
@misc{149st_graffiti_2021,
	title = {Graffiti {Glossary}},
	url = {https://www.at149st.com/glossary.html},
	abstract = {Graffiti Artist's Vocabulary},
	language = {English},
	author = {@149st},
	year = {2021},
	keywords = {Graffiti, Glossary},
}

@misc{ekto1_slider_2019,
	title = {“{Slider} {\textgreater}{\textgreater}{\textgreater} change of pace. {River} {Rom}"},
	url = {https://www.instagram.com/p/B1l9SwknQ69/?igshid=MDJmNzVkMjY%3D},
	language = {English},
	author = {@ekto.1},
	year = {2019},
	keywords = {Graffiti, Instagram},
}

@misc{ekto1_note_2020,
	title = {“{NOTE} {RCS} {AWE}"},
	url = {https://www.instagram.com/p/CHab7NLBi9i/?igshid=MDJmNzVkMjY%3D},
	language = {English},
	author = {@ekto.1},
	year = {2020},
	keywords = {Graffiti},
}

@article{abarca_street_2016,
	title = {From street art to murals: what have we lost?},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i2.55},
	abstract = {The mural festivals that have become common all over the world in the last five years are often called street art festivals, and the murals produced in those festivals are often referred to as street art. This use of the term creates confusion, since there are clear and fundamental differences between the smaller, unsanctioned works we used to call street art in the past decade and the huge institutional murals of today. The aim of this text is to try and identify the differences between these two practices.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Abarca, Javier},
	year = {2016},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Mural art, Festival},
	pages = {60--67},
}

@article{abarca_curating_2017,
	title = {Curating street art},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.87},
	abstract = {After being largely ignored for decades, street art has in the last ten years been increasingly assimilated by society and the art system. Numerous artists who started their careers producing street work on their own initiative and without seeking permission are now being commissioned to create official public art – mostly murals – and pieces for galleries, museums and collections. This paper looks at the differences between producing art in public space without permission and producing art for the gallery, and at the possible approaches to the commission of gallery artworks related to the street practice of an artist. It ends with an analysis of the problems and possibilities of commissioning pieces to be produced in the street without permission.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Abarca, Javier},
	year = {2017},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Curation},
	pages = {112--118},
}

@article{abarca_graffiti_2018,
	title = {Graffiti on trains, photography and {Subterráneos}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.135},
	abstract = {When contemporary graffiti first emerged in the New York of the 1970s, the game was about making your name travel around the city by painting it on the sides of subway cars, a particularly visible surface. Original graffiti writers did not need to photograph their works: contact with their audience was direct, and painted cars could circulate for months or even years before the graffiti was removed. In the eighties, many European adolescents, myself among them, began to reproduce this practice, but in our cities, painted cars were rarely allowed to go into circulation. 
Unlike the original writers, we did not paint trains to make our names visible. In most cases we knew that the trains would only be seen by the workers who cleaned them. We painted the trains mostly because of tradition, to reproduce a phenomenon that fascinated us. Thus, to prove our accomplishments, we needed to document the pieces after completing them. For European graffiti writers, photography was, from the very beginning, the main medium.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Abarca, Javier},
	year = {2018},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Train},
	pages = {142--143},
}

@book{abarca_punk_2019,
	address = {Madrid; Berlin},
	edition = {Second},
	series = {Urbanario {Monographs}},
	title = {Punk {Graffiti} {Archives}: {The} {Netherlands}},
	language = {English},
	number = {3},
	publisher = {Urbanario; Hitzerot},
	editor = {Abarca, Javier and Chambers, Thomas},
	year = {2019},
	keywords = {Graffiti, Street art, Graffiti writing, the Netherlands, Punk},
}

@article{abate_hidden_2019,
	title = {Hidden graffiti identification on marble surfaces trough photogrammetry and remote sensing techniques},
	volume = {XLII-2/W15},
	issn = {1682-1777},
	doi = {10.5194/isprs-archives-XLII-2-W15-1-2019},
	abstract = {Nowadays, considering the various methodological approaches used by the scientific community to study graffiti, there is a need for the improvement of the documentation and analysis workflow that must be addressed. Historic graffiti are recognized by scholars of different disciplines as a relevant and genuine written source, able to provide an insight into the everyday life of the past. Many studies have indeed flourished during the last decades stating the relevance of graffiti as a multidisciplinary source of information and showing, at the same time, the fragmented research scenario due to the lack of reliable and standardized methodologies. Currently, the scientific community involved in the study of graffiti has largely benefited from the use of digital technologies. However, most of the efforts and research projects were focused on the analysis of graffiti immediately visible on the surface or graffiti the position of which was easily identifiable due to the depth and width of the engraving. The proposed study is intended to tackle the documentation pipeline a step earlier than the documentation itself when the graffiti are yet to be identified. The San Marco Basilica in Venice is used as a unique case study for the analysis of non-directly visible-to-human-eye graffiti in a rather challenging environment.},
	language = {English},
	journal = {ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences},
	author = {Abate, Dante and Trentin, Mia Gaia},
	year = {2019},
	note = {Num Pages: 8},
	keywords = {Graffiti, IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), Italy, Change detection, Venice, Marble, San Marco},
	pages = {1--8},
}

@book{abbott_stonehenge_2012,
	series = {Research {Report} {Series}},
	title = {Stonehenge laser scan: archaeological analysis report: {English} {Heritage} project 6457},
	isbn = {2046-9802},
	abstract = {From May to August 2012, ArcHeritage, in collaboration with Dr Hugo Anderson-Whymark, undertook the archaeological analysis of laser scan data of Stonehenge, collected by the Greenhatch Group in March 2011. The results of the project were beyond all expectations. The investigation identified traces of stone-working on virtually every stone, revealing significant new evidence for how Stonehenge was built. In addition, all of the known prehistoric carvings were identified and examined, and numerous new carvings of axe-heads and a possible dagger were revealed. The number of prehistoric axe-head carvings on Stonehenge has increased from 44 to 115; this doubles the number of Early Bronze Age axe-head carvings known in Britain. Differences in patterns of tooling across Stonehenge were also identified that reveal significant new evidence for how, and potentially when, different elements of the monument were constructed. The analysis revealed that the Sarsen Circle was built and dressed with an apparent emphasis on the NE-SW solstitial axis. The study also presents new evidence allowing the question of the non-completion of the Sarsen Circle to be explored. The project, funded by English Heritage, recorded all visible graffiti, damage, weathering and restoration. This revealed considerable evidence for the removal of stones from Stonehenge, and documented extensive damage from past visitors.},
	language = {English},
	number = {32-2012},
	author = {Abbott, Marcus and Anderson-Whymark, Hugo and Aspden, Dave and Badcock, Anna and Davies, Tudur and Felter, Mags and Ixer, Rob and Parker Pearson, Mike and Richards, Colin},
	collaborator = {English Heritage},
	year = {2012},
	keywords = {Graffiti, Laser scanning, Stonehenge, TLS (Terrestrial Laser Scanning), Bronze age, Point cloud},
}

@book{abel_handwriting_1977,
	address = {Westport},
	series = {Contributions in sociology},
	title = {The handwriting on the wall: {Toward} a sociology and psychology of graffiti},
	isbn = {978-0-8371-9475-2},
	language = {English},
	number = {27},
	publisher = {Greenwood Press},
	author = {Abel, Ernest L. and Buckley, Barbara E.},
	year = {1977},
	keywords = {Graffiti},
}

@book{acker_flip_2013,
	address = {Berkeley},
	title = {Flip the script: {A} guidebook for aspiring vandals \& typographers},
	isbn = {978-1-58423-460-9},
	abstract = {Graffiti remains one of the last reservoirs of well-practiced penmanship. A unique feature of this publication is its catalog of graffiti writers’ complete alphabets. We expect the uninformed observer shall come to recognize these letters for their raw beauty and skeletal forms and that the educated reader will appreciate the thought that has gone into the organization of this book. 
In Flip the Script, author Christian Acker spent 10 years gathering a wide range of hand styles, contextualizing the lettering work of graffiti writers from around the United States. Through interviews and writing samples, Flip the Script offers deep access to some of the most talented writers in the country. These hand style heavyweights share their thoughts on subjects such as how they developed their talent and how the regional graffiti dialects differ. Acker presents the material in a clean, structured layout, evoking classic typography books. This revised, updated edition remains as relevant as ever.},
	language = {English},
	publisher = {Gingko Press},
	author = {Acker, Christian P.},
	year = {2013},
	keywords = {Graffiti, Graffiti writing},
}

@article{adewumi_boxed_2021,
	title = {The {Boxed} {In} {Project} in {Abuja}, {Nigeria}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Adewumi, Kehinde Christopher and Iorvihi, Joy},
	year = {2021},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, Abuja, Nigeria},
	pages = {104--109},
}

@book{again_amsterdam_2019,
	address = {Amsterdam},
	title = {Amsterdam on tour: {The} early signs of {Dutch} graffiti},
	isbn = {978-90-829862-0-4},
	language = {English},
	publisher = {FreshCotton},
	editor = {Again and De Scene},
	year = {2019},
	keywords = {Graffiti, the Netherlands, Amsterdam},
}

@article{akkermann_and_2015,
	title = {“…and {I} want to paint it black!?”},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.18},
	abstract = {This working paper will unfold the methodological design of the PhD research project, Behind The Murals – A Participative Webdocu on the Motivations and the Reclamations of Street Art, with a focus on the incident when BLU repainted his murals at Berlin’s Cuvrybrache completely black. In contrast to BLU’s strategy – to erase his art so that it can no longer be made profitable by the investor of the lot or even by Berlin’s city marketing – I aim to investigate what other strategies against the reclamation of street art are imaginable. The main methodological question is, how is it possible to carry out this research in such a way that its results support the communities (potentially) affected by gentrification/touristification to gain a voice? The experimental methods of participatory video and digital storytelling will be applied with the target of producing a participative webdocu accompanied by a locally exhibited video installation.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Akkermann, Antje},
	year = {2015},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Digital storytelling, Re-valorisation, Valorisation},
	pages = {63--66},
}

@article{albanese_queer_2023,
	title = {Queer {Liberation} and {Street} {Art}: {Taking} {Public} {Space} and {Declaring} {Our} {Right} to {Exist}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Albanese, Daniel “Dusty”},
	year = {2023},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art},
	pages = {68--77},
}

@mastersthesis{alexiou_conceptual_2017,
	address = {Utrecht},
	title = {The conceptual notion of “the streets” in graffiti and street art: {A} search for its role, meaning and characteristics in the city of {Utrecht}},
	language = {English},
	school = {University of Utrech},
	author = {Alexiou, Christos},
	year = {2017},
	keywords = {Graffiti, Street art, the Netherlands, Utrecht},
}

@book{al-iysbahoani_book_2000,
	address = {Princeton},
	series = {Princeton series on the {Middle} {East}},
	title = {The book of strangers: {Mediaeval} {Arabic} graffiti on the theme of nostalgia},
	isbn = {1-55876-214-0},
	abstract = {A tenth-century Iraqi longing for the happy days of the past took to collecting verse graffiti left behind by travelers and others who did not feel at home where they were in order to console himself. Some of the graffiti he had come across himself; others he had only heard about or read in books, and many of them clearly belong in the realm of fiction. But all voiced sentiments similar to his own. The result of his pastime was a little book, at once sad and irreverent, that conjures up his nostalgic mood in a manner not attempted before or since in Arabic literature, rich in nostalgic poetry though it is. 
The Book of Strangers offers a translation of this work and a discussion of both its authorship, traditionally credited to the famous anthologist Abu ‘l Faraj al-Isfahani, and its cultural context. The book is intended for specialists and lay readers alike. The translation is accompanied by a commentary identifying people, places, and other matters; and though the discussion of the author and his cultural context is necessarily more technical, specialist knowledge is not taken for granted.},
	language = {English},
	publisher = {Markus Wiener Publications},
	author = {al-IỲsbahóanī, Abóu al-Faraj and Crone, Patricia and Moreh, Shmuel},
	year = {2000},
	keywords = {Graffiti, Medieval graffiti, Arabic},
}

@article{allison_operation_2020,
	title = {Operation {Jurassic} (2010–2018)},
	volume = {2},
	issn = {2535-549X},
	abstract = {Operation Jurassic is an eight-year-long collaborative personal project between sister and brother photographers Roxana and Pablo Allison that portrays their emotional journey leading up to, during, and after Pablo’s imprisonment in the United Kingdom. Their visual account uncovers feelings and the passing of time through legal documentation, paperwork, letters, diaries, drawings, and photographs, offering the viewer an intimate approach of the legal process whilst quietly raising issues of freedom of expression, graffiti, and the criminal justice system.},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Allison, Roxana and Allison, Pablo},
	year = {2020},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Operation Jurassic},
	pages = {44--55},
}

@article{almasri_heritage_2021,
	title = {Heritage {Management}: {Analytical} {Study} of {Tourism} {Impacts} on the {Archaeological} {Site} of {Umm} {Qais}—{Jordan}},
	volume = {4},
	issn = {2571-9408},
	doi = {10.3390/heritage4030138},
	abstract = {The archaeological site of Umm Qais is a popular tourist destination for both local and foreign tourists who come to appreciate the site’s archaeological history, scenic landscape, and panoramic perspective. The site was the focus of tourism planning, which included the construction of amenities and infrastructure, the creation of tourist circuits, and archaeological management. This development was linked to a rise in visitor numbers as well as the provision of a high level of service, such as parking, tickets, kiosks, restaurants, and cafés, to welcome visitors. The purpose of this study was to examine the impacts of on-site tourist services and infrastructures, as well as those of visitors, and their geographical and temporal scope on the site. The study used a qualitative approach based on case study fieldwork as a research method to achieve this goal. Personal observation, interviews with site-related stakeholders, and a checklist were used to collect data during the fieldwork. Both tourism infrastructure and visitors were proven to have a detrimental influence on tourist attractions. The site’s aesthetic pollution and structural deterioration were caused by tourism services and infrastructure. Graffiti, vandalism, and trash left by visitors exerted strong negative impacts. Furthermore, spatial and temporal negative impacts were determined by the patterns of seasonal movement of visitors and the location of infrastructure. Thus, most of the impacts were concentrated in a small portion of the site, among the western theater, the panoramic view, and the traditional Ottoman village. This research sheds light on these challenges and makes recommendations in the areas of heritage management, tourism, and visitor impact management that may be of interest to on-the-ground decision makers as well as academics.},
	language = {English},
	number = {3},
	journal = {Heritage},
	author = {AlMasri, Reem and Ababneh, Abdelkader},
	year = {2021},
	note = {Num Pages: 21},
	keywords = {Graffiti, Vandalism, Jordan, Umm Qais},
	pages = {2449--2469},
}

@book{almqvist_graffiti_2013,
	address = {Årsta},
	title = {Graffiti cookbook: {The} {Complete} {Do}-{It}-{Yourself}-{Guide} to {Graffiti}},
	isbn = {978-91-85639-60-1},
	abstract = {A rich source of inspiration for anyone interested in do-it-yourself culture. Graffiti Cookbook is a guide to the materials and techniques used within today's most creative and progressive art movement. In hundreds of pictures and illustrations and a dozen of interviews with some of the world's most famous artists the authors show how graffiti is made. From spray techniques and hand styles to tools and style analysis, Graffiti Cookbook takes us on a trip around the world in the search of the tricks and trades of graffiti writers. After hundreds of books filled with pictures of graffiti published in the last few years finally one is showing how the artists work. Graffiti Cookbook is filled with tips and examples of how to create your own piece, tag and throw up. These techniques can be used on all kinds of materials, textile, glass, metal, concrete or wood. Graffiti Cookbook gives an unique insight in the alternative art world and is a rich inspiration source for those interested in do-it-yourself-culture. Swet, Jurne, Mad C, Egs and Chob are some of the featured artists in the book.},
	language = {English},
	publisher = {Dokument Press},
	author = {Almqvist, Björn and Barenthin Lindblad, Tobias and Nyström, Mikael and Sjöstrand, Torkel},
	year = {2013},
	keywords = {Graffiti, Street art, Graffiti writing, Tags, Throw-up},
}

@book{almqvist_graffiti_2015,
	address = {Årsta},
	title = {Graffiti cookbook: {The} {Complete} {Do}-{It}-{Yourself}-{Guide} to {Graffiti}},
	isbn = {978-91-85639-75-5},
	abstract = {A rich source of inspiration for anyone interested in do-it-yourself culture. Graffiti Cookbook is a guide to the materials and techniques used within today's most creative and progressive art movement. In hundreds of pictures and illustrations and a dozen of interviews with some of the world's most famous artists the authors show how graffiti is made. From spray techniques and hand styles to tools and style analysis, Graffiti Cookbook takes us on a trip around the world in the search of the tricks and trades of graffiti writers. After hundreds of books filled with pictures of graffiti published in the last few years finally one is showing how the artists work. Graffiti Cookbook is filled with tips and examples of how to create your own piece, tag and throw up. These techniques can be used on all kinds of materials, textile, glass, metal, concrete or wood. Graffiti Cookbook gives an unique insight in the alternative art world and is a rich inspiration source for those interested in do-it-yourself-culture. Swet, Jurne, Mad C, Egs and Chob are some of the featured artists in the book.},
	language = {English},
	publisher = {Dokument Press},
	author = {Almqvist, Björn and Barenthin Lindblad, Tobias and Nyström, Mikael and Sjöstrand, Torkel},
	year = {2015},
	keywords = {Graffiti, Street art, Graffiti writing, Tags, Throw-up},
}

@techreport{alonso_urban_1998,
	title = {Urban {Graffiti} on the {City} {Landscape}: {This} paper was presented at {Western} {Geography} {Graduate} {Conference}, {San} {Diego} {State} {University} - {February} 14, 1998.},
	url = {https://iwalewapublicspace.files.wordpress.com/2012/02/alonsograffiti.pdf},
	abstract = {An analysis of graffiti on the urban environment can serve as an excellent tool in understanding behavior, attitudes and social processes of certain segments of society. The thematic content of graffiti can provide valuable information on these groups that are not often in public view in the urban environment. Subcultures in our society that have gone against the normative values that the dominant culture has laid out have been overshadowed by the practices of popular culture. Understanding graffiti can unveil hidden knowledge of these subcultures. There are several types of graffiti, each associated with a different type of culture, serving a distinct function. Gang graffiti in Los Angeles serves as an important text to understanding these groups, as the graffiti delineates space, and reemphasizes existing territory. It also serves as a tool of communication, as it constantly challenges the hegemonic discourses of the dominant, and it aids understanding the social and cultural meaning of these marginalized groups. Interpreting graffiti through the use of photos will show how gangs from different ethnic backgrounds claim space, communicate thoughts and feelings, and express group and individual identity.},
	language = {English},
	author = {Alonso, Alex},
	year = {1998},
	note = {Num Pages: 25},
	keywords = {Graffiti},
}

@article{alsenafi_multispecies_2021,
	title = {A {Multispecies} {Cross}-{Diffusion} {Model} for {Territorial} {Development}},
	volume = {9},
	doi = {10.3390/math9121428},
	abstract = {We develop an agent-based model on a lattice to investigate territorial development motivated by markings such as graffiti, generalizing a previously-published model to account for K groups instead of two groups. We then analyze this model and present two novel variations. Our model assumes that agents’ movement is a biased random walk away from rival groups’ markings. All interactions between agents are indirect, mediated through the markings. We numerically demonstrate that in a system of three groups, the groups segregate in certain parameter regimes. Starting from the discrete model, we formally derive the continuum system of 2𝐾 convection–diffusion equations for our model. These equations exhibit cross-diffusion due to the avoidance of the rival groups’ markings. Both through numerical simulations and through a linear stability analysis of the continuum system, we find that many of the same properties hold for the K-group model as for the two-group model. We then introduce two novel variations of the agent-based model, one corresponding to some groups being more timid than others, and the other corresponding to some groups being more threatening than others. These variations present different territorial patterns than those found in the original model. We derive corresponding systems of convection–diffusion equations for each of these variations, finding both numerically and through linear stability analysis that each variation exhibits a phase transition.},
	language = {English},
	number = {12},
	journal = {Mathematics},
	author = {Alsenafi, Abdulaziz and Barbaro, Alethea},
	year = {2021},
	note = {Num Pages: 39},
	keywords = {Graffiti, Territoriality, Agent-based modelling, Pattern analysis},
	pages = {1428},
}

@article{alves_diniz_graffiti_2021,
	title = {Graffiti and crime in {Belo} {Horizonte}, {Brazil}: {The} broken promises of broken windows theory},
	volume = {131},
	issn = {01436228},
	doi = {10.1016/j.apgeog.2021.102459},
	abstract = {The landscape of Belo Horizonte, Brazil is heavily graffitied, especially in its downtown area. In preparation for hosting part of the games associated with the Federation International Football Association's (FIFA's) Confederations Cup of 2013 and World Cup of 2014, the local officials implemented a zero-tolerance policy toward graffiti and graffiti writers, seeking to beautify the city and reduce crime. The policy was inspired by broken windows theory, which associates physical disorder, including the presence of graffiti, with serious crimes. This paper examines this association and evaluates the effects of the zero-tolerance policy toward graffiti in downtown Belo Horizonte at three different times (2011, 2015, and 2017). Data on graffiti were collected during three fieldwork campaigns, and crime data came from official police records. Zero-inflated negative binominal regression was used to explore the association between graffiti and serious crime. The results were inconsistent with zero-tolerance policy expectations, as the number of graffiti tags has actually increased after the implementation of the policy, and there were no statistically significant associations between graffiti and serious crimes. Graffiti writers in Belo Horizonte are very selective of where and what they write, seeking areas where their tags can achieve greater visibility and longevity, adopting spatial behaviors contrary to that employed by criminals, who generally seek anonymity and invisibility.},
	language = {English},
	journal = {Applied Geography},
	author = {Alves Diniz, Alexandre Magno and Stafford, Mark C.},
	year = {2021},
	note = {Num Pages: 11},
	keywords = {Graffiti, Brazil, Broken window theory, Belo Horizonte},
	pages = {102459},
}

@book{ambrose_dino_2022,
	address = {Piermont},
	title = {Dino {Style}: {Dinosaurs} \& {Graffiti}},
	isbn = {978-8-9860880-4-4},
	abstract = {Learn about 16 dinosaurs through the visual power of graffiti! 
Since its beginnings, graffiti art has always emphasized the importance of a writer’s nickname, a single word colorfully painted to grab attention and leave a lasting impression. DINO STYLE pays tribute to this tradition by taking a trip through a graffiti writer’s black book to learn about dinosaurs. Each dinosaur has a graffiti nickname which will help young readers to remember it. 
Written and illustrated by a public school science teacher and graffiti enthusiast, DINO STYLE is sure to become a stand out addition to every child’s book collection.},
	language = {English},
	publisher = {Bunbury's Books},
	author = {Ambrose, Rob},
	year = {2022},
	keywords = {Graffiti, Dinosaur},
}

@phdthesis{amor_garcia_alisis_2017,
	address = {València},
	type = {{PhD} thesis},
	title = {Análisis de {Actuación} para la {Conservación} de {Grafiti} y {Pintura} {Mural} en {Aerosol}. {Estudio} del {Strappo} como {Medida} de {Salvaguarda}},
	abstract = {Graffiti and street art are two young artistic and expressive manifestations present - both directly or indirectly - in the day-to-day life of almost anyone. Beyond their initial categorization as vandalistic expressions far from the perception of an organized society, graf ti and street art have transformed the conception of mural art and regained its importance again in the public environment. Despite the rejection that these practices have suffered for years - due to the illegal condition of their actions -, many people do not pay attention to those particularities, and focus on what the artworks have to offer to the environment. On the one hand, this produces the promotion of maintenance campaigns to keep them in their best state inside - or outside - from where they were created. But, on the other hand, the procedures, the techniques and the concepts, differ from a traditional practice, so that, due to the youth, general incomprehension and variety of materials, studies related to their conservation in this matter are scarce. The research made for this doctoral thesis tries to compensate this shortage, initiating a search on mechanisms of conservation and restoration applicable to those typology of artworks. In order to achieve this, it has been completed a rst approach to understand their concepts, objectives, relationships with the environment and procedures. Similarly, the research has focussed in the application of a particular conservation system: the strappo detachment; adapting this mechanism to aerosol mural paint as a last safeguard avaliable. For all this, the research in this doctoral thesis is divided into two distinct but continuous parts, the theoretical corpus and the experimental corpus, which are distributed as follows. Firstly, the theoretical corpus, deals with all those questions related to the understanding of contemporary graf ti as a social artistic movement, begun in the late 1960s in the United States. In addition to its relationship with other artistic practices, and with it, the development of what is known nowadays as street art. At the same time, it is exposed the importance that both forms of independent public art have supposed for the contemporary mural art and the peculiarities that the aerosol painting offers within it. And, nally, the possibilities of the application of conservation and restoration processes on the same practices. Also, considering the opinion of graf ti writers and street artists, the public support, and the criteria and adaptations needed in behalf the restoration in contemporary times and speci cally, the use of the detachment systems. Secondly, the experimental corpus, which focusses on the application of the strappo system following the re ections provided by the theoretical corpus. This part presents an in depth study of material possibilities in the application of strappo on murals made with aerosol paint, a fundamental technique in grafditi and very recurrent in street art murals. In this way, structured trials are presented in which diverse materials are combined. The results are evaluated both during and at the end of the processes, individually and in general. Also, all the trials used have the objective to analyse the changes present in their surface. This research aims only to open the way to the possibilities of conservation of these alternative artistic practices, adapting some particularities of grafditi ans street art to the perspective of art restoration.},
	language = {Spanish},
	school = {Universitat Politècnica de València},
	author = {Amor Garcia, Rita Lucía},
	year = {2017},
	doi = {10.4995/Thesis/10251/89086},
	keywords = {Graffiti, Conservation, Murals},
}

@article{amor_garcia_when_2017,
	title = {When documenting doesn’t cut it: {Opportunities} and alternatives to intangible conservation},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.63},
	abstract = {Conservation of urban art is a subject in vogue in contemporary academic research. It may seem like a new topic of discussion – a new field of understanding – but the preservation of the ideas and forms of urban art practices has certainly been present since the very beginnings of graffiti and street art. Although generally practices related to urban art are considered ephemeral, when an artwork, style or general practice acquires value, conservation is the only way to prolong its idea – its life. The proceedings to allow that statement could be twofold: The first one is using intangible conservation mechanisms as simple as keeping the idea by photographic and video records; promoting spaces for the practices; documentation of styles, forms, ideas, states; developing new researches, and so on. The second, main topic of discussion in this paper, is the application of more intricate mechanisms when wider objectives are presented because of the significant importance of the artwork for the public, based on trying to keep the materiality of the artwork in addition to maintaining its idea. In these cases, tangible conservation mechanisms should be applied. This paper questions the limits of intangible conservation and the possibilities that tangible conservation could offer in the physical and conceptual preservation of the alternative contemporary art practices that involve urban art. Nevertheless, it is not forgotten that the application of conservation-restoration mechanisms could be questioned, so additionally to the alternatives that tangible conservation offers, the criteria used for its general application will be reviewed.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Amor Garcia, Rita Lucía},
	year = {2017},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Urban art, Conservation, Restauration, Tangible},
	pages = {54--61},
}

@article{anderson_going_2012,
	title = {Going ‘{All} {City}’: {The} {Spatial} {Politics} of {Graffiti}},
	volume = {5},
	abstract = {This essay examines the spatial politics of graffiti, primarily focusing on the development of the art in New York City from the late 1960s and early 1970s onwards. Heeding Murray Forman’s observation that “there has been little attention granted to the implications of hip hop’s spatial logics,” this work follows in the footsteps of scholarship which has incorporated a spatial analysis of graffiti, such as Tricia Rose’s book Black Noise, by arguing space is central to the politics and subversive force of graffiti as an art form. In particular, I contend that the spatial politics of graffiti must be understood within the contexts of, and as a response to, the construction of the ghetto as a space of confinement. After a brief overview of the history of the built environment of the ghetto, I posit that graffiti resists and undermines the invisibility and confinement imposed by inner city space on individuals of color in three distinct but overlapping ways. The first is through the inscription of inner city youth identity on the very streetscapes that seek to render those identities invisible. The second is through graffiti’s symbolic and literal reclaiming/destruction of the metropolitan spatial arrangement which keeps black and Hispanic residents of the ghetto impoverished and exploited. Finally, the “bombing” of trains with graffiti tags and “pieces” resists the hegemonic spatial constructions of the urban landscape by giving mobility to the inner city youth identities the ghetto is designed to confine. This essay ends with thoughts on the way graffiti forces us to rethink and reexamine our current urban spatiality and what lessons graffiti’s resistance to spatial constructs provides about how to more equitably structure our society.},
	language = {English},
	journal = {SHIFT. Graduate Journal of Visual and Material Culture},
	author = {Anderson, Colin L.},
	year = {2012},
	note = {Num Pages: 23},
	keywords = {Graffiti, Identity, New York, Space},
	pages = {1--23},
}

@article{andrei_i_2020,
	title = {I {Am} the {Revolution}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Andrei, Cybèle},
	year = {2020},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art},
	pages = {97--104},
}

@phdthesis{andron_graffiti_2018,
	address = {London},
	type = {{PhD} thesis},
	title = {Graffiti, {Street} {Art} and the {Right} to the {Surface}: {For} a {Semiotic}, {Cultural} and {Legal} {Approach} to {Urban} {Surfaces} and {Inscriptions}},
	abstract = {The vertical surfaces of cities are archives of urban identities, and contested terrains of occupation and visibility. They provide a location for numerous signs, markings and inscriptions, whose visual, material and territorial dynamic is under permanent negotiation. This thesis takes as its subject this dynamic between urban surfaces and inscriptions, to understand their spatial politics and their impact on urban cultures. The thesis focuses particularly on graffiti and street art as forms of surface inscriptions, and analyses their cultural, legal and spatial development from New York in the 1970s to contemporary London. The thesis provides a critical reading of the nomenclature of these practices and their institutional appropriations by local administrations, the art market and urban branding strategies. Graffiti and street art are discussed in relation to neoliberal urban governance agendas, between criminalisation, eradication, and commodification as part of the creative cities paradigm. Methodologically, the thesis engages with close readings of urban surfaces, as well as the discourses that manage them. I propose surface semiotics as an original method to interpret inscriptions in-situ, which I use as a form of analytical visual method throughout the thesis. Approaches from art sociology, visual culture and legal geography are also used to address concepts such as the image of the city, urban property regimes, and issues of access and control of urban spaces. This thesis is a contribution to urban studies, street art and graffiti studies, and a foundational step towards establishing a field of surface studies. Based on a close analysis of city surfaces and inscriptions, the main argument of this project is that urban surfaces are spaces of collective political production and agency, and are key sites for the exploration of urgent notions such as the right to the city and the urban commons.},
	language = {English},
	school = {University College London},
	author = {Andron, Sabina},
	collaborator = {Borden, Iain and Campkin, Ben},
	year = {2018},
	keywords = {Graffiti, Street art},
}

@article{andron_enter_2019,
	title = {Enter the {Surface}-{Interface}: {An} {Exploration} of {Urban} {Surfaces} as {Sites} of {Spatial} {Production} and {Regulation}},
	volume = {22},
	issn = {1071-4391},
	url = {https://www.leoalmanac.org/enter-the-surface-interface-an-exploration-of-urban-surfaces-as-sites-of-spatial-production-and-regulation-sabina-andron/},
	abstract = {This article uses the concept of interface to discuss the vertical surfaces of the built environment as interactive locations of spatial production and regulation. I use interface as a verb and a noun to define the capacity of urban surfaces to display the multiple making of urban space and various claims to citizenship, in the form of material surface inscriptions.  
Using examples from my investigations of surfaces in London, UK, I examine their occupation by inscriptions such as graffiti and street art, to demonstrate how these articulate the interfacing capacity of surfaces. The objective is to develop a discourse around urban surfaces as loci of spatial production and governance, by exploring the theoretical and analytical affordances of the interface. I therefore propose the concept of surface-interface, which I define as a site of spatial production which enables both the regulation and subversion of the image of the city, through a visualization of the power regimes that aim to control it. 
The essay proposes an activation and enrichment of the space of the surface through a conceptual alignment with that of the interface, to show how urban surfaces act as portals between public and private property, and between regimes of governance and their visual and material contestations. The paper aims to contribute to conversations about spatial articulations of power and citizenship and add to a growing body of research on urban walls and surfaces as key political spaces of contemporary cities.},
	language = {English},
	number = {4},
	journal = {Leonardo Electronic Almanac},
	author = {Andron, Sabina},
	year = {2019},
	keywords = {Graffiti, Street art},
}

@book{arandelovic_public_2018,
	address = {Cham},
	series = {The {Urban} {Book} {Series}},
	title = {Public {Art} and {Urban} {Memorials} in {Berlin}},
	isbn = {978-3-319-73493-4},
	abstract = {This book provides insight into the significant area of public art and memorials in Berlin. Through diverse selected examples, grouped according to their basic character and significance, the most important art projects produced in the period since World War II are presented and discussed. Both as a critical theoretical work and rich photo book, this volume is a unique selection of Berlin’s diverse visual elements, contemporary and from the recent past. Some artworks are very famous and are already symbols of Berlin while others are less well known. Public Art and Urban Memorials in Berlin analyzes the connections created by public art on one hand, and urban space and architectural forms on the other. 
This volume considers the Berlin works of iconic artists such as Christo and Jeanne-Claude, Daniel Libeskind, Dani Karavan, Bernar Venet, Keith Haring, Christian Boltanski, Richard Serra, Peter Eisenman, Henry Moore, Claes Oldenburg and Coosje van Brüggen, Wolf Vostell, Gerhard Richter, Eduardo Chillida, Jonathan Borofsky, Olaf Metzel, Sol LeWitt, Frank Gehry, Max Lingner, Bernhard Heiliger, Frank Thiel, Juan Garaizabal and more. 
The reader is led through seven chapters: Creative City Berlin, Introduction to Public Art, Public Art in Berlin, the Celebration of Berlin’s 750th Anniversary in 1987, Temporary public art, Socialist Realism in Art, and Urban Memorials. The chapter Public Art in Berlin discusses selected projects, Bundestag Public Art Collection, Public Art at Potsdamer Platz and The City and the river – a renewed relationship. The chapter on urban memorials discusses: Remembering the Divided City and Holocaust Memorials in Berlin. 
The book delivers nine interviews with artists whose Berlin work is revealed through this volume (Bernar Venet, Hubertus von der Goltz, Dani Karavan, Juan Garaizabal, Susanne Lorenz, Kalliopi Lemos, Frank Thiel, Karla Sachse and Nikolaus Koliusis).},
	language = {English},
	publisher = {Springer International Publishing},
	author = {Arandelovic, Biljana},
	year = {2018},
	doi = {10.1007/978-3-319-73494-1},
	keywords = {Street art, Berlin, Urban art},
}

@book{arbet_like_2009,
	address = {Årsta; Lyon},
	title = {Like lipstick traces: {Daily} life polaroids from graffiti writers},
	isbn = {978-91-85639-20-5},
	language = {English},
	publisher = {Dokument Press; Hello},
	editor = {Arbet, Aurélien and Egry, Jérémie},
	year = {2009},
	keywords = {Graffiti},
}

@article{arluke_are_1987,
	title = {Are the times changing? {An} analysis of gender differences in sexual graffiti},
	volume = {16},
	issn = {0360-0025},
	doi = {10.1007/BF00302846},
	abstract = {This study examined the assumption that the gender gap has narrowed over time in the writing of sexual graffiti from male and female bathrooms of five colleges and universities in 1972 and 1984. In both studies, female graffiti, in relation to male graffiti, made fewer sexual references. In addition, female graffiti were more socially acceptable in regard to langauge and content. Overall, these results suggest that the decade of the 1970s may have had little or no impact on the pattern of gender differences in the sexual content and social acceptability of wall writings.},
	language = {English},
	number = {1-2},
	journal = {Sex Roles},
	author = {Arluke, Arnold and Kutakoff, Lanny and Levin, Jack},
	year = {1987},
	note = {Num Pages: 7},
	keywords = {Graffiti, Gender, Sexual},
	pages = {1--7},
}

@article{armstrong_contested_2005,
	title = {The {Contested} {Gallery}: street art, ethnography and the search for urban understandings},
	volume = {2},
	doi = {10.15695/amqst.v2i1.46},
	abstract = {This is a paper on street art and its role as a form of artistic insurrection that challenges popular understandings of public space and urban visual culture. I would like to think of it as a field guide to urban seeing, a means of revising the way in which we view the cityscape and its imagery. It is a way of imagining the city as a canvas onto which ideas may be inscribed and reinterpreted, where resistance percolates up to those who look for it. It is here, in what Kathleen Stewart has called a “place by the side of the road” that the work of the street artist exists, slowly gurgling up through the cracks in the sidewalk and briefly illuminated by the yellow-white glow of the street lights. 
Street art most often takes the form of adhesive stickers, spray-painted stencils, and wheat-pasted posters, and while it shares many similar aesthetic and cultural characteristics with graffiti, street art embodies a unique ideology. Graffiti represents a territorialization of space (‘tagging’, or reclaiming urban spaces through the use of pseudonyms as territorial markings); street art represents a reterritorialization of space. Rather than taking space, street art attempts to re-purpose the existing urban environment. 
This paper seeks to reflect the changing dynamic of urban space through an analysis of the practice of street art. By examining the roles that street artists play in disrupting the flow of visual noise in the city, I will illuminate the cultural value and significance of this form of urban artistic resistance.},
	language = {English},
	number = {1},
	journal = {AmeriQuests},
	author = {Armstrong, Justin},
	year = {2005},
	note = {Num Pages: 18},
	keywords = {Graffiti},
}

