milano: Skira Editore.
• Lippard, Lucy R. (1971) Dadas on Art New Jersey: Prentice Hall, Inc.
• MacNaughton, Alex (2006) London Street Art München, Berlin, London, New York: Prestel Verlag.
• MacPhee, Josh (2004) Stencil Pirates: a global study of the street stencil Brooklyn: Soft Skull Press.
• Manco, Tristan (2002) Stencil Graffiti London: Thames & Hudson Ltd.
• Manco, Tristan (2004) Street Logos 1st ed. London: Thames & Hudson Ltd.
• Manco, Tristan, Lost Art, Caleb Neelon (2005) Graffiti Brasil London: Thames & Hudson Ltd.
• Mangler, Christoph (2006) City Language Berlin München, Berlin, London, New York: Prestel Verlag.
• Michiko Rico Nosé (2002) New York City Graffiti 4th ed. Tokyo: Graphic- Sha Publishing co, Ltd.
• Murry, James and Murry, Karla (2002) Broken Windows: Graffiti NYC USA: Gingko Press, Inc.
• Robinson, David (1990) SoHo Walls: beyond graffiti New York: Thames and Hudson Inc.
• Schlee, Siggi (2005) Fadings: graffiti to design, illustration and more. 1st ed. USA: Gingko Press Inc.
• Shepard Fairey (2002) Post no Bills 1st ed. California: Kill Yr Idols/ Gingko press Inc.
• Storr, Anthony (1973) Jung: Archetypes and the collective unconscious 6th ed. Glasgow: William Collins Sons & co. Ltd.
• Zimmermann, Sven (2005) Berlin Street Art München, Berlin, London, New York: Prestel Publishing Ltd.
Online images
1. The cave of Lascaux (2007) [online image] Available from < http://www.culture.gouv.fr/culture/arcnat/lascaux/img/2d2.jpg > [Accessed 24 March 2007]
2. Think Tank (2003) [online image] Available from < http://www.amazon.co.uk/Think-Tank-Blur/dp/B00008LJFP> [Accessed 24 April 2004]
3. Bomb Middle England (2007) [online image] Available from < http://news.bbc.co.uk/1/hi/entertainment/6340109.stm> [Accessed 8 February 2007]
4. Ce qu'on ne m'a pas donné je L'ai Prís (2006) [online image] Available from < http://www.missticinparis.com/misstic_2006.html> [Accessed 3 December 2006]
Film
• Basquiat (1996) written and directed by Julian Schnabel, Miramax Film Crop, 107 mins [DVD: DVD vedio]
Newspaper Articles
• Hibbert, Katharine (2007) The London Newspaper, writes report. Banksy and Degas in ballet art sale, 6th February 2007.
World Wide Web Documents
• Aujoulat (N.) et al (retrieved in 2007) The cave of Lascaux: learn Available from:
• Bowes, Peter (2006) 'Guerrilla artist' Banksy hits LA [Internet] BBC News, Los Angeles. Available from: [Accessed 14 September, 2006]
• Leitch, Luke (2006) Banksy hits the big time [Internet] Timesonline, The Times. Available from: [Accessed 20 September, 2006]
• Pryor, Fiona (2007) On the trail of artist Banksy [Internet] Entertainment report, BBC News. Available from: [Accessed 8 February, 2007]
• Teodorczuk, Tom (2007) Thieves Steal Banksy Art...and the wall, too [Internet] Arts & Exhibitions News, Evening Standard. Available from: [Accessed 26 January, 2006]
Books
• Banksy (2001) Banging Your Head Against a Brick Wall UK: self-published by Banksy.
• Banksy (2002) Existencilism England: Weapons of Mass Distraction
• Banksy (2005) Wall And Piece London: The Random House Group Limited.
• Bou, Louis (2005) Street Art: the spray files 1st ed. New York: Collins Design.
• Burns, Kelly (2005) New York Street Art 1st ed. Berlin: Die Gestalten Verlag GmbH & co. KG.
• Brake, Michael (1990) Comparative Youth Culture: the sociology of youth culture and youth subcultures in America, Britain and Canada 3rd ed. London: Routledge.
• Chalfat, Henry and Prigoff, James (1987) Spraycan Art London: Thames & Hudson Ltd.
• Cooper, Graham, Sargent, Doug (1979) Painting the town Oxford: Phaidon Press Limited.
• Dawson, Barry (2001) Street Graphics Cuba London: Thames & Hudson Ltd.
• Ediciones Polígrafa, S.A. (2004) Marcel Duchamp NewYork: Harry N. Abrams, Incorporated.
• Freeman, Richard (1966) Graffiti London: Hutchinson & co Ltd.
• Hoover, Stewart M, Lundby, Knut (1997) Rethinking Media, Religion and Culture California: Sage Publications, Inc.
• Hundertmark, Christian (2003) The Art of Rebellion: world of street art Corte Madera: Gingko Press Inc.
• Hundertmark, Christian (2006) The Art of Rebellion 2: world of urban art activism Germany: Publikat Verlags und Handels GmbH & Co. KG.
