1/4/2024 0 Comments Graffiti styles![]() The Street Art Book: 60 Artists in Their Own Words. Blackshaw and Farrelly 2009 presents many contemporary graffiti artists with short texts and images.īlackshaw, Ric, and Liz Farrelly. ![]() Powers 1999 takes a historical approach to explain and analyze the movement’s background, while McCormick and Seno 2015 not only outlines the various techniques of modern graffiti, but also explores the ethics and potential motivations behind this art form. Danysz and Dana 2011 looks back on the forty-year history of modern graffiti and its first foray into the galleries. Ganz 2006, as well as Syrup and Cyris 2015, bring together collections about women in this mainly male-dominated art space. Walde 2015 highlights the progress of graffiti as it moved into the realm of large and mostly commissioned murals. ![]() Hundertmark 2016 follows with his ongoing series (previous volumes having been published in 2004, 2006, and 2010), and Schacter 2013 focuses on the worldwide movement in the form of a graffiti atlas. In one of the first major surveys, Ganz 2004 presents this global art in a far-ranging publication. The individual titles provide basic overviews on countries, styles, and forms. This section functions as an introduction to the worldwide publications about the graffiti and street art movement. So too must the scholarship in this field, as illustrated by the sampling of sources included here. Graffiti, as an art, contains various forms of expression and is constantly evolving to accommodate new styles, techniques, and approaches. Some of these commentaries are presented in this article. Scientific research on the social, cultural, psychological, or criminal aspects of graffiti are mainly carried out as dissertations or scientific treatises. Each book functions as a sort of time-capsule, because graffiti is ever-evolving, not to mention ephemeral, as many of the works shown in these books do not exist anymore. Other sources go beyond the visual aspects, including extended texts with commentary, interviews, and quotes from the artists themselves. ![]() Many of these publications, as the topic suggests, are illustrated books, focusing on particular artists, different styles of graffiti, and historic backgrounds. There is now a substantial body of popular publications devoted to the subject of graffiti or street art, as it is sometimes classified, though most scholars differentiate the two categories. Today, graffiti can be found almost everywhere, having quickly become a global movement that shares common philosophies, techniques, and roots. The rise of the internet also played a major role in bringing this art form into every corner of the world. Toward the end of the 1980s, the publications Spraycan Art and Subway Art helped to popularize graffiti all over the world. The modern practice of graffiti in public spaces emerged around 1965–1966 in Philadelphia and New York, although other forms of unsolicited art in public spaces existed in Europe and Arabic countries around the same time. Many practitioners have an artistic approach toward graffiti, though some may approach it in a manner that could be construed as vandalism. This article focuses on the modern forms of graffiti, with its several subgenres, as well as exploring the way we understand the term “graffiti” as it is used today. These early examples of graffiti help to shed light on ancient societies, while contemporary graffiti is considered to be a reflection of urban life. Indeed, the word graffiti derives from the Italian word graffito (translated as “something scratched”). The word “graffiti” was first used by archaeologists and antiquaries around the year 1850 to describe scratched inscriptions found at ancient archaeological sites. Probably the best known examples of early graffiti can be found in the caves of Lascaux, France, and Altamira, Spain. Graffiti can be seen as one of the most original art forms of mankind, with origins, according to some scholars, dating back as far as 40,000 years.
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