@book{armstrong_street_2019,
	address = {London},
	series = {Art essentials},
	title = {Street art},
	isbn = {978-0-500-29433-8},
	abstract = {Street art is a phenomenon and subculture movement that reaches from the darkest urban backstreets to the most glamorous international art fairs. Despite having earned a place in the canon of twentieth-century art history, its qualifications are often disputed by both the art establishment and practitioners themselves, all concerned with notions of authenticity.This book examines how street art evolved from its origins in the 1970s New York graffiti scene to embrace many new materials, styles, and techniques. The once marginal art form has graduated into art galleries and the art market, while also heavily influencing design, fashion, advertising, and visual culture. Simon Armstrong walks readers through its controversial history, taking in the movement’s significant artists, artworks, and methods, and showcasing the works that have come to define it. He also discusses its close relationship to pop art and digital art, and explores possible futures for street art.Packed with detail and written in an engaging, accessible style, this latest installment in the Art Essentials series is a must-read for lovers of street art and anyone interested in the way art movements gradually join the mainstream.},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Armstrong, Simon},
	year = {2019},
	keywords = {Graffiti, Street art},
}

@book{armstrong_street_2019-1,
	address = {Paris},
	series = {L'art en poche},
	title = {Street art},
	isbn = {978-2-08-146003-4},
	abstract = {Des tunnels de métro et ruelles sombres aux foires d'art internationales les plus hypes, le street art est devenu un phénomène mondial. Simon Armstrong explore ses fondements et montre l'influence durable de la culture du graffiti des années 1960 à Philadelphie et des années 1970 à New York sur le street art d'aujourd'hui. Il décrit les relations complexes de la pratique face aux graffitis, aux lois, au marché de l'art et la gentrification à mesure qu'elle évolue et qu'elle adopte de nouveaux matériaux, styles et techniques. Ce livre regroupe de nombreux artistes parmi les plus importants de la sous-culture, des premiers tagueurs, dont Taki 183, les rois Dondi et SEEN de New York, en passant par Shepard Fairey, Banksy, Invader, Miss Van et Vhils. La créativité exubérante du street art apporte de la couleur et de l'énergie aux espaces publics du monde entier et continue de défier notre façon de penser et de voir.},
	language = {French},
	publisher = {Flammarion},
	author = {Armstrong, Simon},
	year = {2019},
	keywords = {Graffiti, Street art},
}

@book{arnaldi_che_2014,
	address = {Roma},
	series = {Piccoli {Illustrati}},
	title = {Che cos'è la street art?: {E} come sta cambiando il mondo dell'arte},
	isbn = {978-88-6718-050-9},
	language = {Italian},
	number = {3},
	publisher = {Red Star Press},
	author = {Arnaldi, Valeria},
	year = {2014},
	keywords = {Graffiti, Street art},
}

@article{arnold_aesthetic_2019,
	title = {Aesthetic practices of psychogeography and photography},
	volume = {13},
	issn = {17498198},
	doi = {10.1111/gec3.12419},
	abstract = {Psychogeographic walking and urban photography as aesthetic practices are intuitive, sensory methods for exploring and capturing diverse facets of the city. Aesthetic practices are more than just sensory methods of exploration—they are also importantly connected to performing and making art. Using examples from a study on the aesthetic implications of zero tolerance policy against graffiti in Oslo, this paper considers what these methods reveal about the city. The paper argues that this methodology has potential for studying varied topics that might benefit from the unanticipated encounters that arise with psychogeography and the visual record produced with photography. Walking brings the researcher into contact with the materialities and rhythms of the city, allowing insight into its spatial and temporal variations. Encounters with these variations and materialities can reveal how urban space is used and by whom. The playful and artistic dimensions of these practices make them inductive and revelatory methods for studying the city. The paper concludes by suggesting that such practices encourage new ways of looking at the city and have potential for exploring the aesthetic politics of cities.},
	language = {English},
	number = {2},
	journal = {Geography Compass},
	author = {Arnold, Emma},
	year = {2019},
	note = {Num Pages: 17},
	keywords = {Graffiti, Photography, City, Urban space, Norway, OSLO, Psychogeographic},
	pages = {12419},
}

@article{arnold_photography_2021,
	title = {Photography, composition, and the ephemeral city},
	volume = {53},
	issn = {0004-0894},
	doi = {10.1111/area.12725},
	abstract = {Photography is ultimately concerned with the ephemeral – with capturing and preserving transient moments. As a place in constant flux, full of ephemera and the ephemeral, the city has long been an important site for photographers. Those who study the city are increasingly incorporating photography into their research thanks to changing and more accessible technologies and epistemological shifts across the social sciences. Photographs are taking on new roles and are not only adjuncts or images that serve to illustrate or support text; they are integral to varied methodologies that centre the creation of images, from participatory methods using photo-voice to visual urban ethnographies. This paper considers how a move from illustrative and documentary style to more creative and evocative photography is changing the ways geographers compose images. Geographers are not just taking images but making them, involving themselves in a form of hybrid geographic and artistic practice. This shift involves a move from more objective to subjective framings and, in some cases, from more passive to active techniques. Taking graffiti photography as a departure, this paper explores how a hybrid geographic and artistic approach influences the composition and aesthetic qualities of images. The paper takes the reader through five compositions emerging from a study on the politics of graffiti in Norway: 1. Documentation; 2. Obstruction; 3. Abstraction; 4. Reflection; and 5. Negation. These compositions are useful in understanding the place of graffiti, one of the most contested and quintessentially ephemeral features of the urban landscape. This analysis demonstrates how a divergence from more typical representations is important in conducting critical urban photographic research, how an artistic eye is about the analytic as well as the aesthetic.},
	language = {English},
	number = {4},
	journal = {Area},
	author = {Arnold, Emma},
	year = {2021},
	note = {Num Pages: 12},
	keywords = {Graffiti, Photography, Composition},
	pages = {659--670},
}

@book{arnold_einfach_2016,
	address = {Braunschweig},
	title = {{EinFach} {Kunst}: {Street}-{Art}: {Jahrgangsstufen} 7 - 10: {Unterrichtsmodelle}},
	isbn = {978-3-14-018140-2},
	abstract = {Gestern noch vandalismusverdächtig, ist die Street-Art heute eine gefeierte Kunstbewegung, die nachhaltig zur Verwischung der Grenzen von U- und E-Kultur beigetragen hat. Den vielfältigen Formen dieser Stilrichtung ist gemein, dass es sich um eine nichtmuseale Kunstrichtung handelt, die im öffentlichen, vornehmlich städtischen Raum anzutreffen ist. Adressaten sind folglich nicht Kunstkenner, sondern tagtägliche Passanten, die die Arbeiten häufig im Vorbeigehen oder -fahren wahrnehmen. Aufgrund dieser Entstehungs- und Rezeptionsbedingungen zielt die provokative Kunstform auf schnelle Lesbarkeit. Die meist ikonische Sprache ist daher verständlich und massentauglich, in ihrer Prägnanz aber durchaus avanciert. 
In diesem Heft der Reihe EinFach Kunst werden verschiedene Positionen aus der neueren Street-Art anhand von Materialien vorgestellt. Der Fokus liegt dabei auf dem praktischen Nachvollzug und dem Kennenlernen vielfältiger Techniken, die aufgrund ihrer Aktualität und Nähe zur Jugendkultur für Schüler und Schülerinnen sehr zugänglich sind. Im Zusammenhang mit den vorgestellten Positionen finden sich praktische Anleitungen … 
zu Stop-Motion-Filmen, 
zu gesellschaftskritischen Stencils, 
zu Graffitis, Tags und Schriftbildern, 
zum installativen, spielerischen und verändernden Umgang mit vorgefundenen Orten und Zeichen (Verkehrsschildern) usw. 
Die Baustein-Struktur ermöglicht eine hohe Flexibilität im Umgang mit den Unterrichtsmaterialien, da einzelne Künstler, Werke oder praktische Aufgaben durchaus gesondert behandelt werden können.},
	language = {German},
	publisher = {Westermann},
	author = {Arnold, Sebastian and Schönhoff, Uta},
	year = {2016},
	keywords = {Graffiti, Banksy, Street art},
}

@misc{art_crimes_and_the_artists_art_2022,
	title = {Art {Crimes}: {The} {Writing} on the {Wall}. {Graffiti} art worldwide},
	url = {https://www.graffiti.org},
	abstract = {Graffiti art and style writing around the world. The first and largest online aerosol art archive, est. 1994. Links to many of the other sites devoted to modern graffiti.},
	language = {English},
	author = {Art Crimes {and} the artists},
	year = {2022},
	keywords = {Graffiti, Art Crimes},
}

@book{arte_forms_2015,
	address = {Årsta},
	title = {Forms of rockin': {Graffiti} letters and popular culture},
	isbn = {978-91-85639-74-8},
	abstract = {Are subcultures, like graffiti, floating free in their own space, or are they connected to the rest of society? In Forms of Rockin', graffiti styles are connected to graphic design and other popular culture expressions such as music, fashion, photography, industrial design and movies for the first time. Anssi Arte analyses some of the most powerful visual symbols of the 1970s, 80s and 90s and compares design, typography and graffiti styles. The visual styles of James Brown, Blade Runner, the Memphis group and grunge music all appear together with classic fonts and graffiti writers. 
The clear yet analytical narrative and carefully crafted visualizations make it appealing to both graphic design aficionados as well as graffiti enthusiasts. But Forms of Rockin' is more than that. This is a must for everybody interested in contemporary popular culture and design history. 
Forms of Rockin' traces and defines the stylistic conventions in graffiti letterforms that have become iconic and globally acknowledged ideals. From the early New York tags to the mid-1990s ugly-fresh styles of Scandinavia, Forms of Rockin' tells the story of how popular culture and graffiti styles influences each other.},
	language = {English},
	publisher = {Dokument Press; Anssi Arte},
	author = {Arte, Anssi},
	year = {2015},
	keywords = {Graffiti, Graffiti writing, Letters},
}

@book{atkins_artspeak_2013,
	address = {New York},
	edition = {Third},
	title = {Artspeak: {A} guide to contemporary ideas, movements, and buzzwords, 1945 to the present},
	isbn = {978-0-7892-1151-4},
	abstract = {An indispensable guide for art-world neophytes and seasoned professionals alike, the best-selling ArtSpeak returns in a revised and expanded third edition, illustrated in full color. Nearly 150 alphabetical entries—30 of them new to this edition—explain the who, what, where, and when of postwar and contemporary art. These concise mini-essays on the key terms of the art world are written with wit and common sense by veteran critic Robert Atkins. More than eighty images, most in color, illustrate key works of the art movements discussed, making ArtSpeak a visual reference, as well as a textual one. A timeline traces world and art-world events from 1945 to the present day, and a single-page ArtChart provides a handy overview of the major art movements in that period.},
	language = {English},
	publisher = {Abbeville Press},
	author = {Atkins, Robert},
	year = {2013},
	keywords = {Graffiti, Street art, Art},
}

@article{augusto_rodrigues_whose_2019,
	title = {Whose {Wall} is it {Anyway}?: {Using} street art to navigate the private and the public in a community},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.165},
	abstract = {In this working paper, I investigate the tensions and questions that arise when street artists use private walls in communities to create their work. I will also discuss how street art complicates, at times, traditional understandings of private and public spaces in neighbourhoods. Written in the style of academic journalism, this working paper is an attempt to work through questions that surface from trying to understand the impact street art, when positioned as public pedagogy, may have on those who live and create in a community.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Augusto Rodrigues, Anna},
	year = {2019},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {18--25},
}

@article{augusto_rodrigues_pandemic_2020,
	title = {Pandemic {PSAs}: {Raising} {Awareness} on {COVID}-19 through {Street} {Art}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.219},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Augusto Rodrigues, Anna},
	year = {2020},
	note = {Num Pages: 1
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, COVID-19},
	pages = {74},
}

@book{austin_taking_2001,
	address = {New York},
	series = {Popular cultures, everyday lives},
	title = {Taking the train: {How} graffiti art became an urban crisis in {New} {York} {City}},
	isbn = {978-0-231-11142-3},
	abstract = {In the 1960s and early 1970s, young people in New York City radically altered the tradition of writing their initials on neighborhood walls. Influenced by the widespread use of famous names on billboards, in neon, in magazines, newspapers, and typographies from advertising and comics, city youth created a new form of expression built around elaborately designed names and initials displayed on public walls, vehicles, and subways. Critics called it "graffiti," but to the practitioners it was "writing." Taking the Train traces the history of "writing" in New York City against the backdrop of the struggle that developed between the city and the writers. Austin tracks the ways in which "writing" -- a small, seemingly insignificant act of youthful rebellion -- assumed crisis-level importance inside the bureaucracy and the public relations of New York City mayoral administrations and the Metropolitan Transportation Authority for almost two decades. Taking the Train reveals why a global city short on funds made "wiping out graffiti" an expensive priority while other needs went unfunded. Although the city eventually took back the trains, Austin eloquently shows how and why the culture of "writing" survived to become an international art movement and a vital part of hip-hop culture.},
	language = {English},
	publisher = {Columbia University Press},
	author = {Austin, Joe},
	year = {2001},
	keywords = {Graffiti, Train, New York, Hip-hop},
}

@article{austin_more_2010,
	title = {More to see than a canvas in a white cube: {For} an art in the streets},
	volume = {14},
	issn = {1360-4813},
	doi = {10.1080/13604810903529142},
	abstract = {Graffiti art is neither ‘simply graffiti’ nor ‘simply art’, but a new kind of visual cultural production that exceeds both categories. Graffiti art moved beyond the neo‐dada/pop art strains of (post)modern (galleried) painting and took the next dialectical step, out into the streets: no longer paintings on canvas that mimic the image‐strewn city walls, but the city walls themselves as the canvas for new image‐making. Street art has read the signs of this historic move correctly, and has followed graffiti art in ‘taking place’ in the public sphere of the public square. These new art forms are an enhancement to contemporary urban living, a welcome growth in the living city, a disruption of the unexamined assumptions connecting urban visual culture and the existing social order. Another art city is now possible if the art in the street is taken seriously.},
	language = {English},
	number = {1-2},
	journal = {City},
	author = {Austin, Joe},
	year = {2010},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, Urban art, Graffiti art, Pop art},
	pages = {33--47},
}

@book{avellino_osservazioni_1841,
	address = {Napoli},
	title = {Osservazioni sopra alcune iscrizioni e disegni graffiti sulle mura di {Pompei}},
	language = {Italian},
	publisher = {Stamperia reale},
	author = {Avellino, Francesco Maria},
	year = {1841},
	keywords = {Graffiti, Pompeii},
}

@book{avramidis_graffiti_2017,
	address = {Abingdon; New York},
	title = {Graffiti and street art: {Reading}, writing and representing the city},
	isbn = {978-1-315-58576-5},
	abstract = {Graffiti and street art images are ubiquitous, and they enjoy a very special place in collective imaginary due to their ambiguous nature. Sometimes enigmatic in meaning, often stylistically crude and aesthetically aggressive, yet always visually arresting, they fill our field of vision with texts and images that no one can escape. As they take place on surfaces and travel through various channels, they provide viewers an entry point to the subtext of the cities we live in, while questioning how we read, write and represent them. This book is structured around these three distinct, albeit by definition interwoven, key frames. The contributors of this volume critically investigate underexplored urban contexts in which graffiti and street art appear, shed light on previously unexamined aspects of these practices, and introduce innovative methodologies regarding the treatment of these images. Throughout, the focus is on the relationship of graffiti and street art with urban space, and the various manifestations of these idiosyncratic meetings. In this book, the emphasis is shifted from what the physical texts say to what these practices and their produced images do in different contexts. 
All chapters are original and come from experts in various fields, such as Architecture, Urban Studies, Sociology, Criminology, Anthropology and Visual Cultures, as well as scholars that transcend traditional disciplinary frameworks. This exciting new collection is essential reading for advanced undergraduates as well as postgraduates and academics interested in the subject matter. It is also accessible to a non-academic audience, such as art practitioners and policymakers alike, or anyone keen on deepening their knowledge on how graffiti and street art affect the ways urban environments are experienced, understood and envisioned.},
	language = {English},
	publisher = {Routledge},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	doi = {10.4324/9781315585765},
	keywords = {Graffiti, Street art, Cultural heritage, City},
}

@book{awad_street_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Street art of resistance},
	isbn = {978-3-319-63329-9},
	abstract = {This book explores how street art has been used as a tool of resistance to express opposition to political systems and social issues around the world. Aesthetic devices such as murals, tags, posters, street performances and caricatures are discussed in terms of how they are employed to occupy urban spaces and present alternative visions of social reality. Based on empirical research, the authors use the framework of creative psychology to explore the aesthetic dimensions of resistance that can be found in graffiti, art, music, poetry and other creative cultural forms. Chapters include case studies from countries including Brazil, Canada, Chile, Denmark, Egypt, Ireland, Mexico and Spain to shed new light on the social, cultural and political dynamics of street art not only locally, but globally. This innovative collection will be of particular interest to scholars of social and political psychology, urban studies and the wider sociologies and is essential reading for all those interested in the role of art in social change.},
	language = {English},
	publisher = {Palgrave Macmillan},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5},
	keywords = {Street art, Politics, Resistance, Sociology},
}

@article{bailey_space_2022,
	title = {The {Space} in {Between} the {Poetics} of {Process} of {Oleg} {Kuznetsov}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Bailey, Elisa},
	year = {2022},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Oleg Kuznetsov},
	pages = {21--31},
}

@book{baird_ancient_2011,
	address = {New York; Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {Ancient {Graffiti} in {Context}},
	isbn = {978-0-415-87889-0},
	abstract = {Graffiti are ubiquitous within the ancient world, but remain underexploited as a form of archaeological or historical evidence. They include a great variety of texts and images written or drawn inside and outside buildings, in public and private places, on monuments in the city, on objects used in daily life, and on mountains in the countryside. In each case they can be seen as actively engaging with their environment in a variety of ways. Ancient Graffiti in Context interrogates this cultural phenomenon and by doing so, brings it into the mainstream of ancient history and archaeology. Focusing on different approaches to and interpretations of graffiti from a variety of sites and chronological contexts, Baird and Taylor pose a series of questions not previously asked of this evidence, such as: What are graffiti, and how can we interpret them? In what ways, and with whom, do graffiti communicate? To what extent do graffiti represent or subvert the cultural values of the society in which they occur? By comparing themes across time and space, and viewing graffiti in context, this book provides a series of interpretative strategies for scholars and students of the ancient world. As such it will be essential reading for Classical archaeologists and historians alike.},
	language = {English},
	publisher = {Routledge},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	keywords = {Graffiti, Roman archaeology, Greek archaeology},
}

@article{baird_youth_2022,
	title = {Youth and social media: the affordances and challenges of online graffiti practice},
	volume = {44},
	issn = {0163-4437},
	doi = {10.1177/01634437211069969},
	abstract = {The impact of social media use on youth subcultures, such as graffiti writers, has been rapid and dramatic, bringing with it a number of significant transformations that present both opportunities and challenges. This paper explores the impact of the Internet and social media on a community of graffiti practitioners. I argue that the rise and uptake of online social networking platforms such as Instagram and You Tube have offered a range of affordances to the practice of graffiti writing. These affordances include: greater accessibility to graffiti culture; learning opportunities; and opportunities for wider distribution and curation of graffiti pieces. Simultaneously, social media challenges the significance of ‘community’, that is, the physical social interaction afforded by participation in real world graffiti crews. The findings suggest that while there are tangible benefits from the use of the Internet and uptake of social media by the graffiti writing community, it is the physical communal bonds experienced within a graffiti crew that are vital to the wellbeing and continuity of the culture. This paper contributes to our understanding of how social media affects youth more broadly and specifically how social media platforms are transforming the experience of youth subcultural practice.},
	language = {English},
	number = {4},
	journal = {Media, Culture \& Society},
	author = {Baird, Ron},
	year = {2022},
	note = {Num Pages: 21},
	keywords = {Graffiti, Instagram, Social media, Youth, Facebook},
	pages = {764--784},
}

@book{bakker_graffiti_1975,
	address = {Köln},
	series = {Epigraphische {Studien}},
	title = {Graffiti auf römischer {Keramik} im {Rheinischen} {Landesmuseum} {Bonn}},
	isbn = {3-7927-0214-2},
	language = {German},
	number = {10},
	publisher = {Rheinland-Verlag},
	author = {Bakker, Lothar and Galsterer-Kröll, Brigitte},
	year = {1975},
	keywords = {Graffiti, Egypt, Roman archaeology, Roman graffiti, Cermaic},
}

@article{baldini_philosophy_2019,
	title = {A {Philosophy} {Guide} to {Street} {Art} and the {Law}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Baldini, Andrea and Bonadio, Enrico and Andron, Sabina and Hansen, Susan},
	year = {2019},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Discussion, Debate},
	pages = {109--113},
}

@article{baldini_philosophy_2018,
	title = {A {Philosophy} {Guide} to {Street} {Art} and the {Law}},
	volume = {2},
	doi = {10.1163/24684309-12340005},
	abstract = {What is the relationship between street art and the law? It is argued that street art has a constitutive relationship with the law. A crucial aspect of the identity of this urban art kind depends on its capacity to turn upside down dominant uses of public spaces. Street artists subvert those laws and social norms that regulate the city. It is shown that street art has not only transformed public spaces and their functions into artistic material, but has also turned its rebellious attitude toward the law into a creative resource. This essay aims at elucidating and arguing for this claim, while drawing important implications at the level of street art’s metaphysics, value, and relationship with rights of intellectual property, in particular copyright and moral rights. At the other end of the spectrum of contractual art, street art is outlaw art.},
	language = {English},
	number = {3},
	journal = {Art and Law},
	author = {Baldini, Andrea Lorenzo},
	year = {2018},
	note = {Num Pages: 100},
	keywords = {Graffiti, Street art, Philosophy},
	pages = {1--100},
}

@article{baldini_there_2019,
	title = {There and {Back} {Again}: {Redistributing} {Visibility} between the {Virtual} and {Real} {Alleys} of {Graffiti}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.186},
	abstract = {Blu’s 2008 short film Muto is probably the most ambitious celebration of the intimate relationship connecting new-media technologies and street art.1 Critically acclaimed and viewed almost 12 million times on YouTube, this award-winning video is a stop-motion animation of hundreds of murals that the Italian street artist painted in different cities across the globe.2 Blu’s surreal figures invade the city and their gestures are experienced and appreciated through computer screens and mobile phone displays. 
When looking at street art’s relationship with new media, Muto is hardly an exception. Technology has played a crucial role in making the street art movement a popular genre. The availability of cheap digital cameras and the possibility of photo publishing on social media have transformed graffiti – the original and most radical form of street art – from an esoteric practice into a global phenomenon. Social networks have made available to internet users a constantly expanding gallery of street artworks. Communicating technologies have then radically changed how we engage with this art form. We primarily appreciated street artworks as and through photographs, in ways suggesting epistemic and ontological primacy of the “reproduction” over the “original.” For its constitutive linked with the city, street art’s digital media revolution had then affected how we perceive, experience, and conceptualize public places. 
In this paper, I argue that post-Internet street art has significantly re-shaped urban space, questioning dominant spatial hierarchies in politically subversive ways. Street art questions what Jacques Rancière calls the “distribution of the sensible” by making visible what usually remains unseen. It does so by deploying tactics thriving on the interplay between material and digital reality. Scholars have largely overlooked this link between the virtual and the real alleys of graffiti. Street art exists in between material and virtual reality, showing the conceptual and practical impossibility of their neat separation. Today’s public space is produced and negotiated also in binary code. Section 2 discusses the subversive nature of graffiti and street art. Section 3 examines writers’ and street artists’ use of communication technology and how this affects the practices and their link with the city. 
1 “Blu, Muto, 2008.,” artforum.com, accessed May 1, 2017, https://www.artforum.com/video/mode=large\&id=24319. 
2 Vanessa Chang, “Animating the City: Street Art, Blu and the Poetics of Visual Encounter,” Animation 8, no. 3 (2013): 215–33, https://doi.org/10.1177/1746847713503280;  Brad Yarhouse, “Animation in the Street: The Seductive Silence of Blu,” Animation Studies Online Journal 8 (2013), https://journal.animationstudies.org/brad-yarhouse-animation-in-the-street-the-seductive-silence-of-blu/; Pietro Rivasi, “Megunica,” Garage, 2007.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Baldini, Andrea Lorenzo},
	year = {2019},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Banksy, Street art},
	pages = {74--77},
}

@article{baldini_graffiti_2022,
	title = {The {Graffiti} {Writer} as {Homo} {Sacer}: {Writing}, {Liminality}, and {Sovereign} {Power} in the {Neo}-{Liberal} {City}},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.627},
	abstract = {Graffiti artists are frequently regarded as "liminal" figures, or people who exist on the outskirts of society. This paper looks at one aspect of their marginal status: legal liminality. I argue, using the work of the Italian philosopher Giorgio Agamben, that writers, like the homines sacri, live in a state of legal exception. As a result, they face uncontrollable violence and are denied fundamental rights. Though writers are subjected to abuse and intimidation, their particular circumstances also position them to challenge sovereign power in neoliberal cities. They can join a community without establishing an identity because of their ambiguous situation. As a result, they undermine the inclusion/exclusion dichotomy at the heart of biopolitics.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Baldini, Andrea Lorenzo},
	year = {2022},
	note = {Num Pages: 9
Publisher: Urban Creativity},
	keywords = {Graffiti, Liminality, Street art: homo sacer},
	pages = {8--16},
}

@misc{balocchini_il_2012,
	title = {Il paradosso della street art {\textbar} {Artribune}},
	url = {https://www.artribune.com/attualita/2012/02/il-paradosso-della-street-art/},
	abstract = {La legge italiana riconosce valore a ogni gesto creativo di un autore di un’opera, qualunque ne sia il metodo generativo e la forma di espressione, collegando a tale tutela meccanismi di conservazione e protezione. La stessa legge, tuttavia, riconosce valore anche alla proprietà privata, alla proprietà pubblica e al decoro urbano. La cosiddetta “street art” mostra con evidenza i limiti di entrambe le tutele sopra indicate.},
	language = {Italian},
	urldate = {2022-11-01},
	author = {Balocchini, Claudia},
	year = {2012},
	keywords = {Graffiti, Street art},
}

@article{baltrusch_framing_2018,
	title = {Framing {Poetical} {Expression} in {Urban} {Art}: {Graffito}, {Performance} and {Poetic} {Objects} in {Public} {Space}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.142},
	abstract = {This study aims to revisit some hermeneutical aspects which are essential for a theoretical approach to the interrelated notions of the poetic and poeticity in public space. I will use examples of ephemeral poetic forms such as graffito or performance, but also some examples of poetic objects from linguistic fields such as English, Portuguese, Spanish and German. These reflections on a theoretical and methodological framework for poetry and translation in public space can be subsumed under the key concept of transit-translation. I will associate four poetic expressions from four related cultural areas, with non-lyric discourse in visual, verbo-visual and performance poetry, in public space. They will be distributed along four thematic lines which I consider crucial to the current description of the phenomenon: the intermedial-intermaterial transition, the transfer from the poetic-political to the commercial, the poetic-political multimedia project, and the conflict between the poetic and the public. Drawing from different theoretical backgrounds (Heidegger, Benjamin, Rancière, Badiou, Bhabha, Butler and Spivak), I propose that these forms of non-lyric poetry might represent the advent of a new public sphere, which is no longer exclusively formed by an idealistic, romantic tradition, but rather characterised by a hermeneutic ambiguity which suggests a reconfiguration of the subject and of poetic subjectivity. 
This study has been carried out with the framework of the research project, “Contemporary Poetry and Politics: Research on Contemporary Relations between Cultural Production and Sociopolitical Context” (POEPOLIT, FFI2016-77584-P, 2016-2019, Ministry of Economy and Competitively, Government of Spain) and the Strategic Programme UID/ELT/00500/2013 of the FCT, Portugal. The text has been translated from Spanish by Feidhlim Hanrahan.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Baltrusch, Burghard},
	year = {2018},
	note = {Num Pages: 18
Publisher: Urban Creativity},
	keywords = {Graffiti, Banksy, Street art, Public space, ±MaisMenos±, Augusto de Campos, Camilla Watson, Helmut Seethaler, Poetic},
	pages = {36--53},
}

@article{barani_participatory_2023,
	title = {Participatory {Design} in {Interior} {Architecture}: {A} {Proposal} for the {Factors} of {Adaptive} {Reuse} with {User} {Participation}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.626},
	abstract = {Nowadays, we are facing a huge number of old buildings which are abandoned or become demolished due to a change in their function or loss of resistance. Meanwhile, adaptive reuse offers sustainable strategies in which by spending less energy and money, not only is it possible to use the capacity of the building, but also, in heritage cases, it increases attention to the values of the building and has cultural and social effects. In addition, the participatory design approach can assist the designer in improving efficiency by engaging the user in different stages of the design process. In this paper, the specified process in adaptive reuse, and participatory design in the building environment are studied by referring to the library sources. We identified how the user engages in design planning with the descriptive-analytical method.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Barani, Mahshid and Dastranj, Farnaz},
	year = {2023},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Architecture},
	pages = {98--108},
}

@article{barani_applying_2020,
	title = {Applying {Contextualism} in {Designing} {Furniture}, during the {Process} of {Revitalizing} the {Historical} {Sites}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.243},
	abstract = {Revitalization is of crucial importance in revivifying historical sites and heritages. In most cases, it is associated with the reconstruction and restoration of a historical site and only considers its physical aspect, while the aspects concerning its value are not taken into consideration. However, historical sites require elements, such as environmental furniture, as a factor connecting unique historical heritages and audiences. This study, which is a systematic effort towards considering the design of environmental furniture in the process of revitalization, is applied research with a descriptive approach that evaluates the furniture existing in Persepolis based on library studies and field observations and emphasizes heeding the importance of design in terms of functions, esthetics, and semiotics in historical sites. Therefore, by explaining the patterns in the contextualism approach, an effort has been made to present solutions for designing, so that the designed furniture and equipment help understand the message of the design context. According to the results, in the process of designing the furniture for historical sites, esthetic and semiotics must be heeded in addition to functions. Therefore, the visual and functional expectations of the audience (tourists) are met during their presence, and the achieved harmony allows for a better understanding of the site’s identity.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Barani, Mahshid and Shirvani, Maryam},
	year = {2020},
	note = {Num Pages: 13
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Iran, Furniture, Persepolis, Revitalisation},
	pages = {61--73},
}

@book{baratta_instrumenta_2012,
	address = {Barcelona},
	series = {Sylloge {Epigraphica} {Barcinonensis}},
	title = {Instrumenta {Inscripta} {IV}. {Nulla} dies sine littera. {La} escritura cotidiana en la casa romana},
	isbn = {978-84-96786-46-2},
	language = {Spanish},
	number = {10},
	publisher = {Universidad de Barcelona},
	editor = {Baratta, Giulia},
	year = {2012},
}

@book{barber_3d_2007,
	address = {Swindon},
	title = {{3D} laser scanning for heritage: {Advice} and guidance to users on laser scanning in archaeology and architecture},
	language = {English},
	publisher = {English Heritage},
	author = {Barber, David M.},
	year = {2007},
	keywords = {Graffiti, Archaeology, Cultural heritage, 3D, Laser scanning, TLS (Terrestrial Laser Scanning), ALS (Airborne Laser Scanning)},
}

@book{barclay_dictionary_1983,
	address = {London},
	title = {A {Dictionary} of {Graffiti} : {Wall} writings from {A}-{Z}},
	isbn = {0-906549-42-6},
	language = {English},
	publisher = {John Clare Books},
	author = {Barclay, Bob},
	year = {1983},
	keywords = {Graffiti},
}

@article{barmpoutis_novel_2010,
	title = {A novel framework for {3D} reconstruction and analysis of ancient inscriptions},
	volume = {21},
	issn = {0932-8092},
	doi = {10.1007/s00138-009-0198-7},
	abstract = {Studying ancient inscriptions is based up to date mostly on observation and manual analysis by means of which epigraphists attempt to establish a geographical and chronological classification as well as to analyze the lettering techniques. In this paper we propose a novel framework for efficient 3D reconstruction of inscriptions and for statistical analysis of their reconstructed surfaces. The proposed framework employs a shape-from-shading technique to reconstruct in 3D the shape of the inscribed surfaces. The obtained surfaces are segmented into smaller box-shaped regions containing single letters. These letters are classified into groups of same characters or symbols and then an atlas (average) letter shape is created for each character. For the construction of those atlases we employ a functional minimization method that registers the surfaces of same letters to the unknown average surface, which is also estimated simultaneously. Using the estimated atlases, an automated analysis of the inscribed letters is performed. This framework can be effectively used for the study of the variations of the lettering techniques within an inscription or a set of inscriptions. We applied our framework to five ancient Greek inscriptions. Our results are reported in detail and the variations found in lettering techniques are commented on by archaeologists who also validate the accuracy of our proposed method.},
	language = {English},
	number = {6},
	journal = {Machine Vision and Applications},
	author = {Barmpoutis, Angelos and Bozia, Eleni and Wagman, Robert S.},
	year = {2010},
	note = {Num Pages: 10},
	keywords = {Graffiti, Epigraphy, Greek, Inscriptions, Shape from shading},
	pages = {989--998},
}

@article{barnett_death_1994,
	title = {The {Death} of {Graffiti}: {Postmodernism} and the {New} {York} {City} {Subway}},
	volume = {16},
	issn = {0888-5753},
	language = {English},
	number = {2},
	journal = {Studies in Popular Culture},
	author = {Barnett, Claudia},
	year = {1994},
	note = {Num Pages: 14},
	keywords = {Graffiti, New York, Subway},
	pages = {25--38},
}

@article{barrick_growth_1974,
	title = {The {Growth} of {Graffiti}},
	volume = {7},
	issn = {0015-5926},
	language = {English},
	number = {1-4},
	journal = {Folklore Forum},
	author = {Barrick, Mac. E.},
	year = {1974},
	note = {Num Pages: 3},
	keywords = {Graffiti, Sex, Poetry, Bathroom},
	pages = {273--275},
}

@book{bartlett_street_2017,
	address = {Carlton},
	title = {Street art},
	isbn = {978-1-78657-757-3},
	abstract = {Discover the street art scene in London, Melbourne, San Francisco and 39 other cities around the world through vivid photography. From Banksy's stencils and Invader's mosaics to amazing murals, this insider's guide provides practical details and maps of where to find secret stashes of street art, and introduces key artists, festivals and locations. Street art is now present in almost every city, town and village in the world, from Aachen to Zwolle. Its true audience is measured in the billions. And given that the first record of homo sapiens painting on walls is thought to date back around 40,000 years, it's surprising that street art has taken so long to flourish. Today, the proliferation of legal walls and organised festivals around the world makes it possible to encounter thought-provoking, transformative art in the most unexpected of places. This visual guide to the world of street art takes in the scene in over 40 cities and includes interviews with some of the most prolific and well-known street artists, including Blek le Rat, FAILE and Faith47. And with hundreds of locations plotted and a special focus on 15 of the world's most incredible street art festivals, this guide will help you discover artworks hidden in plain sight around the world. About Lonely Planet: Started in 1973, Lonely Planet has become the world's leading travel guide publisher with guidebooks to every destination on the planet, as well as an award-winning website, a suite of mobile and digital travel products, and a dedicated traveller community. Lonely Planet's mission is to enable curious travellers to experience the world and to truly get to the heart of the places they find themselves in. TripAdvisor Travelers' Choice Awards 2012, 2013, 2014, and 2015 winner in Favorite Travel Guide category 'Lonely Planet guides are, quite simply, like no other.' - New York Times 'Lonely Planet. It's on everyone's bookshelves; it's in every traveller's hands. It's on mobile phones. It's on the Internet. It's everywhere, and it's telling entire generations of people how to travel the world.' - Fairfax Media (Australia)},
	language = {English},
	publisher = {Lonely Planet},
	author = {Bartlett, Ed},
	year = {2017},
	keywords = {Graffiti, Street art},
}

@article{bartzokas-tsiompras_visual_2023,
	title = {Visual analytics of graffiti spatial patterns across 30 {European} city centres},
	volume = {50},
	issn = {2399-8083},
	doi = {10.1177/23998083221149426},
	abstract = {Graffiti as an urban phenomenon comes in different forms and materials, from simple spray slogans to wall paintings and art, containing multi-thematic content. Despite the contradictory nature of various literature opinions, reports of a positive association between wall-graffiti and fear of crime or streetscape value have emerged. However, comparative urban studies registering graffiti locations are non-existent, thereby hindering the benchmarking of urban liveability. In this work, the spatial patterns of graffiti-vandalism across 30 European city centres were investigated, using Google Street View–derived observations. A significant variation in graffiti presence across Europe was recorded, ranging from about 3\%–9\% of street segments in London, Oslo and Vienna, to roughly 70\%–76\% in Madrid, Athens and Sofia. In addition, their spatial polarisation that reflects the presence of potential socio-spatial inequities requiring further attention was demonstrated. Overall, the created geo-visualisations could enable European policymakers to facilitate better-informed response strategies and researchers to delve into the effects of graffities on urban systems and societies.},
	language = {English},
	number = {2},
	journal = {Environment and Planning B: Urban Analytics and City Science},
	author = {Bartzokas-Tsiompras, Alexandros and Konstantinidou, Eleftheria},
	year = {2023},
	note = {Num Pages: 5},
	keywords = {Graffiti},
	pages = {564--568},
}