• James T. and Murray,Karla L. (2006) Burning New York 1st ed. USA: Gingko Press Inc.
• Joaquin Ruiz Millet (2003) Photograffiting: scenes, graffiti in Barcelona Barcelona: Index Book.
• Kirk Varnedoe and Adam Gopnik (1990) High & Low: Modern Art and Popular Culture New York: The Museum of Modern Art.
• Labonté, Paul (2003) All City: the book about taking space Canada: ECW Press.
• Lea Vergine (1996) Art on the Cutting Edge: a Guide to Contemporary Movements Milano: Skira Editore.
• Lippard, Lucy R. (1971) Dadas on Art New Jersey: Prentice Hall, Inc.
• MacNaughton, Alex (2006) London Street Art München, Berlin, London, New York: Prestel Verlag.
• MacPhee, Josh (2004) Stencil Pirates: a global study of the street stencil Brooklyn: Soft Skull Press.
• Manco, Tristan (2002) Stencil Graffiti London: Thames & Hudson Ltd.
• Manco, Tristan (2004) Street Logos 1st ed. London: Thames & Hudson Ltd.
• Manco, Tristan, Lost Art, Caleb Neelon (2005) Graffiti Brasil London: Thames & Hudson Ltd.
• Mangler, Christoph (2006) City Language Berlin München, Berlin, London, New York: Prestel Verlag.
• Michiko Rico Nosé (2002) New York City Graffiti 4th ed. Tokyo: Graphic- Sha Publishing co, Ltd.
• Murry, James and Murry, Karla (2002) Broken Windows: Graffiti NYC USA: Gingko Press, Inc.
• Robinson, David (1990) SoHo Walls: beyond graffiti New York: Thames and Hudson Inc.
• Schlee, Siggi (2005) Fadings: graffiti to design, illustration and more. 1st ed. USA: Gingko Press Inc.
• Shepard Fairey (2002) Post no Bills 1st ed. California: Kill Yr Idols/ Gingko press Inc.
• Storr, Anthony (1973) Jung: Archetypes and the collective unconscious 6th ed. Glasgow: William Collins Sons & co. Ltd.
• Zimmermann, Sven (2005) Berlin Street Art München, Berlin, London, New York: Prestel Publishing Ltd.
Online images
1. The cave of Lascaux (2007) [online image] Available from < http://www.culture.gouv.fr/culture/arcnat/lascaux/img/2d2.jpg > [Accessed 24 March 2007]
2. Think Tank (2003) [online image] Available from < http://www.amazon.co.uk/Think-Tank-Blur/dp/B00008LJFP> [Accessed 24 April 2004]
3. Bomb Middle England (2007) [online image] Available from < http://news.bbc.co.uk/1/hi/entertainment/6340109.stm> [Accessed 8 February 2007]
4. Ce qu'on ne m'a pas donné je L'ai Prís (2006) [online image] Available from < http://www.missticinparis.com/misstic_2006.html> [Accessed 3 December 2006]
Film
• Basquiat (1996) written and directed by Julian Schnabel, Miramax Film Crop, 107 mins [DVD: DVD vedio]
Newspaper Articles
• Hibbert, Katharine (2007) The London Newspaper, writes report. Banksy and Degas in ballet art sale, 6th February 2007.
World Wide Web Documents
• Aujoulat (N.) et al (retrieved in 2007) The cave of Lascaux: learn Available from:
• Bowes, Peter (2006) 'Guerrilla artist' Banksy hits LA [Internet] BBC News, Los Angeles. Available from:
• Leitch, Luke (2006) Banksy hits the big time [Internet] Timesonline, The Times. Available from:
• Pryor, Fiona (2007) On the trail of artist Banksy [Internet] Entertainment report, BBC News. Available from:
• Teodorczuk, Tom (2007) Thieves Steal Banksy Art...and the wall, too [Internet] Arts & Exhibitions News, Evening Standard. Available from:
Saturday, 7 April 2007
Half Obey ?
Shepard Fairey (2002) is seemed as a celebrity in street art field, the imagery of Andre the Giant renowned for its concept that to question of our surroundings after he stuck the first giant sticker in 1989, as well as various gallery shows ensued since 1992. The terms of the cooperation Obey Giant with commercial graphic design e.g. sports and music industry. The statement is no longer existent through the popularity with the typography of Obey campaign and the iconography of Andre the Giant.
Tuesday, 13 March 2007
Friday, 2 March 2007
ATLANTA PUBLIC ADVERTISING
These paste-up posters have become a major factor in music release strategy in Atlanta, and they're found in all the most conspicuous places near the city entrance. This pair is prepared from a national budget, no doubt, and are executed with top production values, but they hang on the side wall of a deserted store in a poor neighborhood.
Here we see Coca-Cola trying to use urban viral advertising art on the door of a burned-out garage that can be seen from one of Atlanta's inbound commuter trains.
Here we see Coca-Cola trying to use urban viral advertising art on the door of a burned-out garage that can be seen from one of Atlanta's inbound commuter trains.
Subscribe to:
Posts (Atom)