In search of academic legitimacy: The current state of scholarship on graffiti and street art

Ross, Jeffrey Ian; Bengtsen, Peter; Lennon, John; Phillips, Susan A.; Wilson, Jacqueline Z.

doi:10.1016/j.soscij.2017.08.004

Cited by 39 publications

(40 citation statements)

References 17 publications

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“…Since the aspiration of the editor is to provide an extensive overview of the field -as expressed both in the foreword and introduction (pp.xxviii, 6) -the volume has definitely succeeded in achieving its goal. At the same time, the book makes a contribution to the legitimisation of graffiti and street art scholarship -an aim that is more clearly stated in a later article that the editor co-authored with some of the contributors of the collection (Ross et al 2017)while also serving as a handy teaching tool for courses in various disciplines in social sciences (Ross and Lennon 2018).…”

Section: Mohammed Rahmanmentioning

confidence: 99%

The Role of Prison in Europe: Travelling in the Footsteps of John Howard (Palgrave Studies in Prisons and Penology) T. Vander Beken. Basingstoke: Palgrave Macmillan (2016) 243pp. £79.99hb ISBN 978‐3‐319‐29387‐5

Davie

2019

Howard J Crime Justice

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Section: Mohammed Rahmanmentioning

confidence: 99%

The Role of Prison in Europe: Travelling in the Footsteps of John Howard (Palgrave Studies in Prisons and Penology) T. Vander Beken. Basingstoke: Palgrave Macmillan (2016) 243pp. £79.99hb ISBN 978‐3‐319‐29387‐5

Davie

2019

Howard J Crime Justice

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“…4 See URL: https://osf.io/nykr6/ (Retrieved 17 June 2019). regard the two media as contemporary variants of urban creativity in general (Ross J. I. et al, 2017), being separate, but to some extent overlapping. The following characteristics of street art can be argued to be central (Bengtsen, 2014;Blanché, 2015;Hansen and Flynn, 2016;Hoppe, 2014):…”

Section: Street Art In Focusmentioning

confidence: 99%

Stories of resistance in Greek street Art: A cognitive-semiotic approach

Stampoulidis

2019

PJOS

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In line with cognitive semiotics, this paper suggests a synthetic account of the important but controversial notion of narrative (in street art, and more generally): one that distinguishes between three levels: (a) narration, (b) underlying story, and (c) frame-setting. The narrative potential of street art has not yet been considerably studied in order to offer insights into how underlying stories may be reconstructed from the audience and how different semiotic systems contribute to this. The analysis is mainly based on three contemporary street artworks and two political cartoons from the 1940s, involving the same frame-setting, which may be labeled as “Greece vs. Powerful Enemy.” The study is built on fieldwork research that was carried out during several periods in central Athens since 2014. The qualitative analyses with the help of insights from phenomenology show that single static images do not narrate stories themselves (primary narrativity), but rather presuppose such stories, which they can prompt or trigger (secondary narrativity). Notably, the significance of sedimented socio-cultural experience, collective memory and contextual knowledge that the audience must recruit in order to reconstruct the narrative potential through the process of secondary narrativity is stressed. Author BiographyGeorgios Stampoulidis, Centre for Language and Literature, Division for Cognitive Semiotics, Lund University, Sweden Georgios Stampoulidis is a PhD candidate at the Division for Cognitive Semiotics at Lund University. His research interests are in the fields of polysemiotic communication and multimodality, narrative and metaphor, and urban creativity. His work focuses on street art as a cross-cultural medium of meaning-making, cultural production and political intervention in urban space, and thus, he has previously conducted fieldwork in Athens, Greece. His most recent publications are “A Cognitive Semiotic Exploration of Metaphors in Greek Street Art” (Cognitive Semiotics, 2019) and “Urban Creativity in Abandoned Places. Xenia Hotels Project, Greece” (Nuart Journal, 2019). Currently, he is research fellow at Urban Creativity Lund and Scandinavian Metaphor networks.

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“…Graffiti is a mass noun generally used to describe writings or drawings made on walls to be publicly seen, from the ancient inscriptions to the social phenomenon of tagging names in public locations [1,2]. The term has become even more elastic and in recent decades has also been used to refer to a contemporary form of visual art, usually wall paintings, done illegally or commissioned, in public spaces [3]. There is no consensus in the terminology that describes this more art-related meaning, and this type of graffiti is often called graffiti art [4], independent public art [5], or the most known and general term, street art [6].…”

Section: Introductionmentioning

confidence: 99%

Art through the Colors of Graffiti: From the Perspective of the Chromatic Structure

Feitosa-Santana

Gaddi

Gomes

et al. 2020

Sensors

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Graffiti is a general term that describes inscriptions on a wall, a practice with ancient origins, ranging from simple drawings and writings to elaborate pictorial representations. Nowadays, the term graffiti commonly describes the street art dedicated to wall paintings, which raises complex questions, including sociological, legal, political and aesthetic issues. Here we examine the aesthetics of graffiti colors by quantitatively characterizing and comparing their chromatic structure to that of traditional paintings in museums and natural scenes obtained by hyperspectral imaging. Two hundred twenty-eight photos of graffiti were taken in the city of São Paulo, Brazil. The colors of graffiti were represented in a color space and characterized by several statistical parameters. We found that graffiti have chromatic structures similar to those of traditional paintings, namely their preferred colors, distribution, and balance. In particular, they have color gamuts with the same degree of elongation, revealing a tendency for combining similar colors in the same proportions. Like more traditional artists, the preferred colors are close to the yellow–blue axis of color space, suggesting that graffiti artists’ color choices also mimic those of the natural world. Even so, graffiti tend to have larger color gamuts due to the availability of a new generation of synthetic pigments, resulting in a greater freedom in color choice. A complementary analysis of graffiti from other countries supports the global generalization of these findings. By sharing their color structures with those of paintings, graffiti contribute to bringing art to the cities.

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In search of academic legitimacy: The current state of scholarship on graffiti and street art

Cited by 39 publications

References 17 publications

The Role of Prison in Europe: Travelling in the Footsteps of John Howard (Palgrave Studies in Prisons and Penology) T. Vander Beken. Basingstoke: Palgrave Macmillan (2016) 243pp. £79.99hb ISBN 978‐3‐319‐29387‐5

The Role of Prison in Europe: Travelling in the Footsteps of John Howard (Palgrave Studies in Prisons and Penology) T. Vander Beken. Basingstoke: Palgrave Macmillan (2016) 243pp. £79.99hb ISBN 978‐3‐319‐29387‐5

Stories of resistance in Greek street Art: A cognitive-semiotic approach

Art through the Colors of Graffiti: From the Perspective of the Chromatic Structure

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