@article{basha_development_2023,
	title = {The development of mural art in {Kosovo} 2020-2022},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.688},
	abstract = {This paper shows the graffiti art in Kosovo during the time period 2020-2022. The presented murals unfold the Kosovar and foreign artists’ work in the cities of Kosovo, such as Prishtina and Ferizaj. The presented themes are of various different types in terms of their content. The graffiti works of foreign artists who exhibited their creative work at Mural Fest-Kosova in the above-mentioned years have given me a great help in developing this study. The author has carefully analyzed these graffiti and put them as they are, showing the contribution of graphic artists to contemporary art in Kosovo and beyond.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Basha, Kosovar},
	year = {2023},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Balkan, Murals, Mural art, Kosovo},
	pages = {123--130},
}

@article{batista_copyright_2021,
	title = {Copyright {Protection} of {Graffiti} {Art} in {Brazil}: {The} {Limitation} of a {Copyright} {Limitation}?},
	volume = {52},
	issn = {0018-9855},
	doi = {10.1007/s40319-021-01092-4},
	language = {English},
	number = {7},
	journal = {IIC - International Review of Intellectual Property and Competition Law},
	author = {Batista, Pedro Henrique D.},
	year = {2021},
	note = {Num Pages: 6},
	keywords = {Graffiti, Copyright, Brazil},
	pages = {977--982},
}

@misc{baudrillard_kool_2005,
	title = {{KOOL} {KILLER} ou l'insurrection par les signes},
	url = {http://lpdme.org/projects/jeanbaudrillard/koolkiller.pdf},
	language = {French; English},
	urldate = {2022-10-07},
	publisher = {Les partisans du moindre effort},
	author = {Baudrillard, Jean},
	year = {2005},
	note = {Num Pages: 44},
	keywords = {Graffiti, Tattoo},
}

@book{bautista_museums_2014,
	address = {Lanham},
	title = {Museums in the digital age: {Changing} meanings of place, community, and culture},
	isbn = {978-0-7591-2412-7},
	language = {English},
	publisher = {AltaMira Press},
	author = {Bautista, Susana Smith},
	year = {2014},
	keywords = {Graffiti, Cultural heritage, Museum},
}

@book{bazzanella_shepherds_2020,
	address = {Oxford},
	series = {{BAR} {International} {Series}},
	title = {Shepherds who write: {Pastoral} graffiti in the uplands of {Europe} from prehistory to the modern age},
	isbn = {978-1-4073-5714-0},
	abstract = {In a number of significant sites of the vast ancient pasturelands of the Old World, generations of wandering shepherds have left their testimony in the form of graffiti drafted on the rocks, sometimes in their tens of thousands, over a period of hundreds of years from ancient to modern times. The phenomenon is a conspicuous one, and has considerable significance for two reasons. On the one hand, the study of such pastoral graffiti may convey fresh ethnoarchaeological information as to the circumstances of the pastoral activities and the pastoral economy of the past. On the other hand, these signs, which can be often fully alphabetic as well as drawing upon ancient symbolic repertoires, can be of some aid in the interpretation of rock art as a whole genre of human expression, and projected back, in their significance and their modes of appearance, the earliest times of prehistory.},
	language = {English},
	number = {2999},
	publisher = {BAR Publishing},
	editor = {Bazzanella, Marta and Kezich, Giovanni},
	year = {2020},
	keywords = {Graffiti, Ethnoarchaeology, Shepherd},
}

@book{beck_graffiti_2004,
	address = {Stuttgart},
	series = {Reclams {Universal}-{Bibliothek}},
	title = {Graffiti},
	isbn = {978-3-15-009112-8},
	abstract = {Graffiti lassen sich bis zu den ägyptischen Pyramiden zurückverfolgen, auch Pompeji ist berühmt für diese Art schriftlicher Äußerungen, die alle Lebensbereiche umfassen. Ihre Blütezeit erlebten die Graffiti in den sechziger/siebziger Jahren des 20. Jahrhunderts. Hier sind weit über 400 markante Beispiele angelsächsischer Provenienz versammelt, ein bizarres und höchst amüsantes Spiegelbild der Themen und Probleme, die die Gesellschaft vorwiegend in der zweiten Hälfte des 20. Jahrhunderts beschäftigten.},
	language = {German},
	number = {9112},
	publisher = {Reclam},
	editor = {Beck, Harald},
	year = {2004},
	keywords = {Graffiti},
}

@book{beerkens_artist_2012,
	address = {Heyningen},
	title = {The artist interview: {For} conservation and presentation of contemporary art, guidelines and practice},
	isbn = {978-94-90322-32-8},
	abstract = {One of the ways to obtain authentic, content-related and technical information on modern and contemporary artworks is to interview the artists who created them. To that end, the Foundation for the Conservation of Contemporary Art (SBMK)), the Cultural Heritage Agency of the Netherlands (RCE)) and the University of Amsterdam (UvA) have formulated guidelines for a structured approach of the artist interview and compiled a number of interview scenarios as practical interview tools. 
The aim of this handbook is to equip conservators, curators, art historians and students with tools to retrieve a wealth of accurate information from the artist and to allow the interested public a view behind the scenes of the conservation, preservation and presentation of modern and contemporary art. 
The Artist Interview. For Conservation and Presentation of Contemporary Art. Guidelines and Practice provides a variety of scenarios enriched with useful pointers, example questions and checklists to ensure a smooth progress of the artist interviews. The interview scenarios are supplemented with ten relevant articles on studio and museum interviews providing insight into the potentials and pitfalls of the artist interview as a conservation tool. 
The Artist Interview. Conservation and Presentation of Contemporary Art. Guidelines and Practice is an extensive manual with numerous interesting examples. 
With contributions by Liesbeth Abraham (Frans Hals Museum), Lydia Beerkens (SBMK/SRAL), Frederika Huys (The House of Conservation/S.M.A.K), Jaap Guldemond (Museum Boijmans Van Beuningen/EYE Film Institute Netherlands), Paulien 't Hoen (SBMK), IJsbrand Hummelen (RCE), Mark Paul Meyer (EYE Film Institute Netherlands), Tatja Scholte (RCE), Ingeborg Smit (Rijksmuseum Twenthe), Sanneke Stigter (Kröller-Müller Museum /UvA), Sandra Weerdenburg (Stedelijk Museum Amsterdam).},
	language = {English},
	publisher = {Jap Sam Books},
	editor = {Beerkens, Lydia and Abraham, Liesbeth},
	collaborator = {Stichting Behoud Moderne Kunst and Netherlands and Universiteit van Amsterdam},
	year = {2012},
	note = {Conflicting info on Editors},
	keywords = {Graffiti, Street art, Conservation, Preservation Contemporary art},
}

@book{beever_street_2014,
	address = {München},
	title = {Street art: {Dreidimensionale} {Kreidekunstwerke}},
	isbn = {978-3-7243-1056-3},
	abstract = {Der kompakte handliche Band versammelt die besten 3D-Werke des bekannten britischen Street-Art- und Illusionskünstlers Julian Beever (geboren 1959), dessen dreidimensionale horizontale Kreidezeichnungen und -gemälde auf den Fußgängerwegen vieler Weltmetropolen zu sehen sind.},
	language = {German},
	publisher = {Terra Magica},
	author = {Beever, Julian},
	collaborator = {Bischoff, Ursula},
	year = {2014},
	keywords = {Street art, Julan Beever},
}

@book{beikirch_straight_2004,
	address = {Aschaffenburg},
	title = {Straight lines: {A} ten year graffiti-art dialog},
	isbn = {3-9807478-5-9},
	language = {English},
	publisher = {Publikat},
	author = {Beikirch, Hendrik and Jungfleisch, Patrick},
	year = {2004},
	keywords = {Graffiti, Graffiti art},
}

@book{benefiel_italia_2020,
	address = {Rome},
	title = {Italia epigrafica digitale {II}: {Volume} 1.2.5: {Regio} {I} - {Latium} et {Campania}. {Fascicolo} {V}. {Pompeii} - {Tituli} scariphati},
	isbn = {978-88-5530-047-6},
	language = {Italian; English},
	publisher = {EDR - Epigraphic Databse Roma, Dipartimento di Scienze dell'Antichità, Sapienza Università di Roma},
	author = {Benefiel, Rebecca and Sypniewski, Holly M.},
	year = {2020},
	keywords = {Graffiti, Pompeii, Roman archaeology, Roman graffiti, Ancient graffiti, Ancient Graffiti Project},
}

@article{bengtsen_beyond_2013,
	title = {Beyond the {Public} {Art} {Machine}: {A} {Critical} {Examination} of {Street} {Art} as {Public} {Art}},
	volume = {82},
	issn = {0023-3609},
	doi = {10.1080/00233609.2012.762804},
	language = {English},
	number = {2},
	journal = {Konsthistorisk Tidskrift/Journal of Art History},
	author = {Bengtsen, Peter},
	year = {2013},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, Sweden},
	pages = {63--80},
}

@book{bengtsen_street_2014,
	address = {Lund},
	title = {The street art world},
	isbn = {978-91-7473-868-1},
	language = {English},
	publisher = {Almendros de Granada Press},
	author = {Bengtsen, Peter},
	year = {2014},
	keywords = {Graffiti, Street art},
}

@article{bengtsen_carelessness_2015,
	title = {Carelessness or curatorial chutzpah? {On} controversies surrounding street art in the museum},
	volume = {84},
	issn = {0023-3609},
	doi = {10.1080/00233609.2015.1095797},
	abstract = {Taking the exhibition Art in the Streets, which was shown at The Geffen Contemporary at the Museum of Contemporary Art, Los Angeles from 17 April to 8 August, 2011, as its main point of departure, the present article discusses street art's association with the institutions of the art world. Art in the Streets sparked a lot of debate before, while and after it took place. The article primarily focuses on two aspects of the controversies connected with the exhibition. First, it looks at the reaction of conservative American commentators, who saw Art in the Streets as problematic because of its apparent validation of vandalism as art. The article argues that this critical response should be understood not just as the result of pre-existing animosity towards graffiti and street art, but also as an expression of a particular idea about the role museums play in society. Second, the article considers the reaction to Art in the Streets of street art aficionados, who saw the museum's representation of street based artistic expressions as problematic. The criticism from within the street art world was fuelled by the removal of a commissioned artwork by the Italian artist BLU from the façade of the museum building prior to the opening of the exhibition. On the one hand, it is argued that this curatorial decision can be seen as symptomatic of the show's failure to integrate a non-institutional form of expression in an institutional context. On the other hand, it is argued that the removal can be related to the whitewashing process which takes place in the street every day, thus effectively reproducing in the institutional environment the conditions under which street art is produced. With an outset in a number of artistic responses to Art in the Streets, the article is concluded by a more overarching discussion about street art's relationship with the institutional art world. Here it is argued that the relevance and perceived authenticity of street art is challenged by the interest from excluding and conservational art institutions, which street art to some extent exists in opposition to. Given the unsanctioned nature of street art, as well as street art's connection to the street, it is further argued that while institutions can create shows that document and discuss the history of art in the street, and can show artworks derived from this context, street art proper cannot exist in an institutional context.},
	language = {English},
	number = {4},
	journal = {Konsthistorisk Tidskrift/Journal of Art History},
	author = {Bengtsen, Peter},
	year = {2015},
	note = {Num Pages: 14},
	keywords = {Street art, Curation},
	pages = {220--233},
}

@article{bengtsen_hijacking_2016,
	title = {Hijacking {Banksy}: using a contemporary art mystery to increase academic readership},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i1.45},
	abstract = {In this article I examine the methodological and ethical rigor of a geographic profiling study and resulting article, published in 2016 in Journal of Spatial Science, which identifies by name a candidate for being the artist known as Banksy. I demonstrate that the article is characterized by a number of methodological flaws which fundamentally undermine the researchers’ basis for determining Banksy’s identity. On this background I argue that the researchers’ decision to include a specific name in the article is ethically problematic and I suggest that the main purpose for the inclusion has likely been to attract attention to the study. I further propose that the sensationalist approach to increasing academic readership exemplified by the inclusion of a specific name in the article without solid empirical evidence to back it up may adversely affect researchers who continue to work within the field of street art studies.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Bengtsen, Peter},
	year = {2016},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Banksy, Street art},
	pages = {60--66},
}

@article{bengtsen_myth_2017,
	title = {The myth of the “street artist”: a brief note on terminology},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.70},
	abstract = {Among researchers within the field of street art studies, a discussion crops up repeatedly, both in publications and in conversations at conferences. It is usually set off by someone asking one or more interrelated questions, including the following: How do we define street art? Is it still street art if it is shown in a gallery or museum? And what, precisely, makes someone a street artist?},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Bengtsen, Peter},
	year = {2017},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Terminology},
	pages = {104--105},
}

@book{bengtsen_street_2018,
	address = {Lund},
	title = {Street art and the environment},
	isbn = {978-91-639-6019-2},
	language = {English},
	publisher = {Almendros de Granada Press},
	author = {Bengtsen, Peter},
	year = {2018},
	keywords = {Street art},
}

@book{benke_graffiti_1996,
	title = {Graffiti},
	isbn = {1-4895-8861-2},
	abstract = {"No one could stop him. Or even keep up with him. Not the city maintenance crews. Not the department of transportation, which angrily lamented that a few minutes of tagging could take a whole day and three thousand dollars to remove ... He'd go bombing -- tagging walls -- for two, even three days without really going home except to eat and change clothes. ... He never thought about the damage he caused. It never occurred to him that writing was bad for the neighborhood. After all, he could be getting his thrills doing far worse things. ... Now midway up the footpath he saw his destination -- the wall anchored to the side of the slope. It was flawless! ... The wall overlooked all of Mission Valley and even if his tag was there for only a day, thousands of drivers would see it from the freeway below. Pretty good for seventeen years old. Damn good! ... Slic had tagged from central San Diego to Chula Vista since he was thirteen --- writing mostly on vacant buildings and retaining walls along the freeways -- battling for space with other taggers -- dissing them by crossing out their tags and writing his over them -- watching over his tags to keep them from the humiliation of being dissed. ...Cal Trans was going crazy trying to catch him and keep up with erasing his tags. And he'd done it all alone! A oner! No crew of squealing fatuous kids backed him up. He never thought ... Sic's concentration was momentarily broken by a rustling sound to his right. He froze in the darkness then forged onward. He could run faster than whatever or whoever it was and he knew it couldn't be the police. He'd done his homework. He'd watched the area police patrols for days and he knew their schedules. He could do his work before they came around again. At the base of the wall, the smooth gray-white concrete stood illuminated by the moon --so much bigger than it looked from the street below. Maybe six hundred feet across. Fifty feet high. Earth and concrete molded together, each holding back the other. Slic reached into the pocket of his pants, feeling for the can of ultra-flat spray paint he'd stolen -- racked -- that afternoon. ... The cool feel of the metal spray can started his heart beating faster. ... Five minutes. Maybe ten. That was all he needed. ... Then suddenly, from nowhere it seemed, an unnatural breeze brushed his face. There was no time to react. An arm from nowhere reached around his neck and another pulled his own arm sharply, painfully behind him and up. The paint can fell, rolling a short distance down the hill into the darkness. As his body lifted off the ground, the smell of alcohol and cigarettes enveloped him; a deep, strong voice whispered in his ear. 'Toy! This canvas isn't yours.' Toy! It was an insulting word used by his friends to describe a writer with no style. This was no police officer." So begins the relationship between the seventeen year old tagger, Slic, and Guillermo 'Gui' Colon, a Portuguese muralist. For Colon, who is storing his paints in the tunnels under the hill, the wall is his last chance to create an important piece of art. But how is he to persuade the law not to erase it like so much rubbish tagging? Colon's plan is ingenious. He has witnessed the murder of a prominent businessman in the neighborhood near the wall. If he is allowed to paint his mural, it will be a glorious courtroom scene that includes the face of the murderer. But age is working against Colon. He needs someone young like Slic, to help him scale the wall. Grudgingly at first Slic is drawn to the older artist and agrees to help. In the process Slic learns a thing or two about art and Colon something about how to dangle in mid air and what to do if he falls into the animal enclosures at the zoo. Judith Thornton is assigned to investigate the murder of the businessman. She becomes the broker of the agreement between law enforcement and Colon. But she is astonished to see her face among those being painted by Colon.},
	language = {English},
	publisher = {CreateSpace Independent Publishing Platform},
	author = {Benke, Patricia D.},
	year = {1996},
	keywords = {Graffiti},
}

@article{bertasa_overcoming_2020,
	title = {Overcoming {Challenges} in {Street} {Art} {Murals} {Conservation}: {A} {Comparative} {Study} on {Cleaning} {Approach} and {Methodology}},
	volume = {10},
	doi = {10.3390/coatings10111019},
	abstract = {Street art, and its preservation, has become one of the most discussed and still open topics in the field of conservation. The absence of a sharable conservation protocol in terms of cleaning and protection is a delicate subject to deal with. The cleaning of contemporary murals and urban artworks stained by graphical vandalism is a real challenge, due to the similar chemical composition of the materials involved. In this work two different approaches to the cleaning of street art murals, namely chemical methods and laser cleaning, are reported and compared with the aim of identifying a suitable conservation practice. Ad hoc concrete mock-ups coated with a paint layer and a simulated vandalism on top have been prepared and used for the testing and analytical assessment of the cleaning procedures.},
	language = {English},
	number = {11},
	journal = {Coatings},
	author = {Bertasa, Moira and Ricci, Chiara and Scarcella, Arianna and Zenucchini, Francesca and Pellis, Giulia and Croveri, Paola and Scalarone, Dominique},
	year = {2020},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art, Preservation, Conservation, Cleaning},
	pages = {1019},
}

@book{besancon_murs_1968,
	address = {Paris},
	title = {Les {Murs} ont la parole. {Journal} mural, mai 68: {Sorbonne}, {Odéon}, {Nanterre}, etc},
	abstract = {"Cette fois c'était aussi au temps des cerises. La commune de Paris allait être centenaire. On lavait toujours les façades. Les murs disponibles portaient le blanc des uniformités sans âge ; seule ou presque, la Sorbonne restait noire. La rue, la rue alors ne voulait dire qu'embouteillages. "Défense d'Afficher " n'était pas encore un poème mais une loi d'un autre siècle. L'un des premiers, qui dynamita la bombe de peinture, a pulvérisé en rouge "Interdit d'interdire" : c'était attaquer la forteresse au badigeon et, en coloriant le mur, vouloir faire tomber les murs." Dans ce recueil, Julien Besançon redonne la parole à ce qu'il appelle un "monument éphémère d'un printemps". Dans une France que certains pensaient assoupie, les événements de Mai 68 ont surpris par les profondes remises en cause qu'ils ont révélées. A l'aube du 50e anniversaire de ce mouvement étudiant et social qui résonne encore dans tous les esprits, ces graffitis aujord'hui en grande partie effacés, offrent un témoignage unique de l'imagination et de la liberté de ton de ses protagonistes.},
	language = {French},
	publisher = {Tchou},
	author = {Besançon, Julien},
	year = {1968},
	keywords = {Graffiti},
}

@article{besser_padiglione_2019,
	title = {{PADiGLiONE} {iN} {MOViMENTO}: {A} {Vandals}’ {Pavilion} during the 2017 {Venice} {Biennale}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Besser, Jens},
	year = {2019},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Venice, Biennale, Pavilion},
	pages = {64--68},
}

@article{bhasin_negotiating_2017,
	title = {Negotiating the tangible and the intangible: {A} case for street art festivals},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.59},
	abstract = {Street art in the past decade or so has witnessed development in the form of the street art festivals that have sprung up across the globe. These festivals bring artists, street art enthusiasts, art historians, and the public together in the celebration and creation of street art. Practicing art in this format can arguably be seen as replacing the art institutions that often attempt to represent and commercially engage with this art, thus proving to be antithetical to its systems. Street art is characterised by an inherent contradiction that lies within it – while on one hand it is tangible due to its unregulated availability to people for aesthetic experience, both visually and physically, it is also intangible due to its ephemerality and unstructured manner of recording history. This article makes a case for street art festivals as representation of what may be called a ‘Street art world,’ that allows for documentation and reflection of the art movement that began in the late 1960s and the 1970s.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Bhasin, Aparajita},
	year = {2017},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Intangible cultural heritage, Festival},
	pages = {20--25},
}

@article{bhasin_evolution_2018,
	title = {The {Evolution} of {Street} art and {Graffiti} in {India}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.149},
	abstract = {This working essay attempts to trace the history of art making in the public space in India. This is important for understanding the evolutionary process of the local graffiti and street art culture and the organisation of many street art festivals across the country. This festival structure often leads to a collaboration with various government bodies in order to work within a city or a neighbourhood to create a large scale immersive experience. This essay will try to argue the importance of people in the creation and evaluation of street art while collaborating and negotiating with various government institutions.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Bhasin, Aparajita},
	year = {2018},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, India},
	pages = {112--117},
}

@book{bianchi_graffiti_1984,
	address = {Basel},
	title = {Graffiti: {Wandkunst} und {Wilde} {Bilder}},
	isbn = {978-3-7643-1617-4},
	language = {German},
	publisher = {Birkhäuser},
	editor = {Bianchi, Paolo},
	year = {1984},
	doi = {10.1007/978-3-0348-6258-5},
	keywords = {Graffiti, Graffiti writing},
}

@article{bianco_brief_2018,
	title = {A brief history of street art as a term up to 2000},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.148},
	abstract = {This working paper gathers the different understandings of the term “street art” found in books up to the turn of the millennium. Several opinions and theories about street art are nowadays proposed, often depending on working, cultural or geographical contexts. The idea of street art has also changed in the course of time. By a chronological analysis of the most important meanings referencing the word, the study outlines street art as a continuously changing term, with the purpose of providing an historical grounding to better frame the idea of street art today. The survey is conducted based on a literature search with the help of WorldCat (worldcat.org). The empirical material consists of printed books from 1950 to 2000 mentioning the term “street art” in their titles.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Bianco, Egidio Emiliano},
	year = {2018},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Terminology, Literature review, WorldCat},
	pages = {108--111},
}

@book{bianco_question_2023,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {A question of style: {Graffiti} writing between art/theory and practice},
	isbn = {978-88-9280-129-5},
	abstract = {This volume presents the contributions of the conference held in Rome at the Museo Laboratorio Arte Contemporanea (MLAC) at Sapienza University in April 2022. There international scholars and experts in the field of graffiti writing as well as renowned writers from Rome and Milan came together for intense discussion and exchange. Texts and images present current research and answer to the question of style between the two apparently distant but somehow interconnected fields of art history and graffiti writing.},
	language = {English},
	number = {1},
	publisher = {Edifir edizioni Firenze},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	keywords = {Graffiti, Art},
}

@article{billboard_liberation_front_billboard_1990,
	title = {Billboard {Liberation} {Front} {Manual}},
	volume = {25},
	issn = {0735-9381},
	language = {English},
	number = {Summer/Fall},
	journal = {Processed World},
	author = {Billboard Liberation Front},
	year = {1990},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Billboards},
	pages = {22--26},
}

@book{billboard_liberation_front_and_friends_art_2000,
	edition = {Second Edition, Revised \& Expanded},
	title = {The {Art} \& {Science} of {Billboard} {Improvement}},
	language = {English},
	publisher = {Los Cabrones Press},
	editor = {Billboard Liberation Front {and} Friends},
	year = {2000},
	keywords = {Graffiti, Street art, Billboards},
}

@book{bilodeau_murs_1996,
	address = {Montréal},
	title = {Les murs de la ville: {Les} graffitis de {Montréal}},
	isbn = {978-2-921569-29-3},
	abstract = {Quand on parle de graffitis, l'image qui se présente aussitôt à l'esprit est sans doute celle des tags new-yorkais. Pourtant, New York n'est pas la seule ville où on trouve des graffitis et les tags ne sont pas la seule forme d'écriture urbaine sauvage. Par la variété et l'inventivité de ses graffitis, Montréal est à cet égard d'une richesse certaine. C'est à coup sûr la première chose dont nous convainc Denyse Bilodeau dans Les murs de la ville. Mais l'intérêt de son ouvrage ne réside pas seulement dans l'inventaire — toujours à refaire du reste — des graffitis de Montréal, selon les thèmes et selon les quartiers. Sa réflexion, qui doit beaucoup au témoignage des graffiteurs et des lecteurs de graffitis qu'elle a rencontrés, est une véritable introduction à l'art de la rue et au phénomène graffitique dans son ensemble, dans ce qu'il a à la fois de clandestin et de public, de poétique et d'urbain, de violent et de sensible. Après avoir lu son livre, on regardera sans doute différemment les murs de la ville et on comprendra beaucoup mieux l'esprit qui les anime.},
	language = {French},
	publisher = {Liber},
	author = {Bilodeau, Denyse},
	year = {1996},
	keywords = {Graffiti, Canada, Montreal},
}

@book{bingham_graffiti_2010,
	address = {London},
	series = {Culture in {Action}},
	title = {Graffiti},
	isbn = {978-1-4062-1207-5},
	abstract = {When did graffiti begin? What is the connection between graffiti and hip-hop? What is a "wall of fame"? The varied titles in the Culture in Action series build up into a comprehensive library, covering a range of arts topics. Each book contains activities with easy-to-follow instructions, designed to reinforce literacy skills and arts knowledge. With Culture in Action the arts are brought to life! Each Culture in Action book is packed with high-interest facts, imaginative activities, and fascinating photographs.},
	language = {English},
	publisher = {Raintree},
	author = {Bingham, Jane},
	year = {2010},
	keywords = {Graffiti},
}

@phdthesis{birzin_subway_2019,
	address = {Berlin},
	type = {{PhD} thesis},
	title = {Subway {Art}(efact)},
	abstract = {The same style of graffiti, with the same traditional understanding, application, and interpretation, is found in many cities throughout the world. Most, if not all, of this graffiti shares a common point of reference: the 1970s New York City graffiti phenomenon. In this thesis, I examine three framing texts about the 1970s New York City graffiti phenomenon, which transformed the hermeneutics of graffiti and opened it up to becoming the quasi-worldwide phenomenon it has since become. My goal is to present a distinct story of how graffiti became an art. 
Each of the three framing texts I examine represents a paradigm shift in the interpretation of the 1970s New York City graffiti phenomenon. These texts located (“Taki 183 Spawns Pen Pals,” 1971), elevated (The Faith of Graffiti [Mailer, 1974]), and fixed (Subway Art [Chalfant \& Cooper, 1984]) graffiti as a practice and an object. I will approach these seminal texts by looking at the 1970s New York City graffiti phenomenon not as something that has always been defined, but as a growing practice (and later an object), which was filled with imagination and was forged both on walls and objects and in a public dialogue captured in texts. 
The primary question for this thesis is: What does a close reading of three paradigmatic texts for graffiti reveal about the process of the construction of graffiti? To cut a lens to re-view graffiti in this study, I bring together two texts: Anderson’s (1983) Imagined Communities and Hobsbawm and Ranger’s (1983) The Invention of Tradition. 
This dissertation should be understood as being in-dialogue with the only deep academic study of the New York City graffiti phenomenon, Austin’s (2001) Taking the Train, asking what might be found if one highlights the imaginative aspects of graffiti instead of the “real” context. What if, instead of seeing graffiti as an “it” already there with emotional energy, one sees a “thing” that was invented. One could then ask what role certain texts had in the invention of this “thing” graffiti and the mostly imagined community it conjures.},
	language = {English; German},
	school = {Freie Universität Berlin},
	author = {Birzin, Edward},
	collaborator = {Lüthe, Martin},
	year = {2019},
	keywords = {Graffiti},
}

@book{birzin_tag_2022,
	address = {Berlin},
	title = {{TAG}: name writing in public space: {A} reader of the 2017 conference about tagging at {Freie} {Universität} {Berlin}},
	language = {English},
	publisher = {Possible Books},
	editor = {Birzin, Edward and Abarca, Javier and Hübner, Matthias},
	year = {2022},
	keywords = {Graffiti, Tags},
}

@book{blackshaw_street_2008,
	address = {New York City},
	title = {The street art book: 60 artists in their own words},
	isbn = {978-0-06-153732-5},
	language = {English},
	publisher = {Collins Design},
	author = {Blackshaw, Ric and Farrelly, Liz},
	year = {2008},
	keywords = {Graffiti, Street art, Murals, Posters, Stickers, Installations, Toys},
}

@book{blanche_something_2010,
	address = {Marburg},
	title = {Something to s(pr)ay: {Der} {Street} {Artivist} {Banksy}: eine kunstwissenschaftliche {Untersuchung}},
	isbn = {978-3-8288-2283-2},
	language = {German},
	publisher = {Tectum Verlag},
	author = {Blanché, Ulrich},
	year = {2010},
	keywords = {Banksy, Street art},
}

@article{blanche_street_2015,
	title = {Street {Art} and related terms – discussion and working definition},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.14},
	abstract = {This paper gives a short introduction and discussion of the term Street Art and related terms like Graffiti and Urban Art. A major part discusses my definition of Street Art and other definitions and the differences and commonalities of these terms. Street Art consists of self-authorized pictures, characters, and forms created in or applied to surfaces in the urban space that intentionally seek communication with a larger circle of people. Street Art is done in a performative and often site-specific, ephemeral, and participatory manner. Street Art is mostly viewed online. It differs from Graffiti and Public Art. I quote first and foremost German researchers that are not translated into English but in my opinion should be part of the international academic discussion.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Blanché, Ulrich},
	year = {2015},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art},
	pages = {32--39},
}

@book{blanche_banksy_2016,
	address = {Marburg},
	title = {Banksy: {Urban} {Art} in a {Material} {World}},
	isbn = {978-3-8288-6357-6},
	language = {English},
	publisher = {Tectum Verlag},
	author = {Blanché, Ulrich},
	translator = {Jonas, Rebekah and Blanché, Ulrich},
	year = {2016},
	keywords = {Graffiti, Banksy, Street art, Urban art},
}

@article{blanche_keith_2016,
	title = {Keith {Haring} - a {Street} {Artist}?},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i1.39},
	abstract = {Since about 2000 Street Art is an art movement. Before that only a handful of artists did what we call Street Art in 2016. One of them was Keith Haring. But to what extent is Keith Haring in retrospect a Street Artist? Using the example of Haring’s subway chalk drawings (ca. 1980-85) and one of his public murals, called “Crack is Wack” (1986), I discuss concepts such as Street Art, Graffiti and Public Art. Some of Keith Haring’s works are Street Art because he carried them out in a performative way, without permission, in public spaces. They might be called Street Art because those works explicitly refer to this public space, they were indeed often tailor-made for their location, and because as a result of their illegality and their union with each location they were ephemeral, not conceived in time permanently. “Crack is Wack,” however, became a public art mural. It changed its status from an illegal, Graffiti-inspired, self-authorized work of Street Art to long lasting Public Art.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Blanché, Ulrich},
	year = {2016},
	note = {Num Pages: 13
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Keith Haring},
	pages = {6--18},
}

@article{blanche_street_2018,
	title = {Street art and photography: {Documentation}, representation, interpretation},
	volume = {1},
	issn = {2535-549X},
	abstract = {In this empirical paper, I propose a 4-point system of classification for street art photography. Street art photography (1) functions as visual inspiration for other street artists. All street art actors take photographs (Derwanz, 2013). Photos can (2) act as documentation of the street work for the artist, but also for fans, researchers, police, home-owners, etc. Street art photography can (3) function as work-in-process documentation, work documentation, documentation of decay and of interaction. In addition, (4) every street art photograph is an interpretation of a work and at the same time a work in its own right.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Blanché, Ulrich},
	year = {2018},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Photography},
	pages = {23--29},
}

@article{blanche_early_2020,
	title = {Early {Street} {Stencil} {Pioniers} in the {US} 1969-85: {Bojórquez}, {Fekner}, {Wojnarowicz} and {Vallauri}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.333},
	abstract = {Independent from New York Style writing graffiti Chaz Bojórquez invented the visual signature tag in Los Angeles in 1969. Like John Fekner in New York from 1976 onwards he created rather road art than street art, stencils for car drivers in the urban outskirts. Fekner mixed conceptual art and activist art in his few word poetry warning sign stencils on car wrecks and industrial ruins. Like Bojórguez also David Wojnarowicz and Alex Vallauri used visual signature stencil tags in early 1980ies New York. Both, Vallauri and Wojnoarowicz, also used smaller stencils in a modular way to create larger mixed freehand/stencil compositions.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Blanché, Ulrich},
	year = {2020},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, New York, Stencil graffiti, Vallauri, Wojnarowicz, Bojórquez, Fekner},
	pages = {88--95},
}

@article{blanche_involuntarily_2021,
	title = {({Involuntarily}) {Shared} {Walls}: {Haring}’s {Illegal} {Street} {Interactions} with {Basquiat}, {Hambleton}, {Wojnarowicz}, and {Vallauri} in {Early} ’80s {NYC}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Blanché, Ulrich},
	year = {2021},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, New York, USA, Keith Haring, Hambleton, Nasquiat, Vallauri, Wojnarowicz},
	pages = {16--21},
}

@article{blankstein_tagger_1997,
	title = {Tagger is ordered to pay \$100,000},
	url = {https://www.latimes.com/archives/la-xpm-1997-04-15-me-48864-story.html},
	language = {English},
	journal = {Los Angeles Times},
	author = {Blankstein, Andrew},
	month = apr,
	year = {1997},
	keywords = {Graffiti, Crime, Punishment},
}

@article{bloch_why_2016,
	title = {Why do {Graffiti} {Writers} {Write} on {Murals}? {The} {Birth}, {Life}, and {Slow} {Death} of {Freeway} {Murals} in {Los} {Angeles}},
	volume = {40},
	issn = {03091317},
	doi = {10.1111/1468-2427.12345},
	abstract = {For three decades graffiti writers have marked the Olympic Festival freeway murals painted in celebration of the 1984 Olympic Games in Los Angeles (LA). These high-profile murals, which once symbolized LA's status as the ‘Mural Capital of the World', became palimpsests on which graffiti writers painted their monikers, perhaps unwittingly contributing to their eventual destruction. Local government, muralists and residents have bemoaned the murals' slow death, though have not been able to identify or understand the motives for such vandalism, interpreting it as ‘mindless', ‘animalistic' vandalism perpetrated by ‘kids' who simply lack respect. I argue that the burial of these murals under layers of paint must be understood in the context of competing claims made to public space. Relying on rare personal interviews with the graffiti writers who participated in their destruction, I answer the question ‘Why do graffiti writers write on murals?', while situating the birth and life of the Olympic murals within a larger historical discussion about Chicano/a mural making, urbanization, freeway construction, and the growth of the graffiti subculture in the United States' paradigmatic global city.},
	language = {English},
	number = {2},
	journal = {International Journal of Urban and Regional Research},
	author = {Bloch, Stefano},
	year = {2016},
	note = {Num Pages: 21},
	keywords = {Graffiti, USA, Murals},
	pages = {451--471},
}

@article{bloch_place-based_2018,
	title = {Place-{Based} {Elicitation}: {Interviewing} {Graffiti} {Writers} at the {Scene} of the {Crime}},
	volume = {47},
	issn = {0891-2416},
	doi = {10.1177/0891241616639640},
	abstract = {Interviews conducted in situ—literally at “the scene of the crime”1—can elicit more nuanced data than interviews conducted in locations removed from where the activity in question occurred. This is particularly true when conducting research on and with members of spatially conscious, “deviant,” and vulnerable communities who may for the sake of social and existential survival defer to rehearsed narratives and formula stories about their actions and perspectives when interviewed in “safe” spaces. In this article, which is based on participant observation and structured, semi-structured, and unstructured interviews with 108 graffiti writers, I contend that place-based elicitation can provide researchers with greater exposure to extradiscursive expression, reflection, and affective narratives about transgressive and illicit subcultural activity. The method of place-based elicitation has implications for where and how ethnographers and other qualitative researchers conduct interviews and seek to extract nuanced data from respondents.},
	language = {English},
	number = {2},
	journal = {Journal of Contemporary Ethnography},
	author = {Bloch, Stefano},
	year = {2018},
	note = {Num Pages: 28},
	keywords = {Graffiti, Crime, Elicitation, Narrative},
	pages = {171--198},
}

@article{boero_walk_2018,
	title = {Walk the {Line} project in {Genoa}: combining {Graffiti}-{Writing} traditions and {Street} {Art} innovations},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.127},
	abstract = {The Line Street Art project, organized in the north-western Italian city of Genoa, starting from summer 2016 has brought a new face to the skyway of the city, mostly hated by both residents and tourists but strictly necessary for the city’s fluid control of the traffic flow. Working on the surface of the pillars of the skyway, the artists called by the curators have been participating in a project that not only wants to embellish an infrastructural element of the city, but also wants to start a dialogue and create a link between different neighborhoods, creating a sort of open-space gallery. Furthermore, the different backgrounds of the artists who have taken part in the project raise a reflection about the dialogue between Graffiti-Writing traditions that still live today and Street Art innovations in the field of public art issues. The essay has the purpose of analyzing this kind of Street Art project, evaluating its artistic and social impact on the city, comparing it to the traditions developed by the protagonists of the Writing scene in Genoa and in northern Italy during the 1990s and the 2000s and introducing various questions about terminology.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Boero, Gabriele},
	year = {2018},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Italy, Genoa, Festival},
	pages = {96--101},
}

@book{bofkin_concrete_2014,
	address = {London},
	title = {Concrete canvas: {How} street art is changing the way our cities look},
	isbn = {978-1-84403-782-7},
	abstract = {What happens when you look at graffiti and street art as unlimited art forms instead of urban phenomena? Concrete Canvas does just that; investigating the media the artists work with, the canvases they work on, the themes that arise through their work, and the way their art redefines the spaces in which it is set. Concrete Canvas is filled with stunning photos of works from new and exciting artists, as well as established names, including Ron English, Phlegm, Daim, Invader and more. It examines how the curation of public space is affecting our cities and moving art into the future. Global Street Art is the largest online archive of street art photography. Here, its founder Lee Bofkin shares some of his best stories of documenting street art, which variously feature big guns, massive dogs and lots of abandoned buildings.},
	language = {English},
	publisher = {Cassell},
	author = {Bofkin, Lee},
	year = {2014},
	keywords = {Graffiti, Street art},
}

@article{bogerts_mind_2017,
	title = {Mind the trap: {Street} art, visual literacy, and visual resistance},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.76},
	abstract = {Street art is used in political contexts by both powerful players and resistance movements. To understand how images make meaning and are constantly being negotiated between rule and resistance, a visual literacy must be fostered. I have therefore introduced an interdisciplinary methodology for critical visual analysis that allows for the differentiated examination of images in the interplay of rule and resistance and considers the specific features of street art. This analytical framework aims to foster a cross-fertilization between visual culture and political science and more specifically, International Relations.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Bogerts, Lisa},
	year = {2017},
	note = {Num Pages: 5
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Visual culture, Political graffiti},
	pages = {6--10},
}

@book{bogerts_aesthetics_2022,
	address = {New York},
	series = {Protest, culture and society},
	title = {The aesthetics of rule and resistance: {Analyzing} political street art in {Latin} {America}},
	isbn = {978-1-80073-150-9},
	abstract = {Effective visual communication has become an essential strategy for grassroots political activists, who use images to publicly express resistance and make their claims visible in the struggle for political power. However, this “aesthetics of resistance” is also employed by political and economic elites for their own purposes, making it increasingly difficult to distinguish from the “aesthetics of rule.” Through illuminating case studies of street art in Buenos Aires, Bogotá, Caracas, and Mexico City, The Aesthetics of Rule and Resistance explores the visual strategies of persuasion and meaning-making employed by both rulers and resisters to foster self-legitimization, identification, and mobilization.},
	language = {English},
	number = {29},
	publisher = {Berghahn Books},
	author = {Bogerts, Lisa},
	year = {2022},
	doi = {10.1515/9781800731509},
	keywords = {Graffiti, Art, Art history, Politics, Latin America},
}

@book{bolle_arte_2017,
	address = {Torino},
	title = {L'arte nelle strade di {Torino}: {Guida} alla scoperta dell'arte moderna e contemporanea in città},
	isbn = {978-88-7707-345-7},
	abstract = {Quasi 500 opere tra monumenti, sculture, murales, installazioni, dall'Ottocento alla più stretta contemporaneità: Torino non è soltanto uno dei centri riconosciuti dell'arte contemporanea, ma anche una delle capitali internazionali dell'arte urbana e possiede un patrimonio straordinario, spesso sconosciuto ai più, eppure di eccezionale valore, disseminato su tutto il territorio urbano. Un libro per guidare il visitatore alla scoperta dell'arte di strada torinese: venti itinerari fra i quartieri cittadini, tra i palazzi e le pieghe più nascoste della città, per imparare a capire, attraverso un imponente apparato iconografico realizzato ad hoc, come a Torino l'arte dia davvero forma, colore e senso all'ambiente urbano. E al lettore che vorrà partire per questo viaggio di scoperta apparirà una città diversa, multicolore, raffinata e popolare, aulica e pop, in cui le piazze, le strade, i muri stessi sono opere d'arte. Una città in cui l'arte non è solo nei grandi musei, ma in mezzo a noi.},
	language = {Italian},
	publisher = {Edizioni del Capricorno},
	author = {Bolle, Marzia and Davico, Luca and Scira, Rosaria and Cortese, Roberto},
	year = {2017},
	keywords = {Street art, Italy, Torino},
}

@article{bonadio_graffiti_2018,
	title = {Graffiti, street art and copyright},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.123},
	abstract = {This short note examines whether street and gra ti art can and should be protected by copyright. Indeed, cases where corpo- rations have used these forms of art to promote their products are increasingly common, which shows that these artworks are particularly vulnerable to misappropriation. In addition to expanding on whether tags and throw-ups can be considered original enough to attract copyright, I will focus on whether unsanctioned street and gra ti art deserve such legal protection and in general on artists and writers’ attitude towards copyright. The note also draws from semi-structured interviews I’ve recently conducted with several street artists and writers.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Bonadio, Enrico},
	year = {2018},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Copyright},
	pages = {75--80},
}

@article{bonadio_street_2018,
	title = {Street art, graffiti and the moral right of integrity: {Can} artists oppose the destruction and removal of their works?},
	volume = {1},
	issn = {2535-549X},
	abstract = {The relatively recent boom of street art and graffiti in many cities around the world animates and brings attention to the debate around their conservation. Can artists within these communities use the legal tools offered by moral rights laws to preserve their art? This note addresses this issue and, in particular, expands on whether street artists and graffiti writers can rely on moral rights regimes to prevent the destruction or removal of their works. It does so by looking at recent cases, especially in the US, where artists have started lawsuits aimed at preserving their street pieces or anyhow objecting to their erasure. The note also partially draws on semi-structured interviews I have conducted with several street artists and graffiti writers, whom I asked questions about whether they nurture interest in taking legal action for the above purposes.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Bonadio, Enrico},
	year = {2018},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, Copyright, Law, Integrity},
	pages = {17--22},
}

@article{bonadio_does_2019,
	title = {Does {Preserving} {Street} {Art} {Destroy} its ‘{Authenticity}’?},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Bonadio, Enrico},
	year = {2019},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art},
	pages = {36--40},
}

@book{bonadio_cambridge_2019,
	address = {Cambridge},
	title = {The {Cambridge} handbook of copyright in street art and graffiti},
	isbn = {978-​1-​108-​48233-​2},
	abstract = {In recent years, the number of conflicts related to the misuse of street art and graffiti has been on the rise around the world. Some cases involve claims of misappropriation related to corporate advertising campaigns, while others entail the destruction or 'surgical' removal of street art from the walls on which they were created. In this work, Enrico Bonadio brings together a group of experts to provide the first comprehensive analysis of issues related to copyright in street art and graffiti. Chapter authors shed light not only on the legal tools available in thirteen key jurisdictions for street and graffiti artists to object to unauthorized exploitations and unwanted treatments of their works, but also offer policy and sociological insights designed to spur further debate on whether and to what extent the street art and graffiti subcultures can benefit from copyright and moral rights protection.},
	language = {English},
	publisher = {Cambridge University Press},
	editor = {Bonadio, Enrico},
	year = {2019},
	doi = {10.1017/​9781108563581},
	keywords = {Graffiti, Street art, Copyright, Law},
}

@book{bonadio_protecting_2020,
	address = {Årsta},
	title = {Protecting {Art} in the {Street}: {A} {Guide} to {Copyright} in {Street} {Art} and {Graffiti}},
	isbn = {978-91-88369-35-2},
	language = {English},
	publisher = {Dokument Press},
	author = {Bonadio, Enrico},
	year = {2020},
	keywords = {Graffiti, Street art, Copyright, Graffiti writing},
}

@book{bonadio_copyright_2023,
	address = {Cambridge; New York},
	title = {Copyright in the street: {An} oral history of creative processes in street art and graffiti subcultures},
	isbn = {978-1-009-19863-9},
	abstract = {This book explores how copyright laws are perceived within street art and graffiti subcultures to examine how artists and writers view certain creative aspects of their own practice. Drawing on ethnographic research and fieldwork, the book gives voice to the main actors of these communities and highlights their feelings and opinions towards issues that are increasingly impacting their everyday life and work. It also touches on related and complementary issues, such as the ‘gallerisation’ and economic exploitation of these forms of art and the curious similarities between the graffiti and advertising worlds. Unique and comprehensive, Copyright in the Street brings the ‘voice from the street’ into the debate over the legal and non-legal protection of street art and graffiti.},
	language = {English},
	publisher = {Cambridge University Press},
	author = {Bonadio, Enrico},
	collaborator = {Danusso, Carlo Matteo},
	year = {2023},
	keywords = {Graffiti, Street art, Copyright},
}

@article{bonadio_another_2020,
	title = {Another {Win} for {5Pointz}: {Destroying} {Street} {Art} and {Graffiti} {Does} {Not} {Always} {Pay} {Off}},
	volume = {2},
	issn = {2535-549X},
	abstract = {The decision of the US Court of Appeals in the 5Pointz case has been long-awaited.  It was finally given on February 20, 2020. It confirmed the earlier 2018 ruling from the District Court of New York which for the first time had protected street and graffiti artists under the Visual Artists Rights Act (VARA). VARA is a piece of legislation introduced in the US in 1990 to give visual artists moral rights, including the right to prevent destruction of their works.},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Bonadio, Enrico and Jean-Baptiste, Olivia},
	year = {2020},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Copyright, Law, 5Pointz},
	pages = {8--12},
}

@article{bonadio_banksys_2021,
	title = {Banksy’s {Battle} with {Trade} {Mark} {Law}: the ‘{Flower} {Thrower}’ {Case}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Bonadio, Enrico and Jean-Baptiste, Olivia},
	year = {2021},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Copyright, Flower Thrower, Trademark},
	pages = {22--26},
}

@article{bonadio_can_2022,
	title = {Can {Copyright} {Stop} {Politicians} from {Exploiting} {Street} {Art}? {Combo} v {Jean}-{Luc} {Mélenchon} before the {Court} of {Paris}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Bonadio, Enrico and Jean-Baptiste, Olivia},
	year = {2022},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Copyright, Law},
	pages = {32--36},
}

@book{bonadio_non-conventional_2018,
	address = {Cheltenham; Northampton},
	title = {Non-conventional copyright: {Do} new and atypical works deserve protection?},
	abstract = {This book draws a picture of possible new spaces for copyright. It expands on whether modern copyright law should be more flexible as to whether new or unconventional forms of expression - including graffiti, tattoos, land art, conceptual art and bio art, engineered DNA, sport movements, jokes, magic tricks, dj-sets, 3D printing, works generated by artificial intelligence, perfume making, typefaces, illegal and immoral works - deserve protection. The contributors offer authoritative, coherent and well-argued essays focusing on whether copyright can subsist in these unconventional subject matters.},
	language = {English},
	publisher = {Edward Elgar Publishing},
	editor = {Bonadio, Enrico and Lucchi, Nicola},
	year = {2018},
	doi = {10.4337/9781786434074},
	keywords = {Graffiti, Street art, Copyright},
}

@misc{bordalo_bordalo_2022,
	title = {Bordalo {II} - {About}},
	url = {https://www.bordaloii.com/about},
	language = {English},
	author = {Bordalo, Artur},
	year = {2022},
	keywords = {Street art},
}

@article{borhes_another_2018,
	title = {Another attempt to explore the transient nature of post-graffiti through the history of a term},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.128},
	abstract = {´The term post-graffiti has a history which seems to be more than long enough to manifest a stable and convenient meaning. However, from 1983 post-graffiti was proclaimed as a completely new art movement several times, which caused confusion and misunderstandings. This essay aims to explore the reasons why the meaning of post-graffiti was so shapeshifting over the time through the analysis of particular stages of its life cycle dated in New York 1980’s and Paris 2000s and how the differences in its meaning between these specific phases affected the modern perception of the term. It appeared to be that the main reason of the transient nature of post-graffiti is in the lack of attention to stylistic features. The artists representing the movement, declared as post-graffiti, were very divergent stylistically. Their artistic practices were not coherent as a whole, there was no aesthetic commitment. Consequently, it is hard to extract the essential features which could represent the movement. Through historical context this writing introduces the idea of letter construct which could be used in order to distinguish the movement stylistically.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Borhes, Kristina},
	year = {2018},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Terminology, History},
	pages = {102--109},
}

@article{borhes_brief_2021,
	title = {A {Brief} {Moment} of {Monument}: {Iconoclasm} in the {Age} of the {Anthropocene}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Borhes, Kristina},
	year = {2021},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art, Anthropocene, Iconoclasm},
	pages = {94--102},
}

@article{borriello_streetness_2019,
	title = {Streetness \& {Inopinatum}: the “sense of the street” and the “unexpected impertinence”. {For} a binary code in street art.},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.205},
	abstract = {It was December 2003, exactly 16 years ago. That morning, a few of us were at the Circumvesuviana train station in San Giorgio a Cremano, the town the famous Neapolitan actor Massimo Troisi was born in, waiting for something to happen. Kaf and Cyop were amongst the graffiti writers that had been called to paint the walls of that infrastructure, on the side of the unelectrified railway track. We had been told that the local entity managing railway transports had a mind of entrusting its stations to graffiti writers from them to paint them on, since the managers had had enough of the graphic vandalism burdening them. And we went there, spurred by curiosity. In the beginning, we questioned the communications and PR experts of the entity that managed the regional railway transports, as we believed that they did not provide truthful information on the matter. It was usual at the time, and it is usual even nowadays, but the nuisance was more heartfelt, almost as a pretext.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Borriello, Luca},
	year = {2019},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {74--83},
}

@book{borriello_inopinatum_2013,
	address = {Roma},
	title = {{INOPINATUM}: {The} unexpected impertinence of urban creativity},
	isbn = {978-88-909026-0-4},
	language = {English},
	publisher = {INOPINATUM Study Center on Urban Creativity},
	editor = {Borriello, Luca and Ruggiero, Christian},
	year = {2013},
	keywords = {Graffiti, Street art},
}

@article{boscaino_developing_2021,
	title = {Developing a {Qualitative} {Approach} to the {Study} of the {Street} {Art} {World}},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i2.473},
	abstract = {Street art is a complex social phenomenon where many actors contribute to determining the value of creativities. Street artists, curators, bloggers, photographers, museums, galleries, the public, and other actors interact with street artworks and influence the way they are perceived. In this context, it is clear that both the value and meaning of street art is not exclusively dependent on the intentions of the authors but changes according to who views and uses the artwork for their purposes. Although diversity is interesting for the sake of research, finding a research methodology able to comprise the diverse perspectives briefly illustrated above, can be difficult. 
A multi-method qualitative study conducted between the 2017 and 2019, attempted to include many aspects of the social structure of street art in order to understand how street artworks become renowned in the digital era. The study proved to be useful to cover many of the various perspectives of some of the actors mentioned above. Indeed, data collection consisted in conducting semi-structured interviews as well as analysing digital conversations where street artworks are viewed and discussed by both professional and amateur audiences. Semi-structured interviews were conducted with street artists, street art curators and street art connoisseurs - bloggers, administrators of digital platforms, photographers, etcetera - while digital conversations were considered in order to grasp the significance of the interactions happening between the street artwork and its audience(s), amongst street artists, and within the digital audience. Analysing the data via thematic analysis revealed a multi-dimensional structure of the street artworld and allowed an understanding of how street artworks become renowned in the digital era as well as contributed to the theory of co-creation in the arts. This methodological approach allowed including different professional and personal perspectives, as well as integrating the personal accounts of actors with the observation of in situ interactions.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Boscaino, Mattia},
	year = {2021},
	note = {Num Pages: 18
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Social science, Qualitative research},
	pages = {8--25},
}

@book{bosch_asthetischer_2018,
	address = {Wiesbaden},
	series = {Kunst und {Gesellschaft}},
	title = {Ästhetischer {Widerstand} gegen {Zerstörung} und {Selbstzerstörung}},
	isbn = {978-3-658-18766-8},
	abstract = {In den Beiträgen dieses Bandes wird soziologisch und ästhetisch, kunst- und literaturwissenschaftlich erörtert, wie aus ästhetischen Erfahrungen Widerstandskraft gegen Zerstörung und Selbstzerstörung entwickelt wird. Es wird gezeigt, dass Kunst und Gesellschaft nicht ohne ästhetischen Widerstand zu machen sind. Dieser äußert sich nicht nur in der Produktion und in der Rezeption von Kunst, sondern auch in vielfältigen Praxen der Lebenswelt. Welche Rolle spielt ästhetische Erfahrung heute für die Fragen des guten Lebens und wie ist Ästhetik mit dem Leben selbst verbunden? Wie kann das Verhältnis von Ethik und Ästhetik heute gesellschaftlich und politisch gedacht und vermittelt werden? Und vor allem: Wie kann der Destruktionsdynamik als Sucht und Sog gesellschaftlicher Selbstzerstörung durch ästhetischen Widerstand wirksam Einhalt geboten werden?},
	language = {German},
	publisher = {Springer Fachmedien Wiesbaden},
	editor = {Bosch, Aida and Pfütze, Hermann},
	year = {2018},
	doi = {10.1007/978-3-658-18767-5},
	keywords = {Graffiti, Art, City, Urban},
}

@book{bosmans_guide_1995,
	address = {Gent},
	title = {Guide to graffitti-research},
	isbn = {978-90-802903-1-0},
	language = {English; Dutch; French},
	publisher = {Uitgeverij Rhinoceros},
	author = {Bosmans, Bart and Thiel, Axel and Balt, Maurice and Lots, Wim},
	year = {1995},
	keywords = {Graffiti, Street art, Graffiti writing, Social science},
}

@book{bou_street_2005,
	address = {New York},
	title = {Street art: {The} spray files},
	isbn = {978-0-06-083338-1},
	language = {English},
	publisher = {Collins Design; Monsa Publications},
	author = {Bou, Louis},
	year = {2005},
	keywords = {Graffiti, Street art},
}

@book{bou_street_2008,
	address = {Barcelona},
	edition = {Third},
	title = {Street art: {Graffiti}, stencils, stickers, logos},
	isbn = {978-84-96823-60-0},
	abstract = {Proporciona ejemplos de arte urbano, graffiti, y los logotipos.},
	language = {Spanish},
	publisher = {Monsa},
	author = {Bou, Louis},
	year = {2008},
	keywords = {Graffiti, Street art, Stencil graffiti, Stickers},
}

@article{boudjadja_urban_2020,
	title = {The urban brownfields of {Algiers}; between representations, temporary uses and new places of culture},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.239},
	abstract = {The city of Algiers has, since the beginning of the 21st century, undergone significant changes to its urban landscape, a consequence of large-scale urban works. These transformations are particularly and, indeed, spectacularly visible in the eastern districts of: (Belcourt, El Hamma, Ruisseau/-Abattoirs, Hussein Dey, and El Harrach.); they are mixed industrial neighborhoods containing many urban brownfields. These neglected spaces, often well located, constitute an affirmed stake by the public authorities, in particular through legislative changes. Indeed, reinvesting urban brownfields in Algiers means working to control its sprawl, but these spaces are also bringing environmental, urban, economic and social challenges. 
This article aims to demonstrate the interest of public authorities (decision-makers), land managers, inhabitants and users of these neighborhoods in addressing the subject of brownfields through the evaluation of their representations, this helps to provide a local and multivariate definition of the brownfield concept. First, it strives to provide answers to the main questions that insist and persist at the decision-making level: is it a sustainable response to densify the city of Algiers by regenerating its brownfields? Are the representations on brownfield sites by decision-makers, managers, inhabitants and users, unified or varied? Are the temporary uses of urban brownfields during their standby time indicative of social needs that should be included in redevelopment projects? 
This research, based mainly on questionnaires, highlights the disparities in the representations, in the use and the practice of urban brownfields. The results show that depending on the actor’s nature, the manner of apprehending brownfields is often articulated around interest and need. This article therefore raises the question of urban brownfields in the eastern pericentral neighborhoods of Algiers, considered to be places of high social demand in terms of culture.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Boudjadja, Rafik and Sassi-Boudemegh, Souad},
	year = {2020},
	note = {Num Pages: 18
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Algiers, Brownfield},
	pages = {34--51},
}

@article{bourland_graffitis_2007,
	title = {Graffiti’s discursive spaces},
	volume = {17},
	language = {English},
	journal = {Chicago Art Jorunal},
	author = {Bourland, Ian},
	year = {2007},
	note = {Num Pages: 27},
	keywords = {Graffiti},
	pages = {56--28},
}

@article{bowen_graffiti_1999,
	title = {Graffiti {Art}: {A} {Contemporary} {Study} of {Toronto} {Artists}},
	volume = {41},
	issn = {2325-8039},
	doi = {10.2307/1320248},
	abstract = {This study examined graffiti artists in the Greater Toronto Area who had formal art education at either the senior secondary or postsecondary level. Six participants were chosen: one who had specialized senior secondary training, three who had graduated from college art programs, and two who were still completing college-level art programs. The average age of the participants was 24 years. The data were collected through tape-recorded interviews and transcribed verbatim. Participants answered 16 questions and were permitted to discuss issues not addressed in the questions. The study looked at who they are, how they view the graffiti community, how they relate their education to their graffiti work, and whom they perceive their audience to be. It was concluded that the participants were creative individuals who were community minded and concerned about the inherent aesthetics of the city. They were active in creating quality graffiti murals that they believed enhanced derelict areas and back alleys. The results of the study highlighted the need for understanding and acceptance when considering the work of these artists. It also questioned the need to redefine the term graffiti, or at least to extend the definition to include other contexts that may not have been included historically. As well, recommendations were made to revisit teaching practices in the visual arts to include discussions about public audiences and contexts.},
	language = {English},
	number = {1},
	journal = {Studies in Art Education},
	author = {Bowen, Tracey E.},
	year = {1999},
	note = {Num Pages: 18},
	keywords = {Graffiti, Canada, Graffiti art, Toronto},
	pages = {22--39},
}

@article{bowen_graffiti_1999-1,
	title = {Graffiti {Art}: {A} {Contemporary} {Study} of {Toronto} {Artists}},
	volume = {41},
	issn = {2325-8039},
	doi = {10.1080/00393541.1999.11651663},
	abstract = {This study examined graffiti artists in the Greater Toronto Area who had formal art education at either the senior secondary or postsecondary level. Six participants were chosen: one who had specialized senior secondary training, three who had graduated from college art programs, and two who were still completing college-level art programs. The average age of the participants was 24 years. The data were collected through tape-recorded interviews and transcribed verbatim. Participants answered 16 questions and were permitted to discuss issues not addressed in the questions. The study looked at who they are, how they view the graffiti community, how they relate their education to their graffiti work, and whom they perceive their audience to be. It was concluded that the participants were creative individuals who were community minded and concerned about the inherent aesthetics of the city. They were active in creating quality graffiti murals that they believed enhanced derelict areas and back alleys. The results of the study highlighted the need for understanding and acceptance when considering the work of these artists. It also questioned the need to redefine the term graffiti, or at least to extend the definition to include other contexts that may not have been included historically. As well, recommendations were made to revisit teaching practices in the visual arts to include discussions about public audiences and contexts.},
	language = {English},
	number = {1},
	journal = {Studies in Art Education},
	author = {Bowen, Tracey E.},
	year = {1999},
	note = {Num Pages: 18},
	keywords = {Graffiti, Canada, Toronto},
	pages = {22--39},
}

@article{bowes_tracking_2021,
	title = {Tracking consumption at {Pompeii}: the graffiti lists},
	volume = {34},
	issn = {1047-7594},
	doi = {10.1017/S104775942100060X},
	abstract = {This paper examines five graffiti expense lists from Pompeii for information on the habits of consumption in the Vesuvian cities. It is intended as a contribution to the growing literature on economic well-being in Pompeii, focusing on the diet and consumption strategies of the nonelite Roman majority. These lists provide rare quantitative evidence for a portion of a whole diet, as well as nonfood expenses. They also shed light on the place of cereals in the overall Vesuvian diet, the importance of consumer goods, and cycles of plenty and want.},
	language = {English},
	number = {2},
	journal = {Journal of Roman Archaeology},
	author = {Bowes, Kim},
	year = {2021},
	note = {Num Pages: 33},
	keywords = {Graffiti, Pompeii, Roman graffiti, Ancient graffiti},
	pages = {552--584},
}

@book{boykoff_landscapes_2008,
	address = {Long Beach},
	title = {Landscapes of dissent: {Guerrilla} poetry \& public space},
	isbn = {978-0-9789262-4-3},
	abstract = {Cultural Writing. Literary Criticism. Politics. Poetry. "Imagine--and witness--public space that is produced by us. In LANDSCAPES OF DISSENT, Sand and Boykoff remind us that there is a long history and ripe presence of intersections between poetry and politics. David Harvey is quoted in these pages as saying that public space is 'decisive.' In an age in which alienation is among our most prevalent health hazards, LANDSCAPES OF DISSENT demonstrates that poetry may be newly, again, good for you. This book is a gift. Take the power".},
	language = {English},
	publisher = {Palm Press},
	author = {Boykoff, Jules and Sand, Kaia},
	year = {2008},
	keywords = {Graffiti, Public space, Poetry},
}

@book{brandt_unexpected_2008,
	address = {Stockholm},
	series = {Skrifter utgivna av {Svenska} institutet i {Rom}. 4 ̊},
	title = {Unexpected voices: {The} graffiti in the cryptoporticus of the {Horti} {Sallustiani} and papers from a conference on graffiti at the {Swedish} {Institute} in {Rome}, 7 {March} 2003},
	isbn = {978-91-7042-175-4},
	abstract = {This volume presents the results of a collaboration between the Swedish Institute in Rome and the Embassy of the United States of America in Rome. The object of the research was a cryptoporticus, part of the ancient Horti Sallustiani, in the area of the American Embassy, and especially the graffiti found on the walls of the cryptoporticus, which were also decorated with paintings. The cryptoporticus, which is dated to the first century AD, was excavated in 1949–1950 and in the 1990s, but the graffiti have never been completely published. In this publication, all the graffiti are discussed and dated. Some belong to Late Antiquity, others were made in the 16th and 17th centuries. The study of these graffiti gives important information about the later fate of the first-century cryptoporticus. Several unpublished fragments of wall-paintings are also presented, and more general historic and archaeological aspects of the cryptoporticus are discussed. 
Part of the project was the first conference ever dedicated exclusively to graffiti. The papers of this conference discuss definitions and new methods for the study of graffiti and present graffiti from Rome, such as those from the Palatine (Casa di Augusto), ex Vigna Chiaraviglio close to the Catacombs of San Sebastiano, and from the Baths of Trajan, but also from Pompeii and Ostia.},
	language = {English; Italian},
	number = {59},
	publisher = {Svenska Institutet i Rom},
	editor = {Brandt, Olof},
	year = {2008},
	keywords = {Graffiti, Pompeii, Roman archaeology, Herculaneum, Ostia},
}

@book{brassai_graffiti_1960,
	address = {Stuttgart},
	title = {Graffiti. {Zwei} {Gespräche} mit {Picasso}},
	language = {German},
	publisher = {Christian Belser Verlag},
	author = {{Brassaï}},
	year = {1960},
	keywords = {Graffiti, Picasso},
}

@book{brassai_graffiti_1960-1,
	address = {Paris},
	title = {Graffiti},
	language = {French},
	publisher = {Les Editions du temps},
	author = {{Brassaï}},
	year = {1960},
	keywords = {Graffiti, Photography},
}

@book{brassai_graffiti_2016,
	address = {Paris},
	title = {Graffiti},
	isbn = {978-2-08-139414-8},
	abstract = {Brassai became interested in the marginal art form of graffiti in the 1930s, seeing it as a form of outsider art that could open the door to new forms of artistic expression. His atmospheric photographs capture the essence of this unfettered creation. Stark contrasts of black and white alternate with softer shades of grey that meld into one another, smoothing the harsh gouges typical of graffiti. Several of these photographs first appeared in the Surrealist review Minotaure; others were first published in France and Germany in 1960, in a work entitled Graffiti, which accompanied an exhibition that visited New York, London, Milan, Baden-Baden, Frankfurt, Hannover, and Paris. The approach was hugely influential, both for the Surrealists and in the domain of Outsider Art. Accompanying the photographs are selections from previously unpublished writings, including extracts from Brassai's own notebooks, in which he noted the presence of elements of graffiti on the walls of Paris that he intended to photograph. The book also contains an interview with Picasso on the subject of graffiti as an art form. This first English language version of this classic title is a beautifully produced edition of what is undoubtedly a seminal work in the history of modern photography.},
	language = {French},
	publisher = {Flammarion},
	author = {Brassaï},
	year = {2016},
	keywords = {Graffiti, Photography},
}

@book{brassai_graffiti_2016-1,
	address = {Paris},
	series = {Collection de photographies du {Centre} {Pompidou}},
	title = {Graffiti: {Le} langage du mur},
	isbn = {978-2-36511-115-7},
	language = {French},
	publisher = {Éditions du Centre Pompidou; Éditions Xavier Barral},
	author = {{Brassaï} and Ziebinska-Lewandowska, Karolina},
	year = {2016},
	keywords = {Graffiti},
}

@article{brewer_bombing_1990,
	title = {Bombing and burning: {The} social organization and values of hip hop graffiti writers and implications for policy∗},
	volume = {11},
	issn = {0163-9625},
	doi = {10.1080/01639625.1990.9967858},
	abstract = {Almost twenty years ago, a stylistic kind of graffiti originated in New York City and has since spread to many major cities in the United States, Canada, and other industrialized nations. This type of graffiti, known as “Hip Hop” graffiti (HHG) outside of New York City, accounts for a large share of graffiti in U.S. urban areas. It is found on buses, subways, trains, buildings, bridges, and innumerable other surfaces and ranges from signature “tags,” typically written with ink marker or spray paint, to elaborate, polychrome spray‐painted murals. This article, based on ethnographic research conducted in Seattle, first introduces the types of HHG and the social characteristics of writers, and then focuses on writers’ social organization and values—the two key elements to understanding the proliferation of this graffiti. The paper concludes with several observations on social policies designed to curtail the production of graffiti.},
	language = {English},
	number = {4},
	journal = {Deviant Behavior},
	author = {Brewer, Devon D. and Miller, Marc L.},
	year = {1990},
	note = {Num Pages: 25},
	keywords = {Graffiti, Graffiti writing, New York, Bombing, Hip hop},
	pages = {345--369},
}

@mastersthesis{brown_immersion_2019,
	address = {Toronto},
	title = {Immersion, interactivity and three-dimensionality: virtual reality documentation of media art installations},
	language = {English},
	school = {Ryerson University},
	author = {Brown, Kira A.},
	year = {2019},
	keywords = {Street art, VR (Virtual Reality), Museum},
}

@book{bruce_painting_2019,
	address = {Philadelphia},
	title = {Painting publics: {Transnational} legal graffiti scenes as spaces for encounter},
	isbn = {978-1-4399-1445-8},
	abstract = {Public art is a form of communication that enables spaces for encounters across difference. These encounters may be routine, repeated, or rare, but all take place in urban spaces infused with emotion, creativity, and experimentation. In Painting Publics, Caitlin Bruce explores how various legal graffiti scenes across the United States, Mexico, and Europe provide diverse ways for artists to navigate their changing relationships with publics, institutions, and commercial entities. 
Painting Publics draws on a combination of interviews with more than 100 graffiti writers as well as participant observation, and uses critical and rhetorical theory to argue that graffiti should be seen as more than counter-cultural resistance. Bruce claims it offers resources for imagining a more democratic city, one that builds and grows from personal relations, abandoned or under-used spaces, commercial sponsorship, and tacit community resources. In the case of Mexico, Germany, and France, there is even some state support for the production and maintenance of civic education through visual culture. 
In her examination of graffiti culture and its spaces of inscription, Bruce allows us to see moments where practitioners actively reckon with possibility.},
	language = {English},
	publisher = {Temple University Press},
	author = {Bruce, Caitlin Frances},
	year = {2019},
	keywords = {Graffiti, Art, Sociology},
}

@book{brunila_muutaman_2011,
	address = {Helsinki},
	series = {Into-pamfletti},
	title = {Muutaman töhryn tähden: {Helsingin} töhrysota 1998-},
	isbn = {978-952-264-089-5},
	abstract = {Jokaisessa kirjassa uniikkikansi! Virkamiespropagandaa, tappouhkauksia ja luunmurtumia. Räväyttävä pamfletti Helsingin kaupungin katutaiteen vastaisen nollatoleranssipolitiikan vaikutuksista kaupunkilaisiin ja kaupunkitilaan.},
	language = {Finnish},
	number = {44},
	publisher = {Into kustannus},
	author = {Brunila, Mikael and Ranta, Kukka and Viren, Eetu},
	year = {2011},
	keywords = {Street art},
}

@article{bryan_revealing_2013,
	title = {Revealing the secrets of {Stonehenge} through the application of laser scanning, photogrammetry and visualisation techniques},
	volume = {XL-5/W2},
	issn = {1682-1777},
	doi = {10.5194/isprsarchives-XL-5-W2-125-2013},
	abstract = {Stonehenge is perhaps the most famous prehistoric monument in the world. Begun as a simple earthwork enclosure, it was built in several stages with the unique lintelled stone circle being erected in the Neolithic period in around 2,500 BC. Today Stonehenge, together with Avebury and other associated sites, form the heart of a World Heritage Site (WHS) with a unique and dense concentration of outstanding prehistoric monuments. In 2011 English Heritage (EH) embarked on a new survey of the monument. Undertaken by the Greenhatch Group, a commercial survey company based near Derby, a combination of laser scanning and photogrammetric approaches were used to generate the required scale and detailed level of output required by English Heritage. This paper will describe the background to this project and its context within previous survey activities at this World Heritage Site. It will explain the data acquisition technology and processes undertaken on site, the datasets derived from post-processing and their filtering and analysis within both subsequent research projects. Alongside a description of how the data is currently being exploited and proposed future applications within the conservation and management of the site, it will finish by considering the impact of developing geospatial imaging technologies.},
	language = {English},
	journal = {ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences},
	author = {Bryan, Paul G. and Abbott, Marcus and Dodson, A. J.},
	year = {2013},
	note = {Num Pages: 5},
	keywords = {Graffiti, IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), Stonehenge, TLS (Terrestrial Laser Scanning), ALS (Airborne Laser Scanning), Carvings},
	pages = {125--129},
}

@book{bua_beat_2009,
	address = {New York},
	title = {The {Beat} of urban art: {The} art of {Justin} {Bua}},
	isbn = {978-0-06-173499-1},
	abstract = {Groundbreaking artist Justin BUA is internationally known for his bestselling collection of fine art posters—The DJ being one of the most popular prints of all time. Staring in the world of commercial art, BUA designed and illustrated myriad projects, from skateboards and CD covers to advertising campaigns. He developed the look and feel of the opening sequence for MTV's Lyrist Lounge Show, EA sports video games NBA Street and NFL Street, and the world of Slum Village's award-winning music video, "Tainted," among others. His line of apparel and his limited edition sneakers sold out completely. His energetic and vocal worldwide fan base ranges from former presidents,, actors, musicians, professional athletes, and dangers to street kids and art connoisseurs. 
In The Beat of Urban Art, BUA lays out his unique vision, melding urban rhythms, graffiti, and classical art training. This visually arresting book is about his life, his work, and the birth of Hip-Hop. As we follow BUA through his turbulent youth, navigating he streets and underground worlds of the urban jungle, we recognize the powerful evolution of BUA's distinct style—"Distorted Urban Realism." 
Following in the footsteps of the great masters, BUA represents the lives of the revered and the marginalized, the heroes and the underdogs of his time—New York City during the 1970s and ‘80s. With an autobiographical narrative illustrated with photographs, drawings, sketches, studies, and explanations of how many of his paintings were created, The Beat of Urban Art takes you into the head of the modern-day Toulouse-Lautrec.},
	language = {English},
	publisher = {Collins Design},
	author = {Bua, Justin},
	year = {2009},
	keywords = {Street art, Urban art, Justin Bua},
}

@article{budzynski_modes_2015,
	title = {Modes of {Spatial} {Exploration} in {Berlin}: {Collaborating} with {Knut} {Eckstein} on {Subverting} the {City}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.35},
	abstract = {This article primarily investigates the city of Berlin on two levels: as a totalizing vision in which a specific perspective of urban space is imagined and built into the city and as a layered and disparate space in which urban objects are catalysts for associative narratives for rethinking the urban environment. It concentrates on two primary areas of Berlin: the Kulturforum and Bebelplatz. Looking to a creative experience of the city, the author collaborates with the artist Knut Eckstein to explore the idea of subversive space based on a performative transgression of barriers in architecture.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Budzynski, Scott Joseph},
	year = {2015},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Berlin, Germany, Art and architecture, Postwar modernism},
	pages = {89--98},
}

@book{bull_this_2015,
	address = {Oakland},
	title = {This is not a photo opportunity: {The} street art of {Banksy}},
	isbn = {978-1-62963-036-6},
	abstract = {This Is Not a Photo Opportunity is a street-level, full-color showcase of some of Banksy’s most innovative pieces ever. Banksy, Britain’s now-legendary “guerilla” street artist, has painted the walls, streets, and bridges of towns and cities throughout the world. Once viewed as vandalism, Banksy’s work is now venerated, collected, and preserved. Over the course of a decade, Martin Bull has documented dozens of the most important and impressive works by the legendary political artist, most of which are no longer in existence.},
	language = {English},
	publisher = {PM Press},
	author = {Bull, Martin},
	year = {2015},
	keywords = {Graffiti, Banksy, Street art},
}

@article{burnham_sticking_2018,
	title = {Sticking it to the man: {The} visual activism of {Dr}. {D}},
	volume = {1},
	issn = {2535-549X},
	abstract = {This essay is based on Adrian Burnham’s recent talks on The Visual Activism of Dr. D at Nuart Plus, Aberdeen, and Art on the Streets II: Art as Intervention, London. All photographs, unless otherwise stated, ©Adrian Burnham. Adrian Burnham has a long held empirical interest in both the variety and efficacy of interventions on urban space and a particular fascination with paper-based art and visual activism. His career spans both a mundane engagement with the metropolis – as a commercial flyposter in the 1980s and 90s – to more academic study of the city and the social production of space at Goldsmiths University. After 10 years leading courses and lecturing on art and design at Hackney Community College, in June 2016 he founded and continues to curate www. flyingleaps.co.uk: a street display and online platform for sociopolitically engaged artists. He regularly writes about and gives talks on art and urban culture.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Burnham, Adrian},
	year = {2018},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art},
	pages = {96--103},
}

@article{burnham_reframing_2022,
	title = {Reframing {Detritus}: {Franck} {Allais}’ {Photography} of {Everyday} {Objects} {Discarded} on the {Streets}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Burnham, Adrian},
	year = {2022},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Photography, Franck Allais},
	pages = {41--47},
}

@article{burocco_forest_2021,
	title = {The {Forest} on the {Walls}: {Notes} on {Indigenous} {Street} {Art}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Burocco, Laura},
	year = {2021},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Indigenous},
	pages = {48--59},
}

@article{cabecadas_do_carmo_commodification_2018,
	title = {The commodification of alternative cultural spaces},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.145},
	abstract = {The commodification of “alternative” cultural spaces is a process that has started to take place in several European cities, like Lisbon, for instance. This has happened due to the pressure of the real estate market, tourism trends or the austerity measures imposed by Troika, during the global economic crisis (2008). It is in this context that a specific real estate agency acts in order to create an opportunity for its business, investing in the rehabilitation of buildings and revitalization of certain areas of the city (interstices), supported by decorative aesthetics and an architectural design inspired by cultures of resistance. This strategy of territorial and decorative investment has had a big impact in the city of Lisbon. The reuse of images, buildings and practices related to “alternative” environments leads to the aesthetization of certain architectures – particularly those which host creative and cultural projects, and whose designs and marketing strategies distort political or social meanings.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Cabeçadas do Carmo, Letícia and Pattaroni, Luca},
	year = {2018},
	note = {Num Pages: 14
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Portugal, Lisbon, Commodfification},
	pages = {85--98},
}

@book{cadetti_conservare_2020,
	address = {Firenze},
	series = {Storia e teoria del restauro},
	title = {Conservare la street art: {Le} problematiche del muralismo contemporaneo in {Italia}},
	isbn = {978-88-9280-020-5},
	abstract = {Estudio sobre las obras de arte urbano en Italia, su conservación y restauración, considerando la interacción entre artistas, comunidad y medio ambienten. Se incluyen numerosas entrevistas a artistas, que proporcionan información sobre poéticas, ideas, técnicas y materiales empleados.},
	language = {Italian},
	number = {34},
	publisher = {Edifir},
	author = {Cadetti, Alessia},
	year = {2020},
	keywords = {Graffiti, Street art, Italy},
}

@article{caffio_surveying_2015,
	title = {Surveying {New} {Muralism} in {Italy}: {Urban} {Art} {Interventions} for the {Regeneration} of {Turin}’s {Architectural} {Heritage}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.33},
	abstract = {The phenomenon of urban art is one of the forces shaping contemporary urban spaces. Historically fought as vandalism in its “writing” component (the “black sheep” of the urban actors performing in the contemporary city), urban art has recently become more appreciated as an artistic expression, especially when regarded as a stage in the historical evolution of muralism. As several examples worldwide have shown, in the context of urban renewal, urban art can set off positive dynamics. Focusing on the Italian scene, I recognize the importance of past Italian interventions realized both in big cities, such as Rome, Turin and Bologna, and in small cities, such as Grottaglie (Taranto), Gaeta (Latina), Catanzaro, and Dozza (Bologna). In addition, the growing number of urban art festivals and public interventions seems to voice the citizens’ will to take the streets back, particularly where institutions are unable to intervene effectively in the urban domain due to political short-sightedness or lack of financial resources. The first aim of this paper is to illustrate and analyze some collective projects and informal actions through which citizens, associations, and institutions have given added value to the urban space. I will focus particularly on Turin, which has become one of the most interesting and rich urban art territories, thanks to public projects such as Murarte, Picturin, Nizzart and B.Art: Arte in Barriera. This study offers insights on how, by way of artistic deeds and apparently “weak” transformation systems, urban art may take innovative action so as to regenerate the city’s architectural heritage. The second aim of this paper is to propose a methodology for architectural surveying techniques applied to urban art. isIn current critical analysis, as well as in the representation and documentation of this type of work, the fundamental importance of the physical, architectural and urban environment in which the work is placed is often overlooked, if not completely omitted. In acknowledgment of these limitations, this paper proposes a documentation methodology that respects both the values of the process and the work itself. In this regard, painted walls must be considered as inseparable from the space in which they are located, from the material substrate supporting them, and from the time conditions in which they were realized. The process of examination and documentation therefore requires observation in situ, new digital and traditional survey techniques, and a variety of representations at different scales; with a view to understanding the reasons that led to the selection of a particular place in the city, and the way in which artistic action arises in relation to the historical environment and the social and political system that influenced its creation.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Caffio, Giovanni},
	year = {2015},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Italy, Murals, Torino, Turin},
	pages = {71--82},
}

@article{calderon_alaez_zero_2019,
	title = {Zero {Tolerance} = 100 {New} {Techniques} {Swedish} / {Nordic} {Street} {Art}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.136},
	abstract = {Just as citizens design the city with their actions, with their walks, their routes (as the classic example of paths created in parks on the grass, the so-called "Desire Lines") the artists, in this case, focused on the the Nordic cities (specifically Stockholm) have designed or developed their new ways of acting on the city, using new techniques, materials and especially supports (which are not so common in the scene of independent public art in the cities of Southern Europe). 
It draws attention in how in cities of northern Europe, advertising has captured all possible public space supports. Even in transports like subway, trams ... etc or placing giant screens in crowded areas of the city center or completely papering the buildings and fences with thousands of posters. 
The intervention (Photo 1) of the Swedish street artist Klisterpeter, of 2011, does not represent the truth. It is an ironic intervention, since contrary to how it is expressed here, we could say that Stockholm "hates" graffiti. Probably the rest of European cities hate it in equal measure, although in this city, compared to others like Barcelona, Berlin, Athens or Lisbon, graffiti its totally absence. 
In this article we will try to find the reason for this fact, looking for a parallelism with the well-known Nordic design and through its different cultural uses. If you have heard about Ikea, you know exactly what we are going to talk about. The main idea that transmits is not to fill the space of pieces without use, which can be compared with the care of urban artists/ graffiti artists in the Swedish capital, the simplicity in the lines, the soft colours, the minimalism and the principle of "less is more" that is perfectly described in their daily life. The Scandinavian character united to the environment that surrounds them: the cold, the darkness and the great virgin forests, have been very influential factors.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Calderon Alaez, Elena},
	year = {2019},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Sweden, Norway},
	pages = {38--39},
}

@book{campos_1000_2010,
	address = {Beverly},
	title = {1,000 ideas for graffiti and street art: {Murals}, tags, and more from artists around the world},
	isbn = {978-1-59253-658-0},
	abstract = {Graffiti and street art used to be a sure sign of a neighborhood's neglect. Even though it is still a countercultural art form, its role has grown: it enlivens public space, provides social commentary, and adds humor and color to the urban and suburban landscape. "1,000 Ideas for Graffiti and Street Art" is a showcase of urban art suitable for artists of any medium, designers, and other creative artists looking for urban-style inspiration for their visual work. A visual catalog, it is both a practical, inspirational handbook and a coffee-table conversation piece. Graffiti and street artists--rebellious and non-rebellious alike--will relish the opportunity to have so many ideas for color play, illustration, and wild expressions at their fingertips. Inside you'll find: -1,000 photographs of graffiti and other types of urban art, with captions that feature location (city, state, country) artist name (if known). -Artwork sorted into categories such as letterforms, stencils, portraits, murals, nature, tags, throw-ups, pieces, and productions -Urban art glossary, basic aerosol painting and street art techniques, and more.},
	language = {English},
	publisher = {Rockport Publishers},
	author = {Campos, Cristian},
	translator = {{Cillero \& de Motta}},
	year = {2010},
	keywords = {Graffiti, Street art},
}

@book{campos_graffiti_2010,
	address = {Antwerp},
	title = {Graffiti. {From} {A} to {Z} = {Graffiti}. {De} {A} à {Z} = {Graffiti}. {Von} {A} bis {Z} = {Graffiti}. {Van} {A} tot {Z}},
	isbn = {978-94-6065-024-6},
	abstract = {A comprehensive visual journey through all the styles and trends of modern urban art. 500 colour photographs show street art masterpieces in dozens of cities around the world in many different styles: realistic, 3D, wild style and graphic.},
	language = {English; French; German; Dutch},
	publisher = {BooQs},
	author = {Campos, Cristian and Valle Padilla, Itzel},
	translator = {{Cillero \& de Motta}},
	year = {2010},
	keywords = {Graffiti, Murals, Posters, Stickers},
}

@book{campos_graffiti_2010-1,
	address = {Antwerp},
	title = {Graffiti. {From} {A} to {Z} = {Graffiti}. {De} la {A} a {Z} = {Graffiti}. {Dalla} {A} alla {Z} = {Graffiti}. {De} {A} à {Z}},
	isbn = {978-94-6065-030-7},
	abstract = {A comprehensive visual journey through all the styles and trends of modern urban art. 500 colour photographs show street art masterpieces in dozens of cities around the world in many different styles: realistic, 3D, wild style and graphic.},
	language = {English; Spanish; Italian; Portuguese},
	publisher = {BooQs},
	author = {Campos, Cristian and Valle Padilla, Itzel},
	translator = {{Cillero \& de Motta}},
	year = {2010},
	keywords = {Graffiti, Murals, Posters, Stickers},
}

@book{campos_political_2021,
	address = {New York},
	series = {Protest, culture \& society},
	title = {Political graffiti in critical times: {The} aesthetics of street politics},
	isbn = {978-1-78920-941-9},
	abstract = {Whether aesthetically or politically inspired, graffiti is among the oldest forms of expression in human history, one that becomes especially significant during periods of social and political upheaval. With a particular focus on the demographic, ecological, and economic crises of today, this volume provides a wide-ranging exploration of urban space and visual protest. Assembling case studies that cover topics such as gentrification in Cyprus, the convulsions of post-independence East Timor, and opposition to Donald Trump in the American capital, it reveals the diverse ways in which street artists challenge existing social orders and reimagine urban landscapes.},
	language = {English},
	number = {28},
	publisher = {Berghahn Books},
	editor = {Campos, Ricardo and Pavoni, Andrea and Zaimakis, Yiannis},
	year = {2021},
	keywords = {Graffiti, Street art, Politics},
}

@article{cankaya_art_2021,
	title = {Art, {City} and {Social} {Bonding}: {Street} {Gallery}},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i2.478},
	abstract = {This work is a discussion on the impact, challenges and ambiguities of artists and makers presence in a community. The purpose is to raise questions on levels of possible, realistic community engagement from passers-by, active makers and sharing partners in the formation of spontaneous, enhanced identity in local neighbourhoods. The art in the street as by-product of care and meaningful engagement, without strong labels or pre-designed, carrier motivated collaborations between artists and communities is in the focus. 
The case study is the Flagpoles Project (1986 – 1991) initiated by Slobodan Dan Paich which consists of a great number of semi-permanent sculptures built for and with residents of the Golden Gate, Oakland, USA. 
Reflecting on Flagpoles Project enables this paper to re-ask the artist’s role in a community setting, and how do the artistic sensibilities, vision and cohesive visual language remain while the creative process is shared with community. The paper also focuses on an enquiry on the ambiguities on how a public art project can create a positive impact on diverse segments of a difficult neighbourhood and how can bonding through art transform the experience of public space in urban context. 
In general, the methodology starts from expressive inception, community context and its development. In this example it is based on interviews, testimonials, also on printed and digital materials concluding with related literature about social inclusion and role of the art in everyday setting.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Cankaya, İpek},
	year = {2021},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Community-engaged},
	pages = {26--32},
}

@misc{capus_project_conservation_2018,
	title = {Conservation of {Art} in {Public} {Spaces}},
	url = {http://www.capusproject.eu},
	language = {English},
	author = {{CAPuS project}},
	year = {2018},
	keywords = {Graffiti, Street art, CAPuS},
}

@misc{capus_project_bilingual_2020,
	title = {Bilingual glossary in {Croatian} and {English}},
	url = {https://www.capusproject.eu/wp-content/uploads/2021/06/CAPuS-Glossary_EN-HR.pdf},
	language = {English; Croatian},
	urldate = {2023-09-14},
	author = {{CAPuS project}},
	month = dec,
	year = {2020},
	note = {Num Pages: 112},
	keywords = {Graffiti, Street art, Glossary},
}

@misc{capus_project_bilingual_2020-1,
	title = {Bilingual glossary in {German} and {English}},
	url = {https://www.capusproject.eu/wp-content/uploads/2021/06/CAPuS-Glossary_EN-DE.pdf},
	language = {English; German},
	urldate = {2023-09-14},
	author = {{CAPuS project}},
	month = dec,
	year = {2020},
	note = {Num Pages: 112},
	keywords = {Graffiti, Street art, Glossary},
}

@misc{capus_project_bilingual_2020-2,
	title = {Bilingual glossary in {Italian} and {English}},
	url = {https://www.capusproject.eu/wp-content/uploads/2021/06/CAPuS-Glossary_EN-IT.pdf},
	language = {English; Italian},
	urldate = {2023-09-14},
	author = {{CAPuS project}},
	month = dec,
	year = {2020},
	note = {Num Pages: 112},
	keywords = {Graffiti, Street art, Glossary},
}

@misc{capus_project_bilingual_2020-3,
	title = {Bilingual glossary in {Polish} and {English}},
	url = {https://www.capusproject.eu/wp-content/uploads/2021/06/CAPuS-Glossary_EN-PL.pdf},
	language = {English; Polish},
	urldate = {2023-09-14},
	author = {{CAPuS project}},
	month = dec,
	year = {2020},
	note = {Num Pages: 112},
	keywords = {Graffiti, Street art, Glossary},
}

@misc{capus_project_bilingual_2020-4,
	title = {Bilingual glossary in {Spanish} and {English}},
	url = {https://www.capusproject.eu/wp-content/uploads/2021/06/CAPuS-Glossary_EN-SP.pdf},
	language = {English; Spanish},
	urldate = {2023-09-14},
	author = {{CAPuS project}},
	month = dec,
	year = {2020},
	note = {Num Pages: 112},
	keywords = {Graffiti, Street art, Glossary},
}

@misc{capus_project_glossary_2020,
	title = {Glossary},
	url = {https://www.capusproject.eu/wp-content/uploads/2021/06/CAPuS-Glossary_EN-mono.pdf},
	language = {English},
	urldate = {2023-09-14},
	author = {{CAPuS project}},
	month = dec,
	year = {2020},
	note = {Num Pages: 168},
	keywords = {Graffiti, Street art, Glossary},
}

@misc{caputo_public_2010,
	title = {Public {Domain}\_02\_AC. {Street} {Codes}},
	url = {https://www.abitare.it/en/archive/2010/02/15/public-domain_02_ac-street-codes-2/},
	abstract = {Writing is a street culture that in the span of the last forty years has been transmitted by collecting and interpreting direct observations of its protagonists. The various facets of the phenomenon can be comprehended by the New York writer's terminology, here resumed in thematic glossaries.},
	language = {English},
	author = {Caputo, Andrea},
	year = {2010},
	keywords = {Graffiti, Tags, Terminology, Glossary},
}

@book{caputo_public_2014,
	address = {Milan},
	title = {Public {Domain}: {The} {Tunnel} {Issue}},
	isbn = {978-88-976400-06-6},
	language = {English},
	publisher = {Whole Train Press},
	author = {Caputo, Andrea},
	year = {2014},
	keywords = {Graffiti, Street art, Tunnel},
}

@book{carlsson_street_2010,
	address = {Årsta},
	title = {Street art cookbook: {A} {Guide} to {Techniques} and {Materials}},
	isbn = {978-91-85639-30-4},
	abstract = {The complete DIY bible of street art. Now in softcover. The Street Art Cookbook is a guide to the materials and techniques used within today's most creative and progressive art movement. In hundreds of pictures and illustrations and a dozen of interviews with some of the world's most famous artists, the authors show how street art is made. From stencils and stickers to laser tagging and guerrilla gardening, the Street Art Cookbook takes us on a trip around the world in the search of the tricks and trades of street artists. Posters, stickers, screen print, mosaic, sculptures. There is no limit to their imagination. Hundreds of books filled with pictures of street art have been published in the last few years, here, at last, is one that shows how the artists work. The Street Art Cookbook is filled with tips and examples of how to create your own stencil, sticker, poster or installation. These techniques can be used on all kinds of materials: textiles, glass, metal, concrete or wood and is suitable for everything from scrapbooking, designing clothes with motifs to outdoor use. The Street Art Cookbook gives a unique insight into the alternative art world and it's a rich source of inspiration for anyone interested in DIY yourself culture. Mark Jenkins, Swoon, Gould, WK Interact, Caper, Victor Marx, C215, Poch, Ron English and Knitta Please, are some of the artists featured in this book.},
	language = {English},
	publisher = {Dokument},
	author = {Carlsson, Benke and Louie, Hop},
	year = {2010},
	keywords = {Graffiti, Street art},
}

@book{carlsson_urban_2012,
	address = {Igling},
	title = {Urban {ArtCore}: {Anleitungen} für {Street}-{Art}-{Aktivisten}},
	isbn = {978-3-86355-083-7},
	language = {German},
	publisher = {Edition Michael Fischer},
	author = {Carlsson, Benke and Louie, Hop},
	translator = {Anadere, Tim},
	year = {2012},
	keywords = {Graffiti, Street art},
}

@article{carrasco_aroldo_2020,
	title = {Aroldo {Marinai}´s {Frogmen} project: a pioneer of street art in {Florence}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.334},
	abstract = {Aroldo Marinai´s (Florence, Italy, 1941) first – and, in relative terms, quite late - experience of the art world came through a street art project. Inspired by a recent work stay in New York, at the end of 1979 he decided to enact a creative intervention in his own city through a stencil image of a scuba diver. This act was subsequently followed by a gallery exhibition and the production of a book, entitled Frogmen: Un segno sui muri come per caso (1980), in which he collated all available documents related to the piece: a diary, photographs, newspaper clippings and a police report. As early as the 1980s, Frogmen had already begun to open up a conversation concerning the complex relationship between street art and advertisement, street art and the gallery space, or the ephemeral and its documentation (before social media). Marinai managed to capture these debates, that continue to provoke interest and discussion within the field of urban studies, – some of them not without a degree of controversy –making them part of Frogmen. This article aims to shine a light on and bring attention to a project that up to this point has been overlooked critically, and that merits analysis for its originality as well as its pioneering role within the context of Florence street art.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Carrasco, Isabel},
	year = {2020},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Italy, Aroldo Marinai, Florence, Frogmen},
	pages = {96--107},
}

@article{carrasco_making_2022,
	title = {Making a {Match} before {Tinder}: {Popular} graffiti in {Torrenueva} ({Ciudad} {Real}, {Spain})},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.610},
	abstract = {Traditionally, on the night of April 30th, marking the beginning of popular May celebrations, young men have gone out to write graffiti in the town of Torrenueva (Ciudad Real, Spain). This original graphic phenomenon is locally called “pintar los mayos” and consists of writing the word “MAYO” (“May” in Spanish) followed by the year of the execution (i.e., MAYO 98) on the façade of a girl's house as proof of interest and as an excuse to strike up a conversation. It is hard to confirm the origin of this custom with precision, but the tradition might date back from at least the 1940s. Today it's on the verge of disappearing; only one “mayo” was found in 2020 and none in 2021 or 2022. The ritual has evolved over the years in terms of purpose, location and medium and can be analyzed in the category of “love graffiti”.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Carrasco, Isabel},
	year = {2022},
	note = {Num Pages: 9
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Spain, Ciudad Real, Torrenueva},
	pages = {103--111},
}

@article{carrasco_castro__2018,
	title = {With, {On} and {Against} {Street} {Signs} {On} {Art} {Made} out of {Street} {Signs}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.124},
	abstract = {In The Practice of Everyday Life (1980), Michel de Certeau suggests the idea of a city in which there are, on one side, strategies of information, surveillance, control and infrastructure design laid out by the system and, on the other one, tactics defining the how-to-do of the users with regards to that system, that is, the operations by which they adapt them to align their own interests and needs. The texts allows us to examine the interventions of urban artists as a tactic characterized, as defined by De Certeau, as the harnessing of the system's resources (making do). This is more specifically translated into adaptability, development on a space they do not own, identification and utilization of the occasion (time) and the inventiveness of diverting time and resources (shortcut and la perruque). 
In this work, we will take traffic signs of restriction and prohibition as one of the urban components that highlight the normativization of public spaces through the direct message of "NO" (not doing). Many artists have, in previous years, developed an interest in the artistic and symbolic possibilities of these signs and have developed works (tactics) as their response to them. Dan Witz (Chicago, 1957), Clet (Bretagne, 1966), Brad Dowey (Louisville, 1980) or DosJotas (Madrid, 1982) are good examples of this.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Carrasco Castro, Isabel},
	year = {2018},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Brad Dowley, Clet, Dan Witz, DosJotas, Street signs},
	pages = {81--92},
}

@article{casella_direzioni_2018,
	title = {Direzioni {Coraggiose} - {Brave} {Paths}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.134},
	abstract = {In order to renew the subversive gesture of the first writers (such as Zephyr, Lee, Taki 109,  Dondi )  it is crucial to develop the one’s practice within a constructive discourse of the common (Pani et al., 2008). Sometimes it becomes essential to intervene, to redevelop and to implement decorating paths in places where the old modules have evidently failed. 
Since street art has been legally recognized, the artist-spectator relationship has become more intimate; direct, free from filters and rules imposed by society and the dominant cultures (Galal, 2009), also this can represented a great change.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Casella, Costantino and Schiavottiello, Nicola},
	year = {2018},
	note = {Num Pages: 5
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {137--141},
}

@book{castleman_getting_2013,
	address = {Madrid},
	title = {Getting up / {Hacerse} ver: el grafiti metropolitano en {Nueva} {York}},
	isbn = {978-84-940279-0-1},
	abstract = {En 1972 el grafiti en los trenes subterráneos de Nueva York se volvió un asunto político. Un año antes, la aparición del misterioso mensaje "Taki 183" había hecho aumentar tanto la curiosidad de los neoyorquinos que el New York Times envió uno de sus reporteros a determinar su significado. Gran variedad de funcionarios públicos, entre ellos el alcalde de la ciudad John V. Lindsay, desarrollaron políticas públicas orientadas al fenómeno. Los periódicos y revistas locales aparentemente ayudaron a moldear estas medidas. "Getting up" es el término utilizado por los grafiteros para lograr dejar su sello personal en la red de metro. A través de entrevistas espontáneas, Castleman documenta las vidas y actividades de estos jóvenes artistas de la calle, a través de su jerga y mitología. Con un enfoque más descriptivo que analítico, deja que los "escritores" hablen por sí mismos, dando como resultado una historia de la cultura suburbana, y de la elástica sociedad que la creó.},
	language = {Spanish},
	publisher = {Capitán Swing},
	author = {Castleman, Craig},
	year = {2013},
	keywords = {Graffiti, Street art, New York, Subway},
}

@phdthesis{castleman_getting_1980,
	address = {New York},
	type = {{PhD} thesis},
	title = {Getting up: {Subway} graffiti in {New} {York}},
	language = {English},
	school = {Columbia University},
	author = {Castleman, Craig Alfred},
	collaborator = {Columbia University},
	year = {1980},
	keywords = {Graffiti, Street art, New York, Subway},
}

@book{castleman_getting_1982,
	address = {Cambridge \& London},
	edition = {Seventh printing},
	title = {Getting up: {Subway} graffiti in {New} {York}},
	isbn = {978-0-262-53051-4},
	abstract = {"Getting Up" is the term used by graffiti "artists" to describe their success in making their mark on the New York subway system. Through candid interviews, New Yorker Craig Castleman documents the inside story of the lives and activities of these young graffitists.},
	language = {English},
	publisher = {MIT Press},
	author = {Castleman, Craig Alfred},
	year = {1982},
	keywords = {Graffiti, Street art, New York, Subway},
}

@article{castro_estallido_2019,
	title = {El estallido social de {Chile} contado a través de los grafitis de la capital},
	url = {https://es.euronews.com/2019/11/26/el-estallido-social-de-chile-contado-a-traves-de-los-grafitis-de-la-capital},
	abstract = {Las protestas antigubernamentales y los duros enfrentamientos con las fuerzas de seguridad han dejado a Santiago de Chile irreconocible. Lejos del orden y la calma que ofrecia el llamado "oasis latinoamericano".},
	language = {Spanish},
	journal = {Euronews},
	author = {Castro, Blanca},
	month = nov,
	year = {2019},
	keywords = {Graffiti, Political graffiti, Chili, Protest},
}

@book{catz_talk_2014,
	address = {Paris},
	series = {Talk about},
	title = {Talk about street art},
	isbn = {978-2-08-020196-6},
	abstract = {From the OBEY Giant posters to Banksy’s stencils and from iconic bubble letter tags to mosaic space invaders, street art is omnipresent. Graffiti and street art have long been part of our visual culture, from their origins in ancestral caves to New York City’s subway walls. This book covers all aspects of an art form that is often underappreciated, ephemeral, and illegal. The diverse media and techniques employed are ever-evolving, and include graffiti, stencils, tags and lettering, interventions, urban sculptures, collage, distortions, and even new multimedia. The artist’s engagement and state of mind are important components of street art; the book covers topics such as anonymity, the art form’s dangerous nature, codes of conduct, and ideological engagement, as well as the interface of street art with contemporary art, pop surrealism, toy art, and music and sport. Street art is found on every continent, and the book gives focus to each country and its own modes of expression and specificities. Portraits of 30 key artists, a glossary, and an address book of important venues around the world complete the book.},
	language = {English},
	publisher = {Flammarion},
	author = {Catz, Jérome},
	translator = {Hiddleston-Galloni, Anna},
	year = {2014},
	keywords = {Graffiti, Street art, France},
}

@book{catz_street_2015,
	address = {Paris},
	series = {Œuvres phares, notions clés, idées neuves, dates repères},
	title = {Street art. {Le} {Guide}},
	isbn = {978-2-08-135880-5},
	abstract = {Créée et dirigée par Elisabeth Couturier, cette collection décrypte le monde contemporain à travers ses expressions artistiques et ses modes de pensées. 20 artistes phares. Renouer les fils avec le passé. Changer sa façon de voir. Le street art, quel intérêt? Le street art, c'est quoi? Retenir quelques dates repères. Connaître les mots-clés. Comment approcher les street art? Ils l'ont fait pour la première fois.},
	language = {French},
	publisher = {Flammarion},
	author = {Catz, Jérôme},
	year = {2015},
	keywords = {Graffiti, Street art, France},
}

@book{catz_emc215_2015,
	address = {Grenoble},
	series = {Opus délits},
	title = {E={MC215}},
	isbn = {978-2-37026-018-5},
	abstract = {En travaillant avec le CEA, et plus spécifiquement avec son centre de Saclay, C215 sert d'agent de liaison entre deux disciplines qui ne se côtoient que trop rarement : l'art et la science. Rendre hommage aux grands hommes et femmes de la science, mais aussi aux idées qui la matérialisent, est une équation difficile à résoudre. De Pierre et Marie Curie à Max Planck en passant par le Dr Emmett Brown de Retour vers le futur, le street-artiste pose le problème et trouve : E=mc215 !},
	language = {French},
	number = {53},
	publisher = {Critères éditions},
	author = {Catz, Jérôme and Klein, Étienne},
	year = {2015},
	keywords = {Graffiti},
}

@article{cercleux_street_2021,
	title = {Street {Art} {Participation} in {Increasing} {Investments} in the {City} {Center} of {Bucharest}, a {Paradox} or {Not}?},
	volume = {13},
	issn = {2071-1050},
	doi = {10.3390/su132413697},
	abstract = {This article analyses street art’s contribution to the current economic life in the city center of an Eastern European capital, Bucharest. The development of socio-economic activities in the Romanian capital has been strongly influenced in the last 30 years by a complex of effects generated by the transition to the capitalist economy in the early 1990s, the impact of globalization, and recently the COVID-19 pandemic. This study focuses on the investigation of those areas that through street art came to know processes of urban regeneration. By applying semi-structured interviews to providers of alternative guided tours, but also questionnaires among the population that is familiar with this subculture, including an organization of urban regeneration through street art, an important number of economically new spaces, next to reinvented ones, have been investigated. In these areas, street art ends up by supporting activities from hospitality, cultural, and creative industries, changing for the better the perspectives of economic and cultural development, along with the attractiveness of the Bucharest city center. Street art proves to be an important tool in the regeneration process bringing positive effects when involving active cooperation between the public and the private sectors.},
	language = {English},
	number = {24},
	journal = {Sustainability},
	author = {Cercleux, Andreea-Loreta},
	year = {2021},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art, Bucharest, Romania},
	pages = {13697},
}

@article{cercleux_graffiti_2022,
	title = {Graffiti and {Street} {Art} between {Ephemerality} and {Making} {Visible} the {Culture} and {Heritage} in {Cities}: {Insight} at {International} {Level} and in {Bucharest}},
	volume = {12},
	doi = {10.3390/soc12050129},
	abstract = {The paper aims to analyze, on one hand, the evolution and interpretation of graffiti and street art phenomenon in the Romanian capital, Bucharest, and at international level, and on the other hand how this subculture is related to aspects of culture and heritage. The analysis of the evolution followed by graffiti and street art in Bucharest is doubled by the investigation of the messages transmitted in relation to the national and local culture and history, as street art may be seen as an efficient tool contributing to local cultural identity building. The methods used rely on a complex approach, combining observation and photos from field research, documentation, and data collection from different organizations and online communities. Street art works have various positive effects on the urban landscape, including in relation to culture and heritage in time. The results demonstrate that in Bucharest, street art contributes to highlighting mainly the key-moments and the personalities in culture and history that contribute to shaping a part of cultural identity.},
	language = {English},
	number = {5},
	journal = {Societies},
	author = {Cercleux, Andreea-Loreta},
	year = {2022},
	note = {Num Pages: 25},
	keywords = {Graffiti, Street art, Cultural heritage, Bucharest, Cultural identity, Romania},
	pages = {129},
}

@article{cerny_graffiti_1947,
	title = {Graffiti at the {Wādi} {El}-‘{Allāḳi}},
	volume = {33},
	issn = {0307-5133},
	doi = {10.1177/030751334703300107},
	language = {English},
	number = {1},
	journal = {The Journal of Egyptian Archaeology},
	author = {Černý, Jaroslav},
	year = {1947},
	note = {Num Pages: 6},
	keywords = {Graffiti, Egypt, Wādi El-‘Allāḳi},
	pages = {52--57},
}

@article{chackal_materiality_2016,
	title = {Of {Materiality} and {Meaning}: {The} {Illegality} {Condition} in {Street} {Art}},
	volume = {74},
	issn = {00218529},
	doi = {10.1111/jaac.12325},
	abstract = {Street art is an art form that entails creating public works incorporating the street physically and in their meaning. That physical property is employed as an artistic resource in street art raises two questions. Are street artworks necessarily illegal? Does being illegal change the nature of production and aesthetic appreciation? First, I argue street artworks must be in the street. On my view, both the physical and sociocultural senses of the street can be constitutive of meaning. Second, I argue that illegality is a prototypical and paradigmatic feature of street art. While illegality alone does not make works better than sanctioned street art, it affects the production process and changes what is available to appreciate.},
	language = {English},
	number = {4},
	journal = {The Journal of Aesthetics and Art Criticism},
	author = {Chackal, Tony},
	year = {2016},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Illegality},
	pages = {359--370},
}

@book{chaffee_political_1993,
	address = {Westport},
	series = {Contributions to the study of mass media and communications,   0732-4456},
	title = {Political protest and street art: {Popular} tools for democratization in {Hispanic} countries},
	isbn = {978-0-313-28808-1},
	abstract = {This first cross-national book-length study of street art as political protest and communication focuses on art forms traditionally used by collectives and state interests in the Hispanic world--posters, wallpaintings, graffiti, murals, shirts, buttons, and stickers, for example. Professor Chaffee examines the motives behind the use of street art as propaganda and seeks to explain how it is effective. Using field research and a sociopolitical approach, he assesses contemporary street art in Spain, the Basque country, Argentina, and Brazil. He shows how street art is a barometer of popular conflicts and sentiments across the political spectrum.},
	language = {English},
	publisher = {Greenwood Press},
	author = {Chaffee, Lyman G.},
	year = {1993},
	keywords = {Graffiti, Street art, Brazil, Politics, Spain, Political graffiti, Argentina, Basque country},
}

@book{chalfant_training_2014,
	address = {New York},
	title = {Training days: {The} subway artists then and now},
	isbn = {978-0-500-23921-6},
	abstract = {Late 1970s New York City was bankrupt and its streets dirty and dangerous. But thecity had a wild, raw energy that made it the crucible for the birth of rap culture and graffiti. Graffiti writers worked in extremely tough conditions: uncollected garbage, darkness, cramped spaces, and the constant threat of police raids, assault by security staff and attacks by rival crews. It was not unlike practicing performance art in a war zone. Yet during the fertile years of the late 1970s and 1980s they evolved their art from stylized signatures to full-blown Technicolor dreamscapes. Henry Chalfant created panoramic images of painted trains by photographing overlapping shots along the train’s length. It took time to earn the writers’ trust andrespect, but Chalfant became their revered confidant and with Tony Silver went on to produce the classic documentary film Style Wars (1983). Through a series of interviews conducted by Sacha Jenkins, we hear the voices of these characters of old New York. Quite a few of the original writers are no longer with us, but those who have survived have continued to push the envelope as artists and individuals in a new millennium.The stories they tell, included here alongside iconic, raw photographs of their work, will enthrall graffiti fans everywhere.},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Chalfant, Henry and Jenkins, Sacha},
	year = {2014},
	keywords = {Graffiti, Street art, New York},
}

@book{chalfant_spraycan_1987,
	address = {London},
	series = {Street {Graphics} - {Street} {Art}},
	title = {Spraycan art},
	isbn = {978-0-500-27469-9},
	abstract = {Shows examples of graffiti from around the world and shares the opinions of graffiti artists about their work.},
	language = {English},
	publisher = {Thames and Hudson},
	author = {Chalfant, Henry and Prigoff, James},
	year = {1987},
	keywords = {Graffiti},
}

@article{chamberlain_aesthetics_2022,
	title = {Aesthetics of {Graffiti}: {Comparison} to {Text}-{Based} and {Pictorial} {Artforms}},
	volume = {40},
	issn = {0276-2374},
	doi = {10.1177/0276237420951415},
	abstract = {Graffiti art is a controversial art form, and as such there has been little empirical work assessing its aesthetic value. A recent study examined image statistical properties of text-based artwork and revealed that images of text contain less global structure relative to fine detail compared to artworks. However, previous research did not include graffiti tags or murals, which reside in the space between text and visual art. The current study investigated the image statistical properties and attractiveness of graffiti relative to other text-based and pictorial art forms, focusing additionally on the role of expertise. A series of images (N = 140; graffiti, text and paintings) were presented to a group of observers with varying degrees of art interest and expertise (N = 169). Findings revealed that image statistics predicted attractiveness ratings to images, and that biases against graffiti art are less salient in an expert sample.},
	language = {English},
	number = {1},
	journal = {Empirical Studies of the Arts},
	author = {Chamberlain, Rebecca and Mullin, Caitlin and Berio, Daniel and Leymarie, Frederic Fol and Wagemans, Johan},
	year = {2022},
	note = {Num Pages: 16},
	keywords = {Graffiti, Analysis, Image statistics},
	pages = {21--36},
}

@book{chamberlin_street_2016,
	address = {Richmond},
	title = {Street art international},
	isbn = {978-1-74117-485-4},
	abstract = {On the walls of alleys and abandoned buildings, on chain link fences and trash cans, on utility and traffic signal boxes \&; this is global street art, as photographed by Lou Chamberlin. The images jump off the streets and into the pages of Lou's book, as her photographs document the walls making waves in cities from London to Berlin, Sydney to Lodz, Dublin to Rio, and Tokyo to New York. 
This is an important new sourcebook for street artists, revealing not just the latest, exciting art happening around the globe, but also the collaborations and communities supporting the movement.},
	language = {English},
	publisher = {Hardie Grant Publishing},
	author = {Chamberlin, Lou},
	year = {2016},
	keywords = {Graffiti, Street art},
}

@book{chamberlin_urban_2018,
	address = {Richmond},
	title = {Urban scrawl: {The} written word in street art},
	isbn = {978-1-74117-634-6},
	language = {English},
	publisher = {Hardie Grant Travel},
	author = {Chamberlin, Lou},
	year = {2018},
	keywords = {Graffiti, Street art},
}

@article{chambers_trespasser_2023,
	title = {From {Trespasser} to {Nerd}: {The} {Changing} {Image} of {Trainspotting} in {Post}-{War} {Britain}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Chambers, Thomas},
	year = {2023},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, Train, Britain, Trainspotting},
	pages = {46--60},
}

@book{champion_medieval_2015,
	address = {London},
	title = {Medieval graffiti: {The} lost voices of {England}'s churches},
	isbn = {978-0-09-196041-4},
	abstract = {For centuries carved writings and artworks in churches lay largely unnoticed. So archaeologist Matthew Champion started a nationwide survey to gather the best examples. In this book he shines a spotlight on a forgotten world of ships, prayers for good fortune, satirical cartoons, charms, curses, windmills, word puzzles, architectural plans and heraldic designs. Drawing on examples from surviving medieval churches in England, the author gives a voice to the secret graffiti artists: from the lord of the manor and the parish priest to the people who built the church itself.},
	language = {English},
	publisher = {Ebury Press},
	author = {Champion, Matthew},
	year = {2015},
	keywords = {Graffiti, Church, UK, England, Medieval archaeology, Masonry},
}

@article{champion_priest_2017,
	title = {The {Priest}, the {Prostitute}, and the {Slander} on the {Walls}: {Shifting} {Perceptions} {Towards} {Historic} {Graffiti}},
	volume = {6},
	language = {English},
	number = {1},
	journal = {Peregrinations: Journal of Medieval Art and Architecture},
	author = {Champion, Matthew},
	year = {2017},
	note = {Num Pages: 33},
	keywords = {Graffiti, Church, UK, England, Medieval archaeology, Historic graffiti, Medieval graffiti, Masonry},
	pages = {5--37},
}

@book{chang_generacion_2014,
	address = {Buenos Aires},
	title = {Generación {Hip}-{Hop}: {De} la guerra de pandillas y el graffiti al gangsta rap},
	isbn = {978-987-1622-29-0},
	abstract = {Basado en cientos de entrevistas y más de diez años de investigación, Jeff Chang nos ofrece una exhaustiva historia musical y cultural del hip-hop, desde sus raíces en los sound systems jamaiquinos, pasando por las guerras de pandillas y fiestas callejeras en los guetos negros de Nueva York, hasta su posicionamiento como uno de los sonidos más influyentes del mainstream actual. Las trayectorias de artistas como Grandmaster Flash, Afrika Bambaataa, Ice Cube y Jay-Z, junto a la de promotores, sellos y djs, son el hilo conductor con el que el autor reconstruye la evolución de este género, interpretando su desarrollo como reflejo de las tensiones políticas e ideológicas que atravesaron la comunidad afroamericana desde la década del 70 en adelante. Para toda una generación, nacida tras el asesinato de Malcom X y con los gobiernos neoliberales de Reagan y Bush como telón de fondo, los cuatro elementos característicos del hip-hop –el dj, el mc, el breakdancing y el grafiti– se convirtieron en los canales privilegiados para expresar su malestar y promover una cultura en común. Las distintas formas que adoptó este género, desde la militancia inspirada en las Panteras Negras de bandas como Public Enemy hasta las rimas sexistas y homofóbicas de los artistas del gangsta rap, son el reflejo de una generación que debió debatirse entre la conciencia negra engendrada en las luchas históricas de la comunidad afroamericana y la cultura del individualismo, la competencia y el consumo, exacerbada por la sociedad capitalista contemporánea.},
	language = {Spanish},
	publisher = {Caja Negra},
	author = {Chang, Jeff},
	translator = {Battistón, Matías},
	year = {2014},
	keywords = {Graffiti, Hip-hop},
}

@article{chang_wall_2020,
	title = {Wall dressed up: {Graffiti} and street art in {Singapore}},
	volume = {20},
	issn = {18779166},
	doi = {10.1016/j.ccs.2019.100329},
	abstract = {To be a ‘Renaissance City for the Arts’, Singapore has long relied on worlding devices such as iconic infrastructure and international cultural events. Since the early 2010s, a shift towards the public interests has emerged alongside the recognition of non-mainstream groups in the cultural life of the city. This paper considers graffiti and street art in Singapore, and their recent acknowledgement as an emergent subculture in the country. The scope is two-fold, firstly focusing on state policies on public art and the embrace of graffiti and street art in recent years, and secondly the artists' responses to government embracement. While some artists resist incorporation, others have strategized opportunities to showcase their work under official license. The conclusion highlights three particular issues attending subcultural embracement in Singapore, pointing the way ahead for further research on subcultural change in globalizing cities.},
	language = {English},
	journal = {City, Culture and Society},
	author = {Chang, T. C.},
	year = {2020},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Singapore},
	pages = {100329},
}

@misc{chaniotis_studying_2015,
	title = {Studying {Graffiti} in an {Ancient} {City}: {The} {Case} of {Aphrodisias}: {Children} of the night, products of conflict, media of slander},
	url = {https://www.ias.edu/ideas/2015/chaniotis%E2%80%93graffitti},
	abstract = {During Augustus’s reign (late first century B.C.E.), the philosopher Athenodoros returned from Rome to his hometown Tarsos, in southwest Turkey. When he found the city dominated by the poet and demagogue Boethos, he used the authority given to him by Augustus to send Boethos and his followers into exile.},
	language = {English},
	author = {Chaniotis, Angelos},
	year = {2015},
	keywords = {Graffiti, Aphrodisias, Greek, Turkey},
}

@article{chapman_laser_2000,
	title = {Laser technology for graffiti removal},
	volume = {1},
	issn = {1296-2074},
	doi = {10.1016/S1296-2074(00)00153-9},
	abstract = {When two nationally important monuments were defaced, lasers were used to remove the offending graffiti. The West Kennet Avenue at Avebury, Wiltshire was attacked in June 1996 and the Heel stone at Stonehenge, Wiltshire was attacked on July 1998. As the principal organisation responsible for the conservation of the historic built environment in England, English Heritage is the source of expert advice regarding conservation areas, listed buildings, archaeology and scheduled ancient monuments. Part of this involves dealing with wilful damage to its sites. This paper will concentrate on the methodology behind the graffiti removal exercise on both sites.},
	language = {English},
	journal = {Journal of Cultural Heritage},
	author = {Chapman, Sasha},
	year = {2000},
	note = {Num Pages: 4},
	keywords = {Graffiti, Stonehenge, Graffiti removal, Laser},
	pages = {75--78},
}

@book{charley_routledge_2019,
	address = {Abingdon; New York},
	title = {The {Routledge} companion on architecture, literature and the city},
	isbn = {978-1-4724-8273-0},
	abstract = {This Companion breaks new ground in our knowledge and understanding of the diverse relationships between literature, architecture, and the city, which together form a field of interdisciplinary research that is one of the most innovative and exciting to have emerged in recent years. 
Bringing together a wide variety of contributors, not only writers, architectural and literary scholars, and social scientists, but graphic novelists and artists, the book offers contemporary essays on everything from science fiction and the crime novel, to poetry, comics and oral history. It is structured into two sections: History, Narrative and Genre, and Strategy, Language and Form. Including over ninety illustrations, the book is a must read for academics and students.},
	language = {English},
	publisher = {Routledge},
	editor = {Charley, Jonathan},
	year = {2019},
	keywords = {Graffiti, Urban heritage, Space},
}

@article{cheng_effects_2023,
	title = {Effects of {Multifaceted} {Street} {Art} on {Price} {Premium} of {Pre} {War} {Commercial} {Buildings}: {The} {Case} of {Georgetown} {UNESCO} {World} {Heritage} {Site}},
	volume = {12},
	doi = {10.3390/land12030626},
	abstract = {Street art is promoted in most countries to intensify the cultural elements of the cityscape. Although street art provides cultural and social values, its impact on the prices of prewar historic property is still unknown. Therefore, an empirical study that examines the relationship between prewar shophouse prices and street art is needed to improve real estate professionals’ understanding of the historic preservation market. Using pre- and post-models for the years 2009 to 2019, this study systematically determined the actual location of 119 street art objects (in the form of sculptures and murals) and the 852 prewar shophouses sold in George Town, Penang. The price change of prewar shophouses correlates with the number of street art objects within 100 m, 500 m, and 1000 m of the properties. Due to the heterogeneous characteristics of the properties, six primary hedonic models were developed to extract the price premium of street art. This study has shown the impact of street art on a prewar commercial building, where an additional unit of sculpture could increase its price by 8.32\%, 1.62\%, and 0.74\%, based on radii of 100 m, 500 m, and 1000 m, respectively, in the post-model (after 2012–2019). However, a mural painting has no significant effect on the price change of prewar shophouses. In addition, the position of street art (representing visibility) in the model was tested. The result shows that, unlike sculptures that were located at the back of prewar houses, such street art effects contributed positively to the price premium when they were located at the front of the buildings, with each additional unit of sculpture increasing the price premium of prewar houses by 1.13\%. Sculptures as street art thus created a positive externality for the city, particularly with respect to the price premium for prewar shophouses.},
	language = {English},
	number = {3},
	journal = {Land},
	author = {Cheng, Chin Tiong and Ling, Gabriel Hoh Teck and Chin, Hon-Choong and Leng, Pau Chung},
	year = {2023},
	note = {Num Pages: 24},
	keywords = {Graffiti, Street art, Architecture, UNESCO, Georgetown},
	pages = {626},
}

@article{choi_automated_2022,
	title = {Automated {Graffiti} {Detection}: {A} {Novel} {Approach} to {Maintaining} {Historical} {Architecture} in {Communities}},
	volume = {12},
	issn = {2076-3417},
	doi = {10.3390/app12062983},
	abstract = {Graffiti is common in many communities and even affects our historical and heritage structures. This leads to a decrease in the revenue associated with commercial activities or services (e.g., shops, restaurants, residences), and potentially reduces tourism in a region. Visual data, in the form of photographs, is becoming an efficient mechanism to record information. Photographs can be quickly captured, and are already frequently posted online by ordinary citizens (e.g., tourists, residents, visitors). Exploiting image data through automation and computer vision provides a new opportunity to simplify the current manual graffiti-monitoring processes, enabling automated detection, localization, and quantification of such markings. In this study, we developed a vision-based graffiti-detection technique using a convolutional neural network. Images collected from historical structures of interest within a community can be utilized to automatically inspect for graffiti markings. In the case in which citizens collect and contribute data, there is a high degree of duplication and repetition, and potentially a lack of GPS information. These hinder the direct use of the images for automating the process. To address these challenges, we built high-resolution, single-view façade images (orthophotos) before applying our robust graffiti detector. The robust graffiti detector was built using a database with 1022 images of damaged or contaminated structures gathered during a recent European Union project, entitled “Safeguarding Cultural Heritage through Technical and Organisational Resources Management” (STORM). A total of 818 images were used for training (10\% of the training set was randomly chosen for the validation set), achieving 88\% accuracy among the remaining 204 samples for testing. Using the trained detector, the technique developed was demonstrated using data collected from the Church of Agios Nikolaos (Leontariou), Kantza, Greece.},
	language = {English},
	number = {6},
	journal = {Applied Sciences},
	author = {Choi, Jongseong and Toumanidis, Lazaros and Yeum, Chul Min and Charalampos, Patrikakis and Lenjani, Ali and Liu, Xiaoyu and Kasnesis, Panagiotis and Ortiz, Ricardo and Jiang, Ning-Jun and Dyke, Shirley J.},
	year = {2022},
	keywords = {Graffiti, Machine learning, AI (Artificial Intelligence), Church, ANN (Artificial Neural Network), Deep learning, Greece, Agios Nikolaos, Graffiti detection, Kantza, CNN (Convolutional Neural Networks)},
	pages = {2983},
}

@article{chrisafis_saypes_2019,
	title = {Saype's grassy graffiti: meet the street-art sensation who sprays mountains},
	url = {https://www.theguardian.com/artanddesign/2019/jun/05/saype-giant-land-art-mountains-drones-paris-guardian},
	language = {English},
	journal = {The Guardian},
	author = {Chrisafis, Angelique},
	year = {2019},
	keywords = {Street art, Mountain, Saype},
}

@book{christ_subway_1984,
	address = {Basel},
	title = {Subway {Graffiti}: {New} {York} 82/83: {Ausstellung}, {Gewerbemuseum} {Basel}/{Museum} {Für} {Gestaltung}, 14. {August}-16. {September} 1984},
	language = {German},
	publisher = {Gewerbemuseum Basel},
	author = {Christ, Thomas},
	year = {1984},
	note = {ISBN might be: 3-89535-421-x},
	keywords = {Graffiti, Train, New York, USA, Subway, American graffiti},
}

@book{christ_instant_2022,
	title = {Instant {Recognition}},
	isbn = {978-3-033-09702-5},
	abstract = {In 1984 the Swiss photographer Thomas Christ published a small book called SUBWAY GRAFFITI. The booklet did show a selection of shots he took in New York City between ’82 and ’83. Besides spotting trains he connected with writers and was taught about the writing subculture. With 40 years in between Instant Recognition was recently published and is way more than a reprint of the rarity: it might the best book on NY graffiti since decades. 
Thierry Furger and Rémi Jaccard hooked up with the 1953 born Thomas Christ and sat down to check out all the photos he took back then in NYC. What they were about to find was pure gold from today’s perspective of the history of graffiti: On top of the ca. 130 known photos from Christ’s archive they discovered almost 200 never before published shots of the Golden Era! Besides rare photos from trains he shows insides, hall of fame pieces, amazing cityscape shots as well as posse and corner photos which just breathe an authentic 1980s flavour of the Mecca. 
But that’s not enough: His attention was also caught by a seemingly related movement, that was born on the streets of the Big Apple. On 100 pages works from Richard Hambleton and Keith Haring are presented as Urban Graffiti chapter. Harings well known chalk drawings and Hambletons Shadow Men are precursors and icons of today’s onmi-present Street Art. 
In addition the 400-paged tome is packed with explanations and experiences by the photographer, interviews with writers, conversations with Haring and Hambleton, a blackbook chapter, letters, newspaper clippings and an interview with Thomas Christ from 2021. We are especially proud to be able to offer this masterpiece of a publication. We honestly recommend: get this book! 
Featuring DONDI, POEM, MIDG, LEE, KASE2, SKEME, PART, DAZE, DEZ, TRAP, CAP, DELTA2, SHARP, MIN, DURO, PJAY, DUSTER, REVEN, BEA, QUIK, SACH, IZ THE WIZ, FUTURA2000, SEEN, TERROR161/JSON, BREEZER, SHY147, BILLY167, BLADE, ZEPHYR, CEY, MAD, CAINE1, KEMT, NICER, KEN, BRIM, MACK and many more.},
	language = {English},
	publisher = {Thierry Furger and Rémi Jaccard; Nonstop Publishing},
	author = {Christ, Thomas},
	year = {2022},
	keywords = {Graffiti, New York, USA, American graffiti},
}

@book{ciotta_street_2012,
	address = {Lecce},
	series = {Inside},
	title = {Street art: {La} rivoluzione nelle strade},
	isbn = {978-88-96130-23-0},
	abstract = {Basterà alzare la testa al cielo mentre si cammina per strada in città per rendersi conto che non siamo più soli. Gli angoli e i muri si riempiono di figure dalle sagome familiari e interessanti pronte a rubare la nostra attenzione anche solo per un attimo. Ci sono scritte, slogan, stencil, poster, stickers che ci seguono ovunque. Stanno cercando di dirci qualcosa? Cosa sta succedendo? Con la street art l'arte scende in strada trasformando gli angoli della quotidianità in beni comuni dal tono familiare e accattivante. Le città si trasformano in vetrine dalle possibilità illimitate. La strada è viva. La rivoluzione parte dalla tecnica, veloce, strappata e piena di adrenalina, indispensabile per comunicare messaggi chiari e indelebili. Messaggi che dai muri entrano nel cervello e nel cuore. Una vera e propria rivoluzione raccontata dai protagonisti della scena italiana attraverso dialoghi, racconti e immagini. Ennio Ciotta analizza e fotografa.},
	language = {Italian},
	publisher = {Bepress},
	author = {Ciotta, Ennio},
	year = {2012},
	keywords = {Graffiti, Street art},
}

@misc{civitas_civitas_2021,
	title = {Civitas {Mural}},
	url = {http://civitas.unizar.es/mural},
	abstract = {MuralHunter es un espacio abierto de colaboración online cuya finalidad es que perdure en el tiempo el patrimonio que podemos encontrar en nuestras calles en forma de obras de arte callejero a través de la creación entre tod@s de un catálogo de arte mural mundial geoposicionado. Para ello, a través de una app se pueden etiquetar fotos geoposicionadas de estas obras, además de fomentar la implicación de la ciudadanía generando una comunidad detrás de cada una de ellas.},
	language = {Spanish},
	author = {{Civitas}},
	year = {2021},
	keywords = {Graffiti, Street art, Murals},
}

@article{cloon_incentivizing_2017,
	title = {Incentivizing {Graffiti}: {Extending} {Copyright} {Protection} to a {Prominent} {Artistic} {Movement}},
	volume = {92},
	abstract = {This Note outlines a brief history of graffiti, emphasizes the growing importance of graffiti as an accepted and widespread artistic movement, and applies the copyright requirements under the Copyright Act and the Visual Artists Rights Act to graffiti. Finally, this Note argues that under an incentive-based theory of intellectual property, copyright law should not exclude graffiti when it already fits within statutory law, as this would create inefficiency and contradiction in copyright law, which is meant to continually expand to accept new art forms.},
	language = {English},
	number = {6},
	journal = {Notre Dame Law Review},
	author = {Cloon, Sara},
	year = {2017},
	note = {Num Pages: 17},
	keywords = {Graffiti, Copyright, Sanctioned, Unsanctioned},
	pages = {54--70},
}

@book{cocroft_war_2006,
	address = {York},
	series = {{CBA} {Research} {Report}},
	title = {War art: {Murals} and graffiti - military life, power and subversion},
	isbn = {978-1-902771-56-4},
	abstract = {The book focuses on the previously unexplored area of modern military wall art, ranging from First and Second World War servicemen's work, to prisoner of war camp murals, through to graffiti of the Troubles in Northern Ireland. It presents in visual form the diversity and significance of modern military wall art, largely in Britain, but set within its wider geographical and historical context. The colour illustrations are accompanied by five essays that together describe the historical and wider context of military wall art, their form, meaning and significance, as well as the conservation dilemmas they present. The authors define `war art' in its broadest sense; examples of wall art are mostly World War II and post-World War II, with Cold War examples highlighting the cultural differences between NATO and the Warsaw Pact, and within NATO between British and American service traditions, and between military operations and the protest movement.},
	language = {English},
	number = {147},
	publisher = {Council for British Archaeology},
	author = {Cocroft, Wayne D. and Devlin, Danielle and Schofield, John and Thomas, Roger J. C.},
	year = {2006},
	keywords = {Graffiti, Murals, War},
}

@book{coffield_vandalism_1991,
	address = {London},
	title = {Vandalism \& graffiti: {The} state of the art},
	isbn = {978-0-903319-56-0},
	language = {English},
	publisher = {Calouste Gulbenkian Foundation},
	author = {Coffield, Frank},
	year = {1991},
	keywords = {Graffiti, Vandalism},
}

@book{colas_paris_2010,
	address = {Paris},
	title = {Paris graffiti: {Les} marques secrètes de l'histoire},
	isbn = {978-2-84096-650-0},
	abstract = {« Voix des sans voix », les graffitis s'épanouissent depuis longtemps sur les murs de Paris. Difficilement discernables, les plus anciens reproduits dans l'ouvrage datent du XVIe siècle. Les inscriptions anciennes parvenues jusqu'à nous doivent généralement le petit miracle de leur longévité au fait d'avoir été cachées. Les recoins peu accessibles, les prisons, les postes de garde ou les carrières offrent les meilleurs gisements. Certains graffitis, bien qu'exposés, ont fini avec le temps par se fondre dans leur support comme de véritables caméléons. Les démonstrations graphiques plus voyantes, comme celles de Mai 68, ont été impitoyablement effacées. La modestie est le prix de la survie ! Tous les graffitis anciens ne font pas nécessairement référence à des évènements historiques : beaucoup se résument au tracé d'un patronyme ou à une expression graphique ou plastique. Mais d'autres, comme les graffitis de la Révolution, des journées insurrectionnelles du XIXe siècle, de la Commune, ceux des résistants sous l'Occupation ou ceux des partisans du FLN durant la guerre d'Algérie, sont étroitement liés à des moments où l'histoire s'est emballée. Leur présence nous émeut car ces traces fragiles nous semblent être celle des scripteurs eux-mêmes.},
	language = {French},
	publisher = {Parigramme},
	author = {Colas, Christian},
	year = {2010},
	keywords = {Graffiti, France, Paris},
}

@book{comoy_fusaro_framing_2019,
	address = {Lisbon},
	title = {Framing {Graffiti} \& {Street} {Art}: {Proceedings} of {Nice} {Street} {Art} {Project}, {International} {Conferences}, 2017 - 2018},
	isbn = {978-1-7054-2398-1},
	abstract = {As in the first two yearly conferences of the NSAP, the 2017 conference gathered various researchers, young and seasoned, French and foreigners, from a wide range of disciplines: Cultural Studies, Aesthetics, Philosophy, Art History, Italian Studies, English-American Studies, Architecture and Urbanism, Psychology and Communication Studies. As all scholars interested in G\&SA (graffiti and street art) know, such an object of study requires a comprehensive, transdisciplinary approach. The focus of the third edition was on borderlines, frames and framing. Once more, we addressed the vexata quaestio of what we are talking about, id est what street art is (compared to or beside Graffiti, Graffiti Writing, Urban Art, Street Creativity, Urban Creativity, Public Art or other names, for its boundaries are blurred and constantly changing) because we need categories to comprehend concepts and objects. 
Beyond terminological dissents among scholars and between the latter and non-academics, and taking for granted that the “term Street Art cannot be defined conclusively since what it encompasses is constantly being negotiated” (Bengtsen 2014), we have decided to stick to a very large conception of street art as an umbrella term, including all sorts of art made in the public space for the people, indiscriminately, and with the people, while keeping Graffiti in the title of the book in the acronym G\&SA, for its pioneering prominency.},
	language = {English},
	publisher = {UrbanCreativity},
	editor = {Comoy Fusaro, Edwige},
	year = {2019},
	keywords = {Graffiti, Street art},
}

@book{conal_art_1992,
	address = {New York},
	title = {Art attack: {The} midnight politics of a guerilla artist},
	isbn = {978-0-06-096951-6},
	abstract = {Conal's artistic drive grew out of '60s counterculture and '80s counter-counterculture. Both eras were defined by political discourse accessible only to high-level government officials. How does an American citizen react to imperialism in South East Asia? What if, like Irangate, policy is covert? Abbie Hoffman and Company took to the streets and Robbie Conal figured he'd do the same. Ever since, he has mounted, glued and run from men with guns in cities around the country. Robbie's biting humor and a shared sense of frustration draw people to his work. Yes, he creates stunningly evil portraits through thick brush application. But the posters do not completely reproduce the effect. Aesthetic logistics are not the point. Conal has taken a postmodern concept (popular, repetitious, street-level advertising), and run with it. The man's truly an "agitpop" agitator.Guerilla street artist Robbie Conal is famous for his brand of political commentary through his posters depicting U.S. political figures in grotesque, unconventional ways. He and his "volunteer guerrilla postering army" can canvas his poster art over a city overnight. Conal's work has appeared in Time, Newsweek, the New York Times, the Los Angeles Times, as well as CBS's This Morning and Charlie Rose. He is also an MFA graduate and an adjunct professor of painting and drawing at the University of Southern California's Roski School of Fine Arts.},
	language = {English},
	publisher = {HarperPerennial},
	author = {Conal, Robbie},
	year = {1992},
	keywords = {Graffiti, Art},
}

@book{cooper_tag_2008,
	address = {Årsta},
	title = {Tag {Town}},
	isbn = {978-91-85639-05-2},
	language = {English},
	publisher = {Dokument Förlag},
	author = {Cooper, Martha},
	year = {2008},
	keywords = {Graffiti, Graffiti writing, New York},
}

@book{cooper_hip_2013,
	address = {Berlin},
	edition = {Second revised},
	title = {Hip {Hop} files: {Photographs} 1979-1984},
	isbn = {978-3-937946-46-7},
	language = {English},
	publisher = {From Here To Fame Publishing},
	author = {Cooper, Martha},
	year = {2013},
	keywords = {Graffiti, Photography, Hip hop},
}

@book{cooper_subway_1984,
	address = {London},
	title = {Subway art},
	isbn = {978-0-500-27320-3},
	abstract = {Two gifted photographers have documented every aspect of this extraordinary urban subculture, complete with 239 full-color photographs.},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Cooper, Martha and Chalfant, Henry},
	year = {1984},
	keywords = {Graffiti, Street art, Photography, Subway},
}

@article{cooper_looking_2020,
	title = {Looking for {Creativity} in {Everyday} {Life}: {Martha} {Cooper} and {Selina} {Miles} in {Conversation}  with {Evan} {Pricco}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Cooper, Martha and Miles, Selina and Pricco, Evan},
	year = {2020},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Interview},
	pages = {134--137},
}

@book{cooper_rip_1994,
	address = {London},
	title = {R.{I}.{P}., {New} {York} spraycan memorials},
	isbn = {0-500-27776-1},
	language = {English},
	publisher = {Thames and Hudson},
	author = {Cooper, Martha and Sciorra, Joseph},
	year = {1994},
	keywords = {Graffiti, Street art},
}

@article{coppoolse_contested_2020,
	title = {Contested {Canvas}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Coppoolse, Anneke and Man, Chan Ka and Ching, u. Wing},
	year = {2020},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art},
	pages = {87--95},
}

@article{correch_decolonising_2019,
	title = {Decolonising {Artivism}},
	volume = {1},
	issn = {2535-549X},
	abstract = {In September 2018, at Nuart Plus in Stavanger, Argentinian artist Milu Correch presented an ‘Anti-Ted Talk’ talk about street art. This was billed as: 
A deconstructive point of view on some street art truths that should be avoided in order to reach wall painting’s decolonised potential. The capitalisation of poverty, the new virtual wall, individualist consumption, virtue signalling/merchandising, colonisation processes, hegemonic industry, and other light subjects.},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Correch, Milu},
	year = {2019},
	note = {Num Pages: 3},
	keywords = {Graffiti, Street art, Activism},
	pages = {104--106},
}

@article{cortea_characterization_2021,
	title = {Characterization of spray paints used in street art graffiti by a non‐destructive multi‐analytical approach},
	volume = {46},
	issn = {0361-2317},
	doi = {10.1002/col.22561},
	abstract = {Often associated with acts of vandalism, graffiti can also be identified with the so-called street art movement. Moreover, in the historical context of visual arts from the 20th and 21st century, graffiti spray paints feature among the materials employed in the work of representative artists such as Lucio Fontana, Richard Hamilton, Yves Klein, or David Alfaro Siqueiros. In this study, a large number of artist spray paints were analyzed by means of X-Ray Fluorescence (XRF), Fourier Transform Infrared Spectroscopy (FTIR), spectrophotometry, and Hyperspectral Imaging (HSI). The aim of the study was to provide a chemical characterization of the main organic and inorganic components present within the spray paint formulations by means of a complementary non-destructive approach. Titanium white, zinc white, bismuth vanadate yellow, ultramarine, strontium sulfide, iron, and copper oxides, along a series of pigments of the azo, phthalocyanine, and quinacridone classes could be identified. High amounts of barium sulfate as well as calcium-based extenders were also detected. FTIR analysis provided important information regarding the binder composition, mainly modified alkyd resins being identified. Additional information related to the existing chromophores as well as specific binder-pigments interactions could also be highlighted within the HSI data sets. Overall results provide new insights on the complex chemistry of this new range of materials, which could help future investigations carried on street art graffiti, contemporary murals, or mixed-media artworks.},
	language = {English},
	number = {1},
	journal = {Color Research \& Application},
	author = {Cortea, Ioana Maria and Ratoiu, Lucian and Rădvan, Roxana},
	year = {2021},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Colourimetry, Spray paint, XRF, FT-IR (Fourier Transform Infrared Spectroscopy)},
	pages = {183--194},
}

@article{cosentino_innovative_2015,
	title = {Innovative {Imaging} {Techniques} for {Examination} and {Documentation} of {Mural} {Paintings} and {Historical} {Graffiti} in the {Catacombs} of {San} {Giovanni}, {Syracuse}},
	volume = {6},
	issn = {2067-533X},
	abstract = {This paper presents scientific and technical examination of two mural paintings and their historical graffiti located in the catacombs of San Giovanni in Syracuse, Sicily. Reflectance Transformation Imaging (RTI), Infrared Photography, 3D Photomodeling are presented as innovative imaging techniques used to capture significant details of the palimpsest, along with XRF non-invasive point analysis. These methods were performed on the Philadelpheia palimpsest and on the arcosolium of the Madonna. RTI technique was tested as a valid tool to enhance the readability and documentation of the numerous historical graffiti covering some of the murals, which are of high interest to scholars since they are useful to reconstruct the cultural history of the site. The results of the infrared RTI were particularly powerful in their ability to document graffiti on deteriorated surfaces painted with earth pigments. 3D Photomodeling also proved to be a successful and handy tool to document the position of paintings and graffiti in context with one another. The examination of the two paintings was integrated with an analytical study of the palette realized with non-invasive XRF.},
	language = {English},
	number = {1},
	journal = {International journal of conservation science},
	author = {Cosentino, Antonino and Stout, Samantha and Scandurra, Carmelo},
	year = {2015},
	note = {Num Pages: 12},
	keywords = {Graffiti, 3D, IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), NIR photography, PCV (Photogrammetric Computer Vision), Metashape, Catacombs, San Giovanni, Syracuse, XRF},
	pages = {23--34},
}

@article{costa_junior_anonymous_2016,
	title = {Anonymous {Inscriptions} in {Rio} de {Janeiro}: {Resistance} and informal urban communication on the streets},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i2.48},
	abstract = {Parallel to the moment graffiti becomes an integrated component, legal and regular part of the city walls of Rio de Janeiro (mainly owing to the laws and actions that legalize and legitimize a once transgressive practice) a new kind of artistic intervention in the city emerged. Phrases written with spray, stencil or even pasted on the walls have the power to surprise, to question and challenge the townspeople. Interventions that can be comprehended as what Certeau (1994) defines as strange practices in the geometric space of the big cities. Actions that refer to specific forms of operations, which provide new visibility in urban areas. If the space is a practiced place, as the author affirms, the written phrases on the walls transform not only the backing, but also the space in which they are written.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Costa Júnior, Hely},
	year = {2016},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Brasil, Rio de Janeiro},
	pages = {16--21},
}

@article{cowick_preserving_2015,
	title = {Preserving {Street} {Art}: {Uncovering} the {Challenges} and {Obstacles}},
	volume = {34},
	issn = {0730-7187},
	doi = {10.1086/680563},
	abstract = {When examining significant political and social movements in the twentieth and twenty-first centuries, it is evident that street art with a political theme was almost always integral to the movement. Despite the impact that street art has had in history, its presence in the historical record is disappointing due to the challenges in documenting and preserving this type of work. The author explores some noteworthy examples of political street art, reports on her research to determine which collections house art works and documentation from these movements, and analyzes the results of her survey to identify the issues faced by libraries and archives in acquiring and documenting street art.},
	language = {English},
	number = {1},
	journal = {Art Documentation: Journal of the Art Libraries Society of North America},
	author = {Cowick, Carmen},
	year = {2015},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Preservation},
	pages = {29--44},
}

@article{cresswell_crucial_1992,
	title = {The {Crucial} ‘{Where}’ of {Graffiti}: {A} {Geographical} {Analysis} of {Reactions} to {Graffiti} in {New} {York}},
	volume = {10},
	issn = {0263-7758},
	doi = {10.1068/d100329},
	abstract = {This paper is an examination of the reactions to graffiti in New York during the early 1970s. It is argued that the reactions of the media and government present a discourse of disorder, a discourse in which graffiti is presented as a symptom of disorder and thus a threat to the image of New York City and civilization itself. Simultaneously the art establishment reacts to graffiti by (dis)placing it in Manhattan galleries and describing it as creative, ‘primitive’, and valuable. These discourses play an important role in the formation and maintenance of the meaning of a place. Simultaneously the place—New York, the subway, the gallery—plays a role in affecting the nature of the discourses and judgements of the value of graffiti. This case study is framed in the context of a wider discussion of the relation between place and ideology in which it is suggested that each plays a role in structuring the other.},
	language = {English},
	number = {3},
	journal = {Environment and Planning D: Society and Space},
	author = {Cresswell, T.},
	year = {1992},
	note = {Num Pages: 16},
	keywords = {Graffiti, New York},
	pages = {329--344},
}

@book{crossland_whispering_2023,
	address = {Stroud},
	title = {Whispering walls: {First} {World} {War} graffiti},
	isbn = {978-1-3981-1188-2},
	abstract = {The soldiers of the First World War left a little-known legacy in forgotten caves along the Western Front: thousands of inscriptions and wall carvings that tell stories of courage, pride, hope and fear.Limestone quarries and bunkers along the front lines in north-eastern France, where the men sheltered, have been rediscovered by archaeologists in recent years. Thousands of British and Commonwealth soldiers pencilled their name, rank and serial number and even their home addresses onto the walls in the agonising awareness that this might their last trace. In the relative safety of crowded tunnels, they wrote poems and displayed astonishing artistry in the portraits and sculptures they carved into the rough rock.Whispering Walls takes the reader into the gloom of these timewarp locations under the Western Front where the graffiti, in many cases as clear as if it had been written yesterday, rings out with the question: will I survive?The book traces the fates of individual soldiers and presents some of the most striking inscriptions in over 100 photographs. Now that the last survivors have gone, the writings provide fresh insight into their mindset and are helping researchers to trace the missing, over a century since the guns fell silent.},
	language = {English},
	publisher = {Amberley Publishing},
	author = {Crossland, David},
	year = {2023},
	keywords = {Graffiti, War, Bunker, WWI},
}

@article{crumpton_urban_2020,
	title = {Urban {Creativity} {Online} {Talks}. {Talk} \#2 - {Craig} {Castleman}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.335},
	abstract = {Craig Castleman is the author of seminal “Getting Up: Subway Graffiti In New York” originally published by MIT press, cult book for the graffiti/street art subculture and mandatory bibliographic reference in the academic field. 
Advised at Columbia University by Margaret Mead, famous anthropologist known for her work on the relationship of culture and personality and Loius Forsdale that suggested: “this isn’t the time to worry about why people write and fight graffiti, because we aren’t sure yet jus what it is that they are doing. Find that out first. People can argue about what it all means later on.” 
We also share the room with the organisations Contorno Urbano and Indague, who developed in 2019 with Craig the Castleman Tour: a project in Spain with 16 events, an exhibition and the launch of the book Getting Up again: 40 years later, made it possible with the support of community writers in crowdfunding strategy.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Crumpton, Alicia},
	year = {2020},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {108--114},
}

@article{cubuk_role_2023,
	title = {The {Role} of {Initiatives} in {Metropolitan} {Design} {Strategies} {Through} {NYC} {Case}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.728},
	abstract = {The study first considers urban design, the strategies needed to increase the operability and sustainability of urban design, and the role of initiatives in these, through a literature review. Then, the NYC Design Guidelines for the years 2017-2021 are reviewed and the data here are evaluated together with the previous inferences. The design studies for the metropolitan area provide local solutions that can be successful if they are designed with an understanding that brings together the works of local governments and these initiatives. Routers in urban use are directly related to the fact that a large number of user teams with different purposes can reach areas with high efficiency and experience themselves by adhering to the routers provided by the initiatives. The prominent keywords in the inferences obtained in this section are handled both individually and taking into account the thematic groups they form. The frequencies of the leading themes and the way they are associated make visible the work areas in which the initiatives have a stake. Since the themes in this reading include organic relations both numerically and verbally, it is very important to understand the role of initiatives in the applicability of NYC design criteria, that these representations are fed from contrasts such as proximity-distance, frequency-rareness, as in real life. By filtering the data obtained at each step through the literature review, the next step is taken and a comprehensive framework is presented on the current positioning of the initiatives and how they can be carried into the near future.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Çubuk, Gencay},
	year = {2023},
	note = {Num Pages: 16
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Architecture, New York, USA, Metropolitan},
	pages = {81--96},
}

@article{curralo_preserving_2015,
	title = {Preserving {Urban} {Heritage} and {Creativity}: {The} {Reuse} of the {AXA} {Building} in {Porto}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.24},
	abstract = {This article addresses the interaction between urban regeneration and cultural policies. Planning and developing urban transformation may foster positive and experience design through the experience economy, targeting a cohesive cultural narrative and identity. The discussed case study discussed here concerns the reuse of the AXA Building in the historic center of the city of Porto, in Portugal, as an alternative to classical integrated urban cultural policy and the promotion of free access dynamic leisure activities. In this case, the reuse of a historical building resulted from a hybrid project. Characterized by fusion, the design combined urban rehabilitation, heritage conservation and maintenance, cultural institutions, environments and experiences, social interaction, recreation, and programs aimed at improving the quality of life of both residents and visitors.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Curralo, Ana Filomena},
	year = {2015},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Architecture, Preservation, Portugal, AXA Building, Porto},
	pages = {14--21},
}

@misc{curtis_graffiti_2003,
	title = {Graffiti archaeology},
	url = {http://grafarc.org/main.html},
	language = {English},
	author = {Curtis, Cassidy},
	year = {2003},
	keywords = {Graffiti},
}

@misc{curtis_what_2005,
	title = {What is {Graffiti} {Archaeology}?},
	url = {http://grafarc.org/about.html},
	language = {English},
	author = {Curtis, Cassidy},
	year = {2005},
	keywords = {Graffiti},
}

@mastersthesis{czerny_stadtentwicklung_2010,
	address = {Wien},
	title = {Stadtentwicklung und {Planungskonzepte} am {Beispiel} des {Donaukanals} und seiner angrenzenden {Bereiche}},
	language = {German},
	school = {Universität Wien},
	author = {Czerny, Wolfgang},
	collaborator = {Bolognese-Leuchtenmüller, Birgit},
	year = {2010},
	keywords = {Graffiti, Donaukanal},
}

@book{dabene_street_2020,
	address = {Cham},
	series = {Studies of the {Americas}},
	title = {Street {Art} and {Democracy} in {Latin} {America}},
	isbn = {978-3-030-26912-8},
	abstract = {This book explores street art’s contributions to democracy in Latin America through a comparative study of five cities: Bogota (Colombia), São Paulo (Brazil), Valparaiso (Chile), Oaxaca (Mexico) and Havana (Cuba). The author argues that when artists invade public space for the sake of disseminating rage, claims or statements, they behave as urban citizens who try to raise public awareness, nurture public debates and hold authorities accountable. Street art also reveals how public space is governed. When local authorities try to contain, regulate or repress public space invasions, they can achieve their goals democratically if they dialogue with the artists and try to reach a consensus inspired by a conception of the city as a commons. Under specific conditions, the book argues, street level democracy and collaborative governance can overlap, prompting a democratization of democracy.},
	language = {English},
	publisher = {Palgrave Macmillan},
	author = {Dabène, Olivier},
	year = {2020},
	doi = {10.1007/978-3-030-26913-5},
	keywords = {Graffiti, Street art, Latin America, Democracy},
}

@book{daichendt_urban_2017,
	address = {San Francisco},
	title = {The urban canvas: {Street} {Art} {Around} the {World}},
	isbn = {978-1-68188-298-7},
	abstract = {The interaction with happened-upon street art is both physical and emotional, provoking a reaction and hopefully a conversation about the work this worldwide phenomenon. From backs of street signs to corporate boardrooms, its visibility, popularity, and diversity is what makes it so beloved. Highlighting some of the best work from around the world, The Urban Canvas is an extensive look at this art form and the artists that make it great. 
Whether created as political message, social commentary, or simply visual entertainment, street art has reclaimed art from the privileged and brought it back into the open for everyone to experience. Art professor, critic, and historian G. James Daichendt presents street art from around the world in The Urban Canvas, an exploration of how this global art form has been influenced by local customs and culture.},
	language = {English},
	publisher = {Weldon Owen},
	author = {Daichendt, G. James and English, Ron},
	year = {2017},
	keywords = {Graffiti, Street art},
}

@book{daichendt_stay_2012,
	address = {Petaluma},
	title = {Stay up! {Los} {Angeles} street art},
	isbn = {978-1-937359-34-8},
	abstract = {Stay Up! Los Angeles Street Art is an investigation of the global phenomenon of street art. Told from the perspective of artists working in Los Angeles, it offers a new vantage point for understanding an art form that is widely popular yet has been the subject of speculation and much uncertainty. Questions whether street art is the next major art movement or if it a simply a trend and the differences between graffiti and street art are explored. A number of counterintuitive themes plague street art but that does not stop the excitement and enthusiasm surrounding this engaging and exciting art form. Street art has exploded as a creative outlet and progressed from a counter culture movement based in graffiti in previous decades to a legitimate business platform in design, fashion, film, publishing, and art. The author explores the uniqueness of L.A. along with some of the successes and pitfalls these creative artists encounter. The major themes presented will familiarize the reader with the street art scene in L.A. and add new meaning to this creative capital.},
	language = {English},
	publisher = {Cameron + Company},
	author = {Daichendt, G. James and Jim, Lord},
	year = {2012},
	keywords = {Graffiti, Street art, USA, Los Angeles},
}

@book{dal_lago_graffiti_2016,
	address = {Bologna},
	series = {Voci},
	title = {Graffiti: {Arte} e ordine pubblico},
	isbn = {978-88-15-26047-5},
	abstract = {Dovunque nel mondo proliferano graffiti, murali e tag. C'è chi li vuole cancellare, come i volontari del cosiddetto "bello", i difensori delle pareti immacolate, i tutori della pulizia murale. Ma c'è anche chi li vuole proteggere e magari staccare, perché potrebbero avere un valore di mercato. Qual è la posta in gioco di questa guerra? E soprattutto chi la vincerà? La vicenda del graffitismo nel contesto della storia dell'arte contemporanea, raccontata decostruendo le ragioni dei suoi avversari, alla luce dei fermenti sociali e culturali che gli danno un senso.},
	language = {Italian},
	publisher = {il Mulino},
	author = {Dal Lago, Alessandro and Giordano, Serena},
	year = {2016},
	keywords = {Graffiti},
}

@book{dal_lago_sporcare_2018,
	address = {Roma},
	series = {{DeriveApprodi}},
	title = {Sporcare i muri. {Graffiti}, decoro, proprietà privata},
	isbn = {978-88-6548-216-2},
	abstract = {"Dall'inizio degli anni Settanta del XX secolo una nuova forma di espressione si è imposta sulla scena urbana: i graffiti, l'arte anonima, plurale, giovanile, sostanzialmente anarchica di chi riempie i muri di scritte o li usa come veri e propri supporti di una pittura 'en plein air'. Sotto l'etichetta di 'writing' sono comprese le tag o 'firme' - dalle sigle originali della New York di quarant'anni fa, semplici indicatori di identità territoriale, alle scritte rapide e semplici ('throw up') o enormi, complesse e coloratissime (il cosiddetto 'bombing') che negli ultimi decenni si possono vedere sui muri, i vagoni della metropolitana e i treni di tutto il mondo. D'altra parte, la definizione di street art comprende murales, 'stencil' (sagome ritagliate riempite di colore), 'sticker' (adesivi), poster, ma anche performance e azioni di strada. In realtà, il tratto comune di tutte queste forme di azione ed espressione è che hanno luogo all'aperto e quindi sono visibili a un gran numero di persone. Noi crediamo, in contrasto con le visioni conservatrici del paesaggio urbano (di destra o di sinistra che siano, 'proprietarie' o 'comunitarie') che tra i diritti fondamentali dei cittadini esista anche quello di parola e di espressione, di fatto goduto oggi solo da chi impone un'estetica possessiva o chi la difende. Il conflitto sul decoro urbano ci sembra tutto qui: da una parte la pretesa che a decidere l'estetica urbana siano i detentori del potere, economico e politico, o i tutori dell'ordine, dall'altra il proliferare di messaggi alternativi, espressivi, critici che contestano di fatto quella pretesa. In questo senso, la scritta 'Wem gehört die stadt?', 'A chi appartiene la città?', che si può leggere sui muri delle città tedesche da un paio d'anni, contesta sia la speculazione edilizia, sia l'imposizione di un'estetica proprietaria."},
	language = {Italian},
	number = {139},
	publisher = {DeriveApprodi},
	author = {Dal Lago, Alessandro and Giordano, Serena and Tombolini, Mattia},
	year = {2018},
	keywords = {Graffiti},
}

@article{dangelo_sacred_1974,
	title = {Sacred {Cows} {Make} {Great} {Hamburgers}: {The} {Rhetoric} of {Graffiti}},
	volume = {25},
	issn = {0010096X},
	doi = {10.2307/357170},
	language = {English},
	number = {2},
	journal = {College Composition and Communication},
	author = {D'Angelo, Frank J.},
	year = {1974},
	note = {Num Pages: 8},
	keywords = {Graffiti},
	pages = {173--180},
}

@article{dangelo_oscar_1975,
	title = {Oscar {Mayer} {Ads} {Are} {Pure} {Baloney}: {The} {Graffitist} as {Critic} of {Advertising}},
	volume = {26},
	issn = {0010096X},
	doi = {10.2307/356127},
	language = {English},
	number = {3},
	journal = {College Composition and Communication},
	author = {D'Angelo, Frank J.},
	year = {1975},
	note = {Num Pages: 6},
	keywords = {Graffiti, Advertising, Oscar Mayer},
	pages = {263--268},
}

@book{danko_kunst_2015,
	address = {Wiesbaden},
	series = {Kunst und {Gesellschaft}},
	title = {Kunst und Öffentlichkeit},
	isbn = {978-3-658-01833-7},
	language = {German},
	publisher = {Springer Fachmedien Wiesbaden},
	editor = {Danko, Dagmar and Moeschler, Olivier and Schumacher, Florian},
	year = {2015},
	doi = {10.1007/978-3-658-01834-4},
	keywords = {Graffiti, Art},
}

@book{danysz_street_2016,
	address = {Barcelona},
	title = {A street art anthology: {From} graffiti to contextual art},
	isbn = {978-84-16504-45-9},
	abstract = {What is behind the tidal wave of street art that is sweeping through the cultural scene today? What are its artistic features, its codes, and its language? How has its production, which was originally exclusively centered in the urban space, invaded galleries, bringing with it real popularity for some artists? These are some of the questions that Magda Danysz, a gallery owner and recognized expert on street art, answers with an easily comprehensible and entertaining style in this unique, richly illustrated anthology, interspersed with the portraits of the big international names.},
	language = {English},
	publisher = {Promopress},
	author = {Danysz, Magda},
	translator = {Corkett, Thomas},
	year = {2016},
	keywords = {Graffiti, Street art},
}

@book{darling_creativity_2017,
	address = {New York},
	title = {Creativity without law: {Challenging} the assumptions of intellectual property},
	isbn = {978-1-4798-4193-6},
	abstract = {Intellectual property law, or IP law, is based on certain assumptions about creative behavior. The case for regulation assumes that creators have a fundamental legal right to prevent copying, and without this right they will under-invest in new work. But this premise fails to fully capture the reality of creative production. It ignores the range of powerful non-economic motivations that compel creativity, and it overlooks the capacity of creative industries for self-governance and innovative social and market responses to appropriation. 
This book reveals the on-the-ground practices of a range of creators and innovators. In doing so, it challenges intellectual property orthodoxy by showing that incentives for creative production often exist in the absence of, or in disregard for, formal legal protections. Instead, these communities rely on evolving social norms and market responses—sensitive to their particular cultural, competitive, and technological circumstances—to ensure creative incentives. From tattoo artists to medical researchers, Nigerian filmmakers to roller derby players, the communities illustrated in this book demonstrate that creativity can thrive without legal incentives, and perhaps more strikingly, that some creative communities prefer, and thrive, in environments defined by self-regulation rather than legal rules. 
Beyond their value as descriptions of specific industries and communities, the accounts collected here help to ground debates over IP policy in the empirical realities of the creative process. Their parallels and divergences also highlight the value of rules that are sensitive to the unique mix of conditions and motivations of particular industries and communities, rather than the monoculture of uniform regulation of the current IP system.},
	language = {English},
	publisher = {New York University Press},
	editor = {Darling, Kate and Perzanowski, Aaron},
	year = {2017},
	keywords = {Graffiti, Street art, Intellectual property},
}

@book{david_oxford_2018,
	address = {Oxford},
	title = {The {Oxford} {Handbook} of the {Archaeology} and {Anthropology} of {Rock} {Art}},
	isbn = {978-0-19-060735-7},
	abstract = {Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species’ existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art’s regional variability, its antiquity, and how it is meaningful to people in the recent past and today – including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting edge methods of rock art analysis for the student and professional researcher alike.},
	language = {English},
	publisher = {Oxford University Press},
	editor = {David, Bruno and McNiven, Ian J.},
	year = {2018},
	keywords = {Rock art, Petroglyph},
}

@article{davis_comprehensive_2018,
	title = {A comprehensive approach to conservation of ancient graffiti at {El} {Kurru}, {Sudan}},
	volume = {57},
	issn = {ISSN 0197-1360},
	doi = {10.1080/01971360.2018.1424601},
	abstract = {This paper describes conservation and preservation of ancient Meroitic graffiti in a rock-cut temple at the site of El Kurru in Sudan. The temple and its graffiti provide important material evidence for the African empire of Kush, but El Kurru's sandstone monuments suffer from granular disintegration and other serious condition problems. Although the conservation of archaeological heritage is often complicated, it is especially challenging in Sudan due to a fragile national economy and, until October 2017, United States sanctions against the country. A comprehensive, investigation-based approach has been used in conservation planning for the graffiti. Work began with a criterion-anchored rating condition survey designed to identify, prioritize, and monitor condition issues. Chemical analysis of the stone was conducted, and treatment options including alkoxysilane consolidation and grout injection were explored. Preventive conservation strategies for the temple, including a protective shelter and increased community education, have also been examined. Finally, reflectance transformation imaging was used to document the graffiti's condition and create a virtual, visual catalog. In description of these activities, the paper emphasizes key principles for guiding conservation at archaeological sites: practicality, flexibility, sustainability, and placing a high value on the contributions and wishes of stakeholders.},
	language = {English},
	number = {1-2},
	journal = {Journal of the American Institute for Conservation},
	author = {Davis, Suzanne L. and Roberts, Caroline and Batkin-Hall, Janelle},
	year = {2018},
	note = {Num Pages: 18},
	keywords = {Graffiti, El Kurru, Rock art, RTI (Reflectance Transformation Imaging), Sudan},
	pages = {1--18},
}

@article{de_casabianca_sex_2020,
	title = {Sex {Against} the {Wall}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {de Casabianca, Julien},
	year = {2020},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Sex},
	pages = {70--81},
}

@misc{de_graaf_what_2017,
	title = {What happens when you peel off 30 years of graffiti?},
	url = {https://imgur.com/gallery/Vqxv4},
	abstract = {Discover the magic of the internet at Imgur, a community powered entertainment destination. Lift your spirits with funny jokes, trending memes, entertaining gifs, inspiring stories, viral videos, and so much more.},
	language = {English},
	author = {De Graaf, Paul},
	collaborator = {imgur},
	year = {2017},
	keywords = {Graffiti, Nijmegen, the Netherlands},
}

@article{de_grancy_buntes_2022,
	title = {Buntes {Erbe} zum {Lachen}, Ärgern und {Grübeln}},
	url = {https://www.diepresse.com/6165934/graffiti-am-donaukanal-buntes-erbe-zum-lachen-aergern-und-gruebeln},
	abstract = {Ein Forschungsteam entwickelt ein 3-D-Modell der unzähligen Graffiti am Donaukanal: um die kurzlebigen Werke zu bewahren und eine Basis für andere Forschungen schaffen. Zu Besuch bei einer der längsten Graffitiflächen der Welt.},
	language = {German},
	journal = {Die Presse},
	author = {de Grancy, Alice Senarclens},
	month = jul,
	year = {2022},
	note = {Num Pages: 1
Volume: 23.036},
	keywords = {Graffiti, INDIGO, Donaukanal, Wien},
	pages = {3},
}

@article{de_jongh_5_2019,
	title = {5 {Days} of {Work} for 1 {Night} of {Glamour}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {de Jongh, Daniël},
	year = {2019},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art},
	pages = {76--79},
}

@misc{de_la_iglesia_schablonengraffiti_2007,
	title = {Schablonengraffiti in {Freiburg}-{Mittelwiehre}},
	url = {http://graffiti.freiburg.bplaced.net},
	language = {German},
	author = {de la Iglesia, Martin},
	year = {2007},
	keywords = {Graffiti, Stencil graffiti},
}

@article{de_la_iglesia_towards_2015,
	title = {Towards the {Scholarly} {Documentation} of {Street} {Art}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.15},
	abstract = {It is generally acknowledged that street art is a particularly ephemeral art. For instance, graffiti are usually actively removed, thus existing for sometimes only a few days. Otherwise, they deteriorate gradually due to the effects of the weather, or are eventually ‘crossed’ by other graffiti, so that they are visible for a few years at best. Therefore, the documentation of street art should be of paramount importance to researchers. In fact, a lot of photography is being carried out ostensibly to document street art, for both image databases on the Internet as well as printed books and magazines. However, for the most part, this kind of street art photography is not done by (or for) scholars but rather by (and for) the general public. In any case, this practice usually does not fulfill even the lowest scholarly standards of documentation. One can be considered lucky to find any metadata for such pictures – for example, the artist’s name, an approximate location (usually on a city or district level), or the date on which the picture was taken, if at all. Furthermore, the selection of photographed works is highly biased due to the personal tastes of the photographers or the accessibility of the work. In order for street art documentation to be useful for research, providing further data is necessary, such as a more precise location, references to other instances of the same work, and the dimensions of the work. In this article, the current inadequate state of documentation in street art research is surveyed, and a model for the online documentation of stencil graffiti is presented that demonstrates the feasibility of some of these requirements.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {de la Iglesia, Martin},
	year = {2015},
	note = {Num Pages: 10
ISBN: 9781522943389},
	keywords = {Graffiti, Street art, Documentation, Preservation},
	pages = {40--49},
}

@article{deb_are_2022,
	title = {Are street and graffiti art the same? {A} conversation with {Rutger} de {Vries}},
	url = {https://www.stirworld.com/see-features-are-street-and-graffiti-art-the-same-a-conversation-with-rutger-de-vries},
	abstract = {The German artist speaks to STIR about his post-graffiti art practice within the exhibition space that challenges the norms of the institution and conventional forms.},
	language = {English},
	journal = {STIRworld.com},
	author = {Deb, Sukanya},
	month = nov,
	year = {2022},
	keywords = {Graffiti, Street art, Rutger de Vries},
}

@book{deitch_art_2021,
	title = {Art in the {Streets}},
	isbn = {978-0-8478-6975-6},
	abstract = {Forty years ago, graffiti in New York evolved from elementary mark-making into an important art form. By the end of the 1980s, it had been documented in books and films that were seen around the world, sparking an international graffiti movement. 
This original edition, now back in print after several years, considers the rise of New York graffiti and the international scenes it inspired--from Los Angeles to São Paulo to Paris to Tokyo--as well as earlier and parallel movements: the break dancing and rap music of hip-hop; the graffiti used by Chicano gangs to mark their territory; the skateboarding culture that began in Southern California. Expertly researched, beautifully illustrated, and featuring contributions by many of the most significant curators, writers, and artists involved in the graffiti world, this now classic volume is an in-depth examination of this seminal movement.},
	language = {English},
	publisher = {Rizzoli Electa},
	author = {Deitch, Jeffrey},
	year = {2021},
	keywords = {Graffiti, Street art},
}

@misc{deitch_art_2021-1,
	title = {Art in the {Streets}},
	url = {https://artinthestreets.org/text/art-in-the-streets},
	language = {English},
	author = {Deitch, Jeffrey},
	year = {2021},
	keywords = {Graffiti, Street art},
}

@mastersthesis{dellarossa_larte_2016,
	address = {Torino},
	title = {L’arte pubblica come strumento di riqualificazione delle periferie di {Torino}?},
	abstract = {Nel XVIII secolo Charles de Brosses definiva così Torino: “Torino mi sembra la città più graziosa d’Italia e, per quel che credo, d’Europa per l’allineamento delle strade, la regolarità delle costruzioni e la bellezza delle piazze”. La scelta del capoluogo piemontese ad opera dello storico francese non fu casuale, infatti a distanza di più di due secoli da allora la città costituisce - da ormai parecchio tempo - uno degli scenari più interessanti e competitivi a livello nazionale e internazionale, non solo per l’arte pubblica contemporanea, ma anche per l’arte in generale. 
Con l’intento di approfondire il tema dell’arte nei luoghi pubblici, si è presentata l’opportunità di effettuare una ricerca, legata ai numerosi interventi di riqualificazione attuati sul territorio torinese, partendo da una tesi di laurea realizzata nel 2015, nella quale sono state censite tutte le opere d’arte pubblica della città. Si è così deciso di indagare l’aspetto legato alle opinioni dei cittadini che osservano e percepiscono le opere nel proprio quotidiano. Per la realizzazione di questa tesi si è partiti dallo studio della città- dalla sua for¬mazione alla sua crisi-per arrivare alle successive attuali riqualificazioni. Uno dei cardini della riqualificazione di alcune aree urbane e lo sviluppo e realizzazione di numerose opere d’arte pubblica. 
Nel percorso di tesi sono state effettuate indagini ed interviste, sia a testimoni qualificati, sia a cittadini comuni: indagini che hanno offerto la possibilità di analizzare ed elaborare, da un lato, quali fossero gli intenti di chi gestisce ed organizza i vari progetti legati alla riqualificazione tramite l’arte pubblica, dall’altro, i risultati effettivamente ottenuti, per mezzo delle opinioni espresse dai cittadini che fruiscono di tali opere nel quotidiano. Più in particolare l’approfondimento dei temi legati alla realizzazione delle opere d’arte pubblica operato con i testimoni qualificati, ha consentito di sviluppare e completare i dati specifici forniti dalla documentazione bibliografica, rivelando così, la piena complessità del tema. 
A ciò si aggiunga che, per affrontare in modo responsabile, i diversi argomenti legati alla ricerca, si è resa molto utile la conoscenza effettiva - frutto di pregresse esperienze sul campo - ottenuta dalla frequentazione di luoghi ove l’arte viene, abitualmente concepita, realizzata, giudicata e anche criticata, come studi, laboratori d’artisti, gallerie, musei e luoghi pubblici nazionali ed internazionali in cui l’arte pubblica viene apprezzata e giudicata. La scelta di analizzare quali fossero le opinioni e le reazioni dei “cittadini comuni”, di fronte alle opere di arte pubblica, che di solito vengono prese in considerazione solo da chi è interessato a questo segmento di cultura e frequenta luoghi ad essa dedicati, deriva da una particolare attenzione per il contesto urbano, che molte volte viene imposto ai cittadini, senza che essi siano resi partecipi delle trasformazioni che il luogo in cui vivono subisce, così rischiando di alimentarne diffusi sentimenti di succube estraneità. 
I risultati ottenuti con l’indagine delineano come i cittadini interpretano questo tipo di interventi, mettendo in chiaro quali opere e tendenze d’arte pubblica siano apprezzate e quali no.},
	language = {Italian},
	school = {Politecnico di Torino},
	author = {Dellarossa, Gianmaria},
	collaborator = {Davico, Luca},
	year = {2016},
	keywords = {Graffiti, Street art, Italy, Torino},
}

@article{demesticha_seamen_2017,
	title = {Seamen on {Land}? {A} {Preliminary} {Analysis} of {Medieval} {Ship} {Graffiti} on {Cyprus}},
	volume = {46},
	issn = {10572414},
	doi = {10.1111/1095-9270.12269},
	abstract = {This article reports on the results of a research project entitled ‘KARAVOI. The Ship Graffiti on the Medieval Monuments of Cyprus: Mapping, Documentation and Digitisation’, during which 233 ship graffiti were recorded in 44 different monuments on the island, dating from the 15th to the 20th centuries. Innovative recording techniques have been used to mitigate the effects of the subjective or partial recording of graffiti lines on tracing paper. Apart from the study of ship graffiti as iconographic sources, particular emphasis has been given to their geographical and social context through a comprehensive analysis of the graffiti types and their spatial distribution in the monuments as well as the monuments location on the island.},
	language = {English},
	number = {2},
	journal = {International Journal of Nautical Archaeology},
	author = {Demesticha, Stella and Delouca, Katerina and Trentin, Mia Gaia and Bakirtzis, Nikolas and Neophytou, Andonis},
	year = {2017},
	note = {Num Pages: 36},
	keywords = {Graffiti, Medieval, Cyprus, Ships},
	pages = {346--381},
}

@book{deppe_odem_2015,
	address = {Berlin},
	edition = {Fifth},
	title = {{ODEM}: on the run: {Eine} {Jugend} in der {Graffiti}-{Szene}},
	isbn = {978-3-86265-478-9},
	abstract = {Odem of SOS Crew Berlin was more than an iconic figure in the graffiti movement in the 80’s and 90’s and inspired many future generations with his approach to stylewriting and graffiti culture. We grew up with his book ODEM: ON THE RUN, the book was and still is like a bible for many writers and one of the most read books on German graffiti ever. His stylism mission published in the SPRAY CITY – Graffiti in Berlin Book inspired many graffiti writers from all over Germany and had a big impact and influence! ODEM´s writing career was a stylistic embodiment of 90’s Berlin writing culture and his swinging letterstyle influenced many and helped create the typical Berlin style of the glory days of the 90’s and to today.},
	language = {German},
	publisher = {Schwarzkopf \& Schwarzkopf},
	author = {Deppe, Jürgen and ODEM},
	year = {2015},
	keywords = {Graffiti},
}

@book{derwanz_street_2013,
	address = {Bielefeld},
	series = {Studien zur visuellen {Kultur}},
	title = {Street {Art}-{Karrieren}: {Neue} {Wege} in den {Kunst}- und {Designmarkt}},
	isbn = {978-3-8376-2423-6},
	abstract = {Banksy und Shepard Fairey sind zwei Street Art-Künstler, die globale Bekanntheit erlangt haben. Doch wie ist es zu dieser Popularität gekommen? Heike Derwanz betrachtet die Karrieren von Künstler\_innen, denen es gelungen ist, sich auf der Straße, in den Medien und auf dem Kunst- und Designmarkt durchzusetzen, und untersucht dabei auch die Rolle von Blogger\_innen, Autor\_innen, Kurator\_innen und Galerist\_innen. 
Durch mehrjährige Feldforschung in Leipzig, Barcelona, London, Stockholm und New York konnte die Autorin eine weltweite Kunstbewegung aus nächster Nähe erfassen. Ihre Ethnografie ergänzt sie um sozialwissenschaftliche, medienwissenschaftliche und gendertheoretische Perspektiven und erweitert damit das kunsthistorische Verständnis von Künstlerkarrieren.},
	language = {German},
	number = {20},
	publisher = {Transcript Verlag},
	author = {Derwanz, Heike},
	year = {2013},
	keywords = {Graffiti, Street art, Art},
}

@article{deturk_banksy_2015,
	title = {The “{Banksy} {Effect}” and {Street} {Art} in the {Middle} {East}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.25},
	abstract = {The English street artist known as Banksy has in recent years become an important figure in the contemporary art world, garnering both critical acclaim and commercial success with his work. The “Banksy effect” is a term coined to describe the increased interest in street art that has emerged in the wake of Banksy’s popularity. Although the Banksy effect is not universally applauded, it offers a useful lens through which to consider the emergence of street art as a means of popular expression in the Middle East and North Africa (MENA) region. This paper considers three places in which street art has been intentionally deployed as a vehicle of political protest or as a means to generate tourism in the face of political unrest: street art in the Palestinian territories; street art in Egypt, particularly Cairo; and the Djerbahood project in Tunisia. A brief discussion of the way in which street art is created and received in each particular area is provided, followed by some observations on how the Banksy effect may be at play in that particular context. The paper concludes that the idea of the Banksy effect has relevance in discussions of street art in the MENA region and that both the positive and negative aspects of the Banksy effect are seen in the region.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {DeTurk, Sabrina},
	year = {2015},
	note = {Num Pages: 9
Publisher: Urban Creativity},
	keywords = {Graffiti, Banksy, Street art, Egypt, Africa, Middle East, Tunesia},
	pages = {22--30},
}

@article{devrim_isikkaya_video_2023,
	title = {Video {Projection} {Mapping} as a {Visual} {Urban} {Art} {Performance} on {Architectural} {Facade}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.629},
	abstract = {Video projection mapping as a contemporary visual public art today is the representative of interactive communication and media-architectural complexity in which the gathering of fiction and reality is observable. Video projection mapping (urban screenings), which transforms the facade into an interactive interface between the interior and exterior, provides also the conditions of a shared, creative, perceptual public atmosphere by triggering the reconstruction of the relations between art, games and the public spaces. This article inspects firstly about how public space / architectural facade relation is dialectically reconstructed and experienced throughout the video projection mapping implementations on architectural facades as a kind of conceptual collaboration – composition of physical public space, and virtual - perceptual space assembled in their specific epochs and contextually discusses their influences on urban society. This paper interprets the video projection mapping performances and tries to define the impact of this new public art, which is framed with space and time, on the city-dwellers. This article also aims to make a discussion on virtual urban reality, in terms of performative – virtual ‘surface’ architecture, or media-architecture. In conclusion, the future of video projection mapping as a visual art and architectural implementation in terms of public space - facade relation is speculated within the traces of current works and trends in the conclusion of the article.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Devrim Işıkkaya, Ali},
	year = {2023},
	note = {Num Pages: 17
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Video, Urban space, Turkey, Projection, Video projection},
	pages = {106--122},
}

@book{dew_uncommissioned_2008,
	address = {Carlton},
	title = {Uncommissioned {Art}: {An} {A}-{Z} of {Australian} {Graffiti}},
	isbn = {978-0-522-85506-7},
	abstract = {Combining beautiful color images from Australia's thriving graffiti and street-art culture with analysis of the history and evolution of the scene, this guide discusses the complex issues raised by the presence of graffiti in public spaces. Increasingly gaining currency as a potent and respected art form worldwide, the immediacy and ephemeral nature of street art comments on political and social change and the shape of the urban landscape itself, and this collection contributes to the local, national, and international conversations about art and design, popular culture, and urban planning.},
	language = {English},
	publisher = {The Miegunyah Press},
	author = {Dew, Christine},
	year = {2008},
	keywords = {Graffiti, Graffiti writing, Australian},
}

@article{di_brita_resilience_2018,
	title = {Resilience and adaptability through institutionalization in graffiti art: {A} formal aesthetic shift},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.140},
	abstract = {The subject of this paper is the institutionalization of graffiti art. It examines the contextual and formal aesthetic shifts of graffiti within the urban space to graffiti art exhibited in art institutions. The goal of this paper is to demonstrate the adaptability and resilience of graffiti art within an institutional framework conducted by formal aesthetic shifts within the art works. Graffiti is always in the verge of the institution and seems challenging to integrate into the institutionalized framework. The significance and contextual change entering the white cube causes several effects such as neutralization, aestheticization and censorship. A formal aesthetic shift based within the art works will be demonstrated by five detailed analyses. Finally, further effects such as reduction and abstraction processes as well as aestheticization and autonomy of the art works will be observed.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Di Brita, Tania},
	year = {2018},
	note = {Num Pages: 19
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Tags, Censorship, Institutionalisation, White cube},
	pages = {6--24},
}

@article{di_brita_disappearancevirtualisation_2019,
	title = {The {Disappearance}/{Virtualisation} of {Graffiti} and {Street} {Art}: {From} {Urban} to {Institutional} to {Virtual} {Space}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.168},
	abstract = {The subject of this essay is the presentation and reflection of curatorial challenges related to the exhibiton of graffiti and street art. The curatorial practices of graffiti and street art has undergone several changes over the past decades: from the streets to the institutionalisation and commercialisation to virtualisation. In particular, the essay is examining curatorial practises in three main areas, the streets, the institutions and finally the augmented and virtual space. Due to the development of ICT and digitalization the possibilities of curating seem countless. However, within these developments there is also a downside. What if all unsanctioned graffiti and street art suddenly have ‘no space’, nor in the virtual nor in the real world, where neoliberal cities desire homogeneity, segregation and 24/7 surveillance? Can unsanctioned art even exist in the virtual reality? Can it still be called ‘unsanctioned’ or ‘illegal’? The possibilities of multiple layers of reality as well as the thread of the disappearance stand very are very close by each other. It is the time to think about where and how which require novel perspectives and appropriate formats on how to reinforce this unique cultural expression in public.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Di Brita, Tania},
	year = {2019},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Digitisation, Virtualisation},
	pages = {6--17},
}

@article{di_giacomo_contextualizing_2019,
	title = {Contextualizing graffiti and street art in suitable museum settings: {Street} {Art} {Today}’s upcoming museum in {Amsterdam}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.203},
	abstract = {Overall, this essay examines the suitable settings for contextualizing graffiti and street art indoors, by introducing the upcoming museum for graffiti and street art in Amsterdam, an initiative of Street Art Today. Firstly, an overview of the project’s story, including its idealizer, location and collection is provided. Secondly, the contributions of the museum to the art form are presented. In particular, through its ambition to become a knowledge hub of graffiti and street art, the institution produces, gathers and analyses data, thus reinforcing the legitimation of these visual expressions. Finally, this article examines the expectations related to the museum’s role and its future visitors.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Di Giacomo, Giovanna},
	year = {2019},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Museum, the Netherlands, Amsterdam},
	pages = {56--65},
}

@book{dibazar_visualizing_2018,
	address = {Amsterdam},
	series = {Cities and {Cultures}},
	title = {Visualizing the {Street}: {New} {Practices} of {Documenting}, {Navigating} and {Imagining} the {City}},
	isbn = {978-90-485-3501-9},
	language = {English},
	publisher = {Amsterdam University Press},
	editor = {Dibazar, Pedram and Naeff, Judith},
	year = {2018},
	doi = {10.5117/9789462984356},
	keywords = {Street art, City},
}

@article{dibiasie_sammons_application_2018,
	title = {Application of {Reflectance} {Transformation} {Imaging} ({RTI}) to the study of ancient graffiti from {Herculaneum}, {Italy}},
	volume = {17},
	issn = {2352-409X},
	doi = {10.1016/j.jasrep.2017.08.011},
	abstract = {This article discusses the application of Reflectance Transformation Imaging (RTI) to ancient graffiti from Herculaneum, Italy. RTI is a computational photography technique that makes it possible to digitally manipulate the light direction within a 2D image. This allows researchers to examine the graffiti (and individual details and letterforms) under a variety of lighting conditions. Furthermore, RTI is able to enhance the surface and color of the wall plaster on which the graffito was written. Several examples of this application to ancient graffiti show that RTI enables researchers to decipher graffiti, especially individual letterforms. RTI mimics the process of personal autopsy on site and allows scholars to reexamine the graffiti from anywhere in the world. In combination with other methods of archaeological documentation, RTI digitally preserves these inscriptions for the future.},
	language = {English},
	journal = {Journal of Archaeological Science: Reports},
	author = {DiBiasie Sammons, Jacqueline F.},
	year = {2018},
	note = {Num Pages: 11},
	keywords = {Graffiti, RTI (Reflectance Transformation Imaging), Italy, Roman archaeology, Roman graffiti, Ancient graffiti, Herculaneum},
	pages = {184--194},
}

@article{dickens_keith_2016,
	title = {Keith {Haring} in {Pisa} and {Melbourne}: {Controversy} and conservation},
	volume = {61},
	doi = {10.1080/00393630.2016.1193691},
	abstract = {Keith Haring painted large outdoor murals in Melbourne, Australia, in 1984 (the Collingwood Mural) and at Pisa in Italy in 1989 (Tuttomondo). Recently, both murals have been analyzed and conserved by similar teams of conservators and scientists. The original appearance of the Collingwood Mural was severely compromised, and the original materials much degraded. Tuttomondo was somewhat altered visually but with less physical damage. There were initial suggestions to repaint Tuttomondo but these were dissipated by good communication of the analytical findings. In Melbourne, there was a high-profile and emotive campaign to have the Collingwood Mural repainted. Conservators and government were heavily criticized for supposedly ignoring the artist's wishes. However, detailed research into Haring's published statements revealed that conservation does respect his artistic aims. For the Collingwood Mural, conservators had to consider whether to reduce the visual disturbances which obscured the works. Practices documented by conservation theorists and routinely undertaken by conservators guided the decision to apply mechanically reversible re-integration. This made Haring's unique ‘line’ visible and accessible again, and pleased the public. The controversies showed how conservators must communicate clearly and tactfully; appreciate the feelings of the public and involve communities in conservation, without compromising rigorous scientific and curatorial research.},
	language = {English},
	number = {sup2: LA Congress Preprints Modern Art},
	journal = {Studies in conservation},
	author = {Dickens, Jenny and Rava, Antonio and Colombini, Maria Perla and Picollo, Marcello and Shank, Will},
	year = {2016},
	note = {Num Pages: 9},
	keywords = {Street art, Australia, Italy, Murals, Mural art, Melbourne, Community, Keith Haring, Pisa, Retouching},
	pages = {29--37},
}

@article{dickens_placing_2008,
	title = {Placing post-graffiti: the journey of the {Peckham} {Rock}},
	volume = {15},
	issn = {1474-4740},
	doi = {10.1177/1474474008094317},
	abstract = {This article is about the intersections between contemporary forms of urban inscription, art and the city, as they come to be configured through an emergent `post-graffiti' aesthetic practice. Exemplary of this movement is the self-proclaimed `art terrorist', Banksy, who has earned a reputation recently for his audacious interventions into some of the most significant art institutions in the western world, as well as for his politically charged stencil and sculptural work in the everyday spaces of the city. Focusing on the artist's Peckham Rock, a fragment of concrete that he surreptitiously stuck to the walls of the British Museum in May 2005, this article uses the methodological device of `the journey' in an attempt to place the connections and disconnections between a series of elite and institutional spaces, social relations and mediascapes through which `the rock' passes as its `life' as an artwork unfolds. Existing research, including that by geographers, has examined graffiti in terms of urban identity politics, territoriality and transgression. While such work has generated important insights into the nature of particular kinds of urbanism, it is often limited to a focus on graffiti `writing', a subcultural model of urban inscription originating in New York and Philadelphia in the late 1960s. In contrast, this article explores a more recent style of inscribing the city, as set out in a series of art publications and conferences, and unpacks what such a model might indicate regarding contemporary urban processes and experiences.},
	language = {English},
	number = {4},
	journal = {cultural geographies},
	author = {Dickens, Luke},
	year = {2008},
	note = {Num Pages: 26},
	keywords = {Graffiti, Banksy, City, Urban, Peckham Rock},
	pages = {471--496},
}

@book{die_zelle_zelle_2009,
	address = {Wien},
	title = {Die {Zelle} - »81 {Künstler}/innen in {Kaisermühlen}«: {Ausstellungskatalog}},
	isbn = {978-3-902748-00-3},
	language = {German},
	publisher = {NEUE ARBEIT},
	author = {die Zelle},
	year = {2009},
	keywords = {Graffiti, Street art, Exhibition catalogue},
}

@article{dogu_curating_2017,
	title = {Curating urban memories in connecting communities},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.66},
	abstract = {There is a worldwide growing attention on user participation in shaping urban environments in recent years. With the involvement of local authorities, civil initiatives and neighborhood organizations, it is possible to observe a similar attention in the formation of urban spaces in Turkey. Driven from this approach, this study examines the bottom-up transformation of a cultural space existing since 1960s in Izmir, Güzelyalı. To reveal the process of how civic empowerment operated, we simulate a remembering process and curate the process in order to make things visible. The process examines an urban installation to reveal narratives behind collective action through reading collective memory. The scope is to re-read the past in the present in order to generate new processes of civic engagement, and thus actions, in urban spaces.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Doğu, Tuba and Sönmez, Sevcan},
	year = {2017},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Collective memory, Urban memory},
	pages = {73--84},
}

@article{dominique_george_2021,
	title = {George {Floyd} \& {Anti}-{Racist} {Street} {Art}},
	volume = {134},
	issn = {00218715},
	doi = {10.5406/jamerfolk.134.534.0525},
	language = {English},
	number = {534},
	journal = {The Journal of American Folklore},
	author = {Dominique, Ronada},
	year = {2021},
	note = {Num Pages: 3},
	keywords = {Graffiti, Street art, Anti-racist, Floyd, Racist},
	pages = {525--527},
}

@book{dordevic_street_2021,
	address = {Beograd},
	edition = {Third},
	title = {Street {Art} {Belgrade}},
	isbn = {978-86-86245-59-8},
	abstract = {A new book about street art and graffiti in Belgrade – “Street Art Belgrade”, made by photographer Aleksandar Djordjevic and published by Komshe is available, since October, in all major bookstores across Serbia. Walls have always been the perfect place for communication. The prehistoric hunter wasleaving his traces on a cave wall, and today we leave our traces on the walls of Facebook, Twitter and similar social networks. But today’s digital walls are missing one dimension – and that dimension gives the messages their magic.},
	language = {English; Serbian},
	publisher = {Komshe},
	editor = {Đorđević, Aleksandar},
	year = {2021},
	keywords = {Graffiti, Street art, Belgrade, Serbia},
}

@article{dos_santos_urban_2020,
	title = {On {Urban} {Creativity} in {Argentina} {Over} {Time}: {The} {Need} for {Locally} {Contextualized} {Studies}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i2.236},
	abstract = {Argentinian academic research and production on urban creativity is not recent; the field has developed through a combination of different disciplines and perspectives. But what is remarkable is the shift in interest on the subject since the arrival of the New York Style Graffiti Writing in the late ‘90s, which made new theoretical frameworks for the phenomena possible. Considering all these multiple approaches to the subject matter, the lack of consensus and systematic research is even more noteworthy, as it generates a heterogeneous panorama in terms of research proposals and frameworks. 
In this article, we will examine the way in which a field of studies on graffiti and urban art emerged in Argentina -retracing the frameworks that structured the understanding of urban creativity through lineages or inheritances-, and we will show a continuation of interest in the subject matter, reshaped as a result of the arrival of new research perspectives.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {dos Santos, Luana Mendes},
	year = {2020},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Writing, Argentina, Pintada},
	pages = {12--23},
}

@article{doughty_brigada_2019,
	title = {The {Brigada} {Ramona} {Parra} and the {Art} of {Muralising} {Protest} {During} the {Pinochet} {Regime}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.162},
	abstract = {In 1946, while demonstrating in support of a group of striking nitrate workers, a twenty-year-old female communist named Ramona Parra was shot to death by police in Santiago, Chile,[i]in what has come to be known as the Bulnes Square Massacre.A product of political marginalisation, the details of Parra’s life are sketchy. But for fleeting mentions in art history books she is otherwise a mystery.[ii]Her death, however, has had a far-reaching significance, for she became and remains a martyr symbol of the Chilean struggle against oppression. In particular, her name was proudly taken to identify the artistic movements of the muralist brigade of the Chilean Communist Party (CCP), the Brigada Ramona Parra (BRP) in 1968.[iii] 
On September 11,1973, Chile, and with it the CCP, was thrown into turmoil. The country that homegrown poet Pablo Neruda once described as a ‘long petal of sea, wine, and snow’ was transformed from Latin America's foremost social democracy under Salvador Allende to the region's darkest dictatorship under the military regime of Augusto Pinochet.[iv]The latter ushered in a period of widespread torture and the murder of an estimated 3000 Chileans. Furthermore, the regime carried out an assault on culture that saw the erasure of swathes of leftist literature, film, music, and art, which included the whitewashing of BRP murals that had for five years colourfully decorated and secured Santiago’s streets for Salvador Allende.  As Geoffrey Hutton stated in the immediate aftermath of the coup, ‘Now, a bullet through the head is more effective than a vote in the ballot-box’.[v] 
In the process of writing a brief history of the BRP collective, this article contextualises the violence imposed on Chile by Pinochet’s Military Regime; and in doing so documents how members of the left perpetuated modes of artistic expression and protest at home and in exile throughout dictatorial rule. By attributing meaning to the murals of the BRP, the aim is also to contribute, if only moderately, to the reconstruction of a fragmented, distorted, and, in part, whitewashed (i.e., destroyed) past. Interwoven is an acknowledgment of the role the BRP played in the 1988 ‘No’ campaign; in this respect, the efforts of the BRP, which are largely without recognition, to paint and ultimately reclaim Santiago’s streets served as an essential subsidy to the widely lauded and successful savoir-faire TV campaign orchestrated by Eugenio García.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Doughty, Craig},
	year = {2019},
	note = {Num Pages: 16
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {42--57},
}

@article{dovey_placing_2012,
	title = {Placing {Graffiti}: {Creating} and {Contesting} {Character} in {Inner}-city {Melbourne}},
	volume = {17},
	issn = {1357-4809},
	doi = {10.1080/13574809.2011.646248},
	abstract = {Debates over definitions of urban graffiti as either ‘street art’ or ‘vandalism’ tend to focus on either contributions to the field of artistic practice or violations of a legal code. This paper explores the place of graffiti as an urban spatial practice—why is graffiti where it is and what is its role in the constructions and experiences of place? Through interviews and mapping in inner-city Melbourne, the paper explores the ways that potential for different types of graffiti is mediated by the micro-morphology of the city and becomes embodied into the urban habitus and field of symbolic capital. From a framework of Deleuzian assemblage theory graffiti negotiates ambiguous territories between public/private, visible/invisible, street/laneway and art/advertising. Graffiti is produced from intersecting and often conflicting desires to create or protect urban character and place identity. It is concluded that desires to write and to erase graffiti are productive urban forces, while desires to promote or protect it are problematic.},
	language = {English},
	number = {1},
	journal = {Journal of Urban Design},
	author = {Dovey, Kim and Wollan, Simon and Woodcock, Ian},
	year = {2012},
	note = {Num Pages: 21},
	keywords = {Graffiti, Australia, Melbourne},
	pages = {21--41},
}

@article{dragicevic-sesic_street_2001,
	title = {The {Street} as {Political} {Space}: {Walking} as {Protest}, {Graffiti}, and the {Student} {Carnivalization} of {Belgrade}},
	volume = {17},
	issn = {0266-464X},
	doi = {10.1017/S0266464X00014342},
	abstract = {Western assumptions of unthinking Serbian support for the policies of Slobodan Milošević were upset by the success of popular protest in securing his removal in the autumn of 2000. In fact, just three years after his accession to power in 1989, there had already been massive student protests against the Balkan War, and these were repeated and surpassed in the winter of 1996–97, when Milošević tried to disregard the success of the opposition in the local elections of that November. The student protests quickly took a theatricalized form, and their recurrent modes – graffiti, banners, street processions – were successfully carnivalized, to become popular performative events. This feature provides a chronology of the main developments to complement the more analytical study by Milena Dragićević-Šešić of the nature of this organic but ironic response to an authoritarian regime, which gave old traditions a late twentieth-century voice.},
	language = {English},
	number = {1},
	journal = {New Theatre Quarterly},
	author = {Dragićević-Šešić, Milena},
	year = {2001},
	note = {Num Pages: 13},
	keywords = {Graffiti, Belgrade, Serbia},
	pages = {74--86},
}

@article{dubinsky_recognizing_2023,
	title = {Recognizing technique variation in rock engravings: {ArchCUT3}-{D} for micromorphological analysis},
	volume = {10},
	doi = {10.1057/s41599-023-01742-7},
	abstract = {Ancient rock engravings evoke the interest of archeologists and art historians as an important remnant of human cultures. Traditionally, engraved images are studied based on iconography, iconology, and stylistic characteristics, with little emphasis on execution technology. In contrast, the research method presented in this study strives to characterize the techniques adopted for making rock engravings in ancient times, with technological variations considered as indicators of the engraver’s production process. 3-D scans of two ancient engravings and contemporary graffiti were obtained from Site 25 in Timna Park, Southern Israel. The models were analyzed with ArchCUT3-D, a software specifically developed to precisely evaluate the 3-D micromorphological characteristics of the incisions making up the engraving. The software analyzes the surface micromorphology by extracting 3-D slices of the incisions using an accurate and repeatable method. Our results indicate that different incisions were executed by remarkably distinct techniques of stroking the rock surface with a sharp tool. The identification of discriminant characteristics enabled us to demonstrate the particularities of the engraving operations, such as ergonomic conditions and the level of consistency of the engraving gesture. ArchCUT3-D thus provides a computational method for incision technique recognition through micromorphology specifications, and the reconstruction of engraving gestures and individual production procedures.},
	language = {English},
	number = {1},
	journal = {Humanities and Social Sciences Communications},
	author = {Dubinsky, Lena and David, Marcelo and Grosman, Leore},
	year = {2023},
	note = {Num Pages: 20},
	keywords = {Graffiti, 3D, Rock art, ArchCUT3-D, Cut marks, Engraving, Micromorphology, Morphological analysis, Petroglyph},
}

@article{duncan_graffitis_2010,
	title = {Graffiti's {Vasari}: {Jack} {Stewart} and {Mass} {Transit} {Art}},
	volume = {49},
	issn = {0003-9853},
	doi = {10.1086/aaa.49.3_4.23025810},
	language = {English},
	number = {3/4},
	journal = {Archives of American Art Journal},
	author = {Duncan, Charles H.},
	year = {2010},
	note = {Num Pages: 10},
	keywords = {Graffiti},
	pages = {40--49},
}

@article{dundes_here_1965,
	title = {Here {I} {Sit} - {A} {Study} of {American} {Latrinalia}},
	volume = {34},
	language = {English},
	number = {10},
	journal = {Kroeber Anthropological Society Papers},
	author = {Dundes, Alan},
	year = {1965},
	note = {Num Pages: 15},
	keywords = {Graffiti, Latrinalia},
	pages = {91--105},
}

@misc{durget_street_2018,
	title = {Street {Art} and {Graffiti} {Words} - {The} {Ultimate} {Glossary}},
	url = {https://berlinstreetart.com/graffiti-words/},
	abstract = {We present you with the Ultimate Street Art and Graffiti Words Glossary on the Web!},
	language = {English},
	author = {Durget, Mathieu},
	year = {2018},
	keywords = {Graffiti, Street art, Glossary},
}

@book{durig_von_2018,
	address = {Hamburg},
	edition = {Second},
	title = {Von der {Straße} in den {Kunstunterricht}: {Urban} {Art}: {Kunstprojekte} mit {Bild}-für-{Bild}-{Anleitungen} - {Künstlerporträts} - {Differenzierungsangebote}},
	isbn = {978-3-403-10325-7},
	abstract = {Möbel aus Frischhaltefolie bauen, Comics auf Häuserwänden zum Leben erwecken, Figuren aus Klebeband gestalten - hier werden Jugendliche zu kreativen Urban-Art-Künstlern! Das Buch stellt zwanzig angesagte Urban-Art-Künstler und ihre Kunstwerke vor. 
Dabei werden verschiedene Techniken wie Tape Art, Stencil oder Paste up anschaulich und Bild-für-Bild beschrieben, sodass Schüler die jeweilige Technik leicht selbst umsetzen können. Die Anleitungen enthalten Differenzierungsmöglichkeiten, um jedem Jugendlichen ein individuellen Erfolg zu ermöglichen. 
Die DVD bietet alle Vorlagenbilder der Künstler, die Schablonen und Vorlagen sowie zahlreiche Schülerarbeiten. 
Diese Kunst ist neu, anders und überall!},
	language = {German},
	publisher = {AOL Verlag},
	author = {Dürig, Annika},
	year = {2018},
	keywords = {Graffiti, Street art},
}

@article{east_ill_2019,
	title = {ill {Architecture}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {East, Oliver},
	year = {2019},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {70--75},
}

@article{edgeworth_archaeology_2014,
	title = {Archaeology of the {Anthropocene}},
	volume = {1},
	issn = {2051-3429},
	doi = {10.1558/jca.v1i1.73},
	language = {English},
	number = {1},
	journal = {Journal of Contemporary Archaeology},
	author = {Edgeworth, Matt and Benjamin, Jeffrey and Clarke, Bruce and Crossland, Zoe and Domanska, Ewa and Gorman, Alice Claire and Graves-Brown, Paul and Harris, Edward Cecil and Hudson, Mark James and Kelly, Jason M. and Paz, Victor Joaquin and Salerno, Melisa Anabella and Witmore, Christopher and Zarankin, Andrés},
	year = {2014},
	note = {Num Pages: 60},
	keywords = {Graffiti, Anthropocene},
	pages = {73--132},
}

@phdthesis{edwards-vandenhoek_graffiti_2012,
	type = {{PhD} thesis},
	title = {Graffiti archaeography : the poetics of engagement in {Sydney}'s inner suburbs: {Volume} 1},
	abstract = {This dissertation intervenes in the material traces of illicit graffiti writing and urban art production in Sydney’s inner suburbs to reveal how graffiti reshapes and transforms place. Graffiti’s engagements with time, space and place are understood as a poetic process of revealing and concealing inscriptive marks to construct new or hidden narratives. This research has four overlapping goals and aims. Firstly, to map the unfolding and unfinished meshwork of graffiti traces in three territories of production – the exterior, interior and subterranean habituses of Sydney. Secondly, to photograph graffiti’s fragmented and differentiated displays in situ to provide formal texts for analysis and archivisation. Thirdly, to analyse the tensions and dialogues embedded in graffiti’s multimodal formations to understand how place is constructed through the graffiti in the three territories. Fourthly, to design a dynamic and agile virtual interface to reimagine graffiti’s place as digital heritage. As a practice-based research project, it comprises a thesis and a digital image archive titled Sydney Graffiti Archive (www.sydneygraffitiarchive.com.au). Sydney’s graffiti subculture has largely been ignored in the scholarly literature to date. Council crackdowns, heavy fines and anti graffiti strategies, coupled with the increasing regulation, monetisation and institutionalisation of graffiti writing and urban art have contributed to the marginalisation of its illicit counterparts and the relentless sanitisation of public space. Moreover, there has been a resistance to engage with graffiti’s complex visual codes and the significance of its varied material expressions or attend to the less visible contexts of production. The spatio-temporal and material specificity of street, interior and subterranean fields of practice are critical to this research case, which implies that meanings and identities are not only situated in the socio-historical context of the sign, but embedded in the multi-layered fabric of the cityscape, the graffiti modes and their temporally elastic relations. I have developed a reflexive and interpretative framework to respond to the complexity of material and temporal disclosure associated with the photographic re-framing of graffiti’s traces. The research method combines and weaves connections between photography and archaeology, what Michael Shanks refers to as archaeography. I consider the photographic analysis of graffiti to be an archaeological concern because as artefacts of an archaeological method of disclosure, photographs capture temporal and material fragments, which through re-framing make further interventions possible. To trace the shifting and continuous landscape of graffiti production, I have drawn from Tim Ingold’s (2008) meshwork of place and Guy Debord’s (1958) theory of the dérive. For the interpretative work I have turned to the concepts of multimodality and intertextuality to afford an effective reading of the differentiated material and semiotic assemblages of graffiti writing and urban art modes framed in situ. Together, these components make up a transdisciplinary framework that constitutes a methodological and discursive space in which the graffiti’s hybrid assemblages can be meaningfully interpreted. The photographs frame complex tensions, discourses and power relations that succeed in building an ineffable, phenomenological, material, discursive, semiotic and contextually responsive picture of place constructed through the graffiti. From the contested and politicised terrain of inner Sydney’s laneways, to the playscapes of its dormant interiors and liminal realm of its subterranean cavities, I maintain that the value and legacy of graffiti lies in its poetisation of the urban experience. The creation of the Sydney Graffiti Archive as a living repository for the photographs further re-emphasises the value of the recontextualisation of graffiti, as monuments to the past and sites of knowledge in their own right. The significance of this counter archive lies in its powerful reflexive mnemonic that encourages new ways of seeing illicit graffiti texts as it reshapes present relations to the past and subverts conventional notions of what constitutes cultural heritage and place. This thesis demonstrates that graffiti archaeography, as both a method and mode of engagement with graffiti’s traces, provides a working model to construct alternative narratives about differentiated forms of material culture and place-making that have largely gone unrecorded in the past.},
	language = {English},
	school = {University of Western Sydney},
	author = {Edwards-Vandenhoek, Samantha},
	year = {2012},
	keywords = {Graffiti, Street art, Australia, Sydney},
}

@book{efhaj_graffiti_2022,
	title = {Graffiti: {Lettering} \& {Drawing} for {Beginners}},
	isbn = {9788847790895},
	abstract = {Ever wonder how some of the graffiti tags ever created were created on the busy streets of New York City, Chicago, or London, or how you may create similar tags and pieces? then continue reading! 
You will learn various methods for producing various tag styles in (Graffiti Lettering \& Drawing for Beginners). You will be led step by step in creating the final masterpiece tag for these tag designs, which also contain Wildstyle and Urban writing. Have fun experimenting with various tags to create your own own style while immersing yourself in the graffiti world language by learning new vocabulary and learning more about notable graffiti artists who have made their mark in the scene.},
	language = {English},
	publisher = {Independently published},
	author = {Efhaj, Ait},
	year = {2022},
	keywords = {Graffiti, Drawing, Manual},
}

@book{egs_egs_2021,
	address = {Årsta},
	title = {{EGS}: {Concrete} {Reflections}},
	isbn = {978-91-88369-68-0},
	language = {English},
	publisher = {Dokument Press},
	author = {EGS and Barenthin, Tobias and Lindblad and Watson, Mike R.},
	year = {2021},
	keywords = {Graffiti, Finland},
}

@article{el_khoury_burj_2019,
	title = {Burj {El} {Hawa}: {Tower} of {Wind}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {El Khoury, Jad},
	year = {2019},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, Beirut, Lebanon},
	pages = {52--57},
}

@article{elias_street_2014,
	title = {Street {Art}: {The} {Everlasting} {Divide} between {Graffiti} {Art} and {Intellectual} {Property} {Protection}},
	volume = {7},
	language = {English},
	number = {5},
	journal = {Landslide},
	author = {Elias, Brittany M. and Ghajar, Bobby},
	year = {2014},
	note = {Number Of Volumes: 48},
	keywords = {Graffiti, Street art, Copyright},
}

@article{elias_squares_2015,
	title = {From squares to walls: contemporary murals of {OSGEMEOS}, {Nunca} and {Bicicleta} sem {Freio} in {Lisbon}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.28},
	abstract = {Recently there has been a resurgence of murals in several European and American cities. Street art visual practices have privileged murals as one of the most suitable formats to address public spaces. Despite the increasing recognition and significance of murals for the visual culture of these cities, this contemporary urban art practice has not received much attention from recent literature. This paper provides a literature review on contemporary murals, giving an account of their popularity, their relation to location-specificity and global presence, as well as the means of dissemination of such art expression. The study will then focus on a set of case studies in Lisbon, regarding the paradigmatic shift from sculpture commissioning to mural commissioning within Portuguese Brazilian cultural relationships. The works of OSGEMEOS, Bicicleta sem Freio and Nunca will be discussed in this framework, questioning what the contributions of contemporary mural works might be for the public spaces of the city.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Elias, Helena},
	year = {2015},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Murals, Portugal, Lisbon, Bicicleta, Nunca, OSGEMEOS},
	pages = {42--48},
}

@book{el_rincon_de_las_boquillas_graffiti_2022,
	title = {Graffiti and street art around the globe 2},
	language = {English; Spanish},
	publisher = {Vicent Masmano},
	author = {{El Rincon de las Boquillas}},
	year = {2022},
	keywords = {Graffiti, Street art},
}

@book{eppich_recording_2007,
	address = {Los Angeles},
	title = {Recording, documentation, and information management for the conservation of heritage places: {Illustrated} {Examples}},
	isbn = {978-0-89236-946-1},
	abstract = {This volume contains a series of illustrated case studies that demonstrates the successful use of diverse approaches to recording and documentation in a variety of situations. The examples cover a wide range of site typologies from individual buildings to cultural landscapes, and run the gamut of documentation techniques from hand survey to laser scanning. In each case, the approach to documentation is based, first and foremost, on the conservation needs of the site and the context in which the work takes place; technology, tools, and high-tech gadgets are secondary considerations.},
	language = {English},
	publisher = {Getty Conservation Institute},
	editor = {Eppich, Rand and Chabbi, Amel},
	year = {2007},
	keywords = {Graffiti, Data management, Cultural heritage, 3D, Photogrammetry, Documentation, Preservation, Conservation},
}

@book{epstein_london_2014,
	address = {London},
	title = {London graffiti and street art: {Unique} artwork from {London}'s streets},
	isbn = {978-0-09-195868-8},
	language = {English},
	publisher = {Ebury Press},
	author = {Epstein, Joe},
	year = {2014},
	keywords = {Graffiti, Street art},
}

@article{erarslan_istanbul_2023,
	title = {Istanbul {Taksim} {Republic} {Monument} as an example of public art},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.667},
	abstract = {Statues erected in public spaces are important elements of city squares and also represent traces of culture that are transferred into the future. These monuments are sometimes built for purposes of propaganda and at other times to commemorate a particular event, but whatever the reason for their creation, they are significant  structures that serve as  points of  social interaction within the communities of which they are a part. When their relationship with the environment is firmly established, these monuments also assume an urban identity. The founder of modern Turkey, Mustafa Kemal Atatürk, wished to have the establishment of the new political model and the “nation state” emerging with the proclamation of the Republic (29 October 1923) symbolized through the language of architecture. Thus, as he promoted the slogan of “reaching the level of contemporary civilization,” he expected to have this concept reflected in architecture as much as possible in the physical sense during the Republican period of institutionalization. Part of his plan to achieve this was to create and activate public spaces in the urban landscape. This led to the monumentalization of the art of sculpture and to the appearance of the city squares of modern Turkey, where the statues that were the works of art displayed in these public spaces came to represent Atatürk and the newly established social order. This article aims to analyze how one of the symbols of Turkish architecture and of the Republican Period, the Taksim Republic Monument in Taksim Square, Istanbul, took shape as a public monument, and attempts at the same time to describe its social relationship with the surrounding environment.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Erarslan, Alev},
	year = {2023},
	note = {Num Pages: 13
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Turkey, Public space, Islamic, Istanbul},
	pages = {26--38},
}

@article{etxebarria_graffiti_2021,
	title = {Graffiti {Characterization} {Prior} to {Intervention} in the {Punta} {Begoña} {Galleries} ({Getxo}, {North} of {Spain}): {Raman} and {XRF} {Spectroscopy} in the {Service} of {Restoration}},
	volume = {11},
	issn = {2076-3417},
	doi = {10.3390/app11188640},
	abstract = {The Historical and Cultural Heritage of Punta Begoña Galleries in Getxo (Bizkaia, North of Spain) are currently in restoration after being abandoned for years. For that reason, many graffiti, which directly affect the wall paintings, appear on most of their walls. Moreover, several graffiti overlap each other, which makes their removal more difficult. For all these reasons, the chemical characterization of these pigments is a priority to optimize the cleaning and consolidation treatments of wall paintings. That being the case, an analysis based on Raman spectroscopy and X-ray fluorescence was carried out to obtain information to help conservators remove the graffiti without damaging the mural paintings and the support. Nevertheless, the first step, using X-ray fluorescence and Raman spectroscopy, involved the need for a database to compare the results and identify the compounds. Thus, different commercial inks were elementally and molecularly characterized to complete the existing databases. After this, an analysis of the inks was carried out that noted the presence of several organic pigments, such as phthalocyanines. Inorganic pigments such as titanium oxide were identified as well. After the analysis, the selection of the best removal process could be carried out to provide the most effective treatment, avoiding the “trial-and-error” classical practice.},
	language = {English},
	number = {18},
	journal = {Applied Sciences},
	author = {Etxebarria, Idoia and Prieto-Taboada, Nagore and Lama, Estibaliz and Arana, Gorka and Rodríguez-Laso, María Dolores and Madariaga, Juan Manuel},
	year = {2021},
	note = {Num Pages: 13},
	keywords = {Graffiti, Spain, XRF, Getxo, Montana, Punta Begoña, X-ray fluorescence},
	pages = {8640},
}

@article{evans_graffiti_1987,
	title = {Graffiti and the {Evidence} of {Literacy} and {Pottery} use in {Roman} {Britain}},
	volume = {144},
	doi = {10.1080/00665983.1987.11021199},
	abstract = {The distribution of graffiti on pottery is examined and conclusions drawn about varying levels of literacy on different types of site. The pattern established provides a contrast with the evidence from monumental inscriptions and gives new information about the use of pottery in Roman Britain.},
	language = {English},
	number = {1},
	journal = {Archaeological Journal},
	author = {Evans, Jeremy},
	year = {1987},
	note = {Num Pages: 14},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Pottery, Ancient graffiti, Brittany, Ceramics},
	pages = {191--204},
}

@article{faith_xlvi_ex_2019,
	title = {Ex {Animo}: {The} work of {Faith} {XLVII}},
	volume = {1},
	issn = {2535-549X},
	abstract = {This interview was conducted at the launch of Faith XLVII’s new book, Ex Animo (Drago Publishing) as part of the Nuart X Moniker talks at Moniker International Art Fair, London. Faith XLVII is an internationally acclaimed visual artist from South Africa who is currently based in Los Angeles. She has spent close to two decades interacting with urban environments and is one of the world’s most renowned and prolific contemporary muralists. Ex Animo surveys a seven year period of Faith’s work.},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Faith XLVI},
	year = {2019},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Interview},
	pages = {99--102},
}

@article{fatih_kucukali_public_2023,
	title = {Public {Art} {Practices} in {Urban} {Space}: {The} {Case} of {Istanbul}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.639},
	abstract = {In addition to revealing the relationship of public art with the city, which is the intersection of space and human life, the relationship between public space and art has been researched, the concept of public art has been examined, and its development processes in the world and in Turkey have been emphasized. The social, cultural, economic and physical effects of public art on the city were investigated. The relations between the effects of public art on the space and the city were questioned and evaluated with the examples examined within the scope of the article. An approach to researching and examining the resulting relationships and the effects of public art on urban spaces is presented, and the relationship of public art with a city with historical sites such as Istanbul is presented.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Fatih Kucukali, Ufuk},
	year = {2023},
	note = {Num Pages: 14
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Turkey, Istanbul},
	pages = {12--25},
}

@article{feitosa-santana_art_2020,
	title = {Art through the {Colors} of {Graffiti}: {From} the {Perspective} of the {Chromatic} {Structure}},
	volume = {20},
	issn = {1424-8220},
	doi = {10.3390/s20092531},
	abstract = {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.},
	language = {English},
	number = {9},
	journal = {Sensors},
	author = {Feitosa-Santana, Claudia and Gaddi, Carlo M. and Gomes, Andreia E. and Nascimento, Sérgio M. C.},
	year = {2020},
	pmid = {32365638},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, CIELAB, Camera characterisation, Brazil, ColorChecker, Gamut, São Paulo, Spectrometer},
	pages = {2531},
}

@article{fekner_revisiting_2021,
	title = {Revisiting {The} {Detective} {Show}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Fekner, John},
	year = {2021},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art},
	pages = {62--79},
}

@book{felle_cultic_2021,
	address = {Turnhout},
	series = {Contextualizing the {Sacred}},
	title = {Cultic graffiti in the {Late} {Antique} {Mediterranean} and beyond},
	isbn = {978-2-503-59311-1},
	abstract = {Graffiti, scratched or drawn on the walls of religious shrines, provide unique unmediated evidence of how ordinary men and women, many of them pilgrims, invoked and sought the help of God and the saints in Late Antiquity. The papers in this volume document and discuss cultic graffiti across the entire late antique Mediterranean, and into Nubia and Arabia. The principal focus is the Christian world, but there are also papers that look back to pre-Christian practice, and into the world of early Islam. Presenting evidence that is often unfamiliar, this is an important volume for anyone interested in the History and Archaeology of Late Antiquity. In examining cultic practice, we are almost always compelled to view the actions of devotees through texts written by the ecclesiastical elite, often with a clear hagiographical agenda in mind - cultic graffiti are evidence produced by the protagonists themsleves.},
	language = {English},
	number = {2},
	publisher = {Brepols},
	editor = {Felle, Antonio Enrico and Ward-Perkins, Bryan},
	year = {2021},
	keywords = {Graffiti, Late Antiquity, Mediterranean},
}

@article{fernandez_castelo_whisper_2017,
	title = {Whisper finders: {Learning} from {Shoreditch}. {March} 2017},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.77},
	abstract = {Whisper Finders: Learning from Shoreditch is a personal reflection after ten years of research about the Art History of Street Art in Shoreditch, paying special attention to the iconological level of analysis and the several social and historical circumstances that made Shoreditch one of the most iconic places for Street Art as an art movement. The tone of the paper, pushing boundaries beyond academic borders and inspired by the ethos of Sir Eduardo Paolozzi, strives to reach wider audiences and engage fellow art historians and academics in an active social discussion.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Fernández Castelo, Esther},
	year = {2017},
	note = {Num Pages: 9
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Art theory, Paolozzi, Shoreditch, Tours},
	pages = {11--19},
}

@book{ferrell_crimes_1993,
	address = {Boston},
	title = {Crimes of style: {Urban} graffiti and the politics of criminality},
	isbn = {978-1-55553-276-5},
	abstract = {Jeff Ferrell draws on his own extensive field research to thoroughly examine the practices of graffiti artists. Focusing on the city of Denver, he takes a close look at the war against graffiti and the interplay between cultural innovation and institutionalized intolerance, arguing that coordinated corporate and political campaigns to suppress and criminalize graffiti writers further disenfranchises the young, the poor, and people of color.},
	language = {English},
	publisher = {Northeastern University Press},
	author = {Ferrell, Jeff},
	year = {1993},
	keywords = {Graffiti, USA, Criminology, Denver},
}

@article{ferrell_urban_1995,
	title = {Urban {Graffiti}},
	volume = {27},
	issn = {0044-118X},
	doi = {10.1177/0044118X95027001005},
	abstract = {Recently, a new style of youthful graffiti has emerged in cities throughout the United States and beyond. Based on 4 years of fieldwork inside the Denver, Colorado graffiti underground, and on field and document research in other U.S. and European cities, this article explores the many ways in which those who produce this graffiti resist the increasing segregation and control of urban environments and shows how participants in the graffiti underground undermine the efforts of legal and political authorities to control them. Finally, it documents the ways in which this collective production of graffiti not only confronts and resists existing arrangements but constructs alternative social, cultural, and economic arrangements as well.},
	language = {English},
	number = {1},
	journal = {Youth \& Society},
	author = {Ferrell, Jeff},
	year = {1995},
	note = {Num Pages: 20},
	keywords = {Graffiti, USA, American graffiti},
	pages = {73--92},
}

@book{ferrell_tearing_2001,
	address = {New York},
	title = {Tearing down the streets: {Adventures} in urban anarchy},
	isbn = {0-312-23335-3},
	abstract = {From New York to San Francisco, Times Square to the Tenderloin, graffiti artists, young people, radical environmentalists, and the homeless clash with police on city streets in an attempt to take back urban spaces from the developers and 'disneyfiers'. Drawing on more than a decade of first-hand research, this lively account goes inside the worlds of street musicians, homeless punks, militant bicycle activists, high-risk 'BASE jump' parachutists, skateboarders, outlaw radio operators, and hip hop graffiti artists, to explore the day-to-day skirmishes in the struggle over public life and public space.},
	language = {English},
	publisher = {Palgrave},
	author = {Ferrell, Jeff},
	year = {2001},
	keywords = {Graffiti},
}

@article{ferrell_hiding_2009,
	title = {Hiding in the light: graffiti and the visual},
	volume = {78},
	issn = {0962-7251},
	doi = {10.1080/09627250903385214},
	language = {English},
	number = {1},
	journal = {Criminal Justice Matters},
	author = {Ferrell, Jeff},
	year = {2009},
	note = {Num Pages: 3},
	keywords = {Graffiti},
	pages = {23--25},
}

@article{ferrell_sometimes_2019,
	title = {Sometimes the {City}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Ferrell, Jeff},
	year = {2019},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art},
	pages = {45--54},
}

@article{ferrell_last_2022,
	title = {Last {Picture}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Ferrell, Jeff},
	year = {2022},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art},
	pages = {70--81},
}

@article{ferrell_spot_2010,
	title = {Spot theory},
	volume = {14},
	issn = {1360-4813},
	doi = {10.1080/13604810903525157},
	abstract = {Contemporary graffiti is a distinctly, if not exclusively, urban phenomenon; flowering over the past few decades from the social and cultural complexities of city life, it cannot be understood outside its urban context. Here we offer an interpretation of graffiti as a fluid urban practice, based in large part on our many years of writing graffiti in cities around the USA and beyond. In particular, we attempt to develop a situated spatial analysis of graffiti—to map graffiti’s engagement with the urban environment through an analysis of the spots that writers choose for painting graffiti. This grounded theory of graffiti spots supplements existing understandings of graffiti as a subcultural endeavor and urban phenomenon, and emphasizes the liquidity of urban space and its meaning. It also directly counters the simplistic assumptions about graffiti and the city embedded in the ‘broken windows’ model of crime and crime control.},
	language = {English},
	number = {1-2},
	journal = {City},
	author = {Ferrell, Jeff and Weide, Robert D.},
	year = {2010},
	note = {Num Pages: 15},
	keywords = {Graffiti, USA, Broken window theory, Spot theory},
	pages = {48--62},
}

@book{fiedler_uncurated_2020,
	address = {Weitra},
	series = {artedition {\textbar} {Verlag} {Bibliothek} der {Provinz}},
	title = {Uncurated: {Unbefugte} {Interventionen} im {Grazer} {Stadtraum}},
	isbn = {978-3-99028-911-2},
	abstract = {Uncurated ist ein Projekt des Instituts für Kunst im öffentlichen Raum Steiermark, diesmal aber nicht als Taktgeber, sondern als diskreter Beobachter einer Szene. Im Interesse stehen die vielen - ungerufenen, meist anonymen - Einträge in den öffentlichen Raum, aus persönlichen, kommerziellen, politischen wie künstlerischen Beweggründen. Das dichte Gewebe von Bildern und Botschaften, die rätselhaften hinterlassenen Gegenstände und sonderbaren Aktionen sind für die unvorbereiteten Passant*innen nur schwer zu entschlüsseln oder überhaupt unsichtbar. Durch den Filter des selektiven Blicks werden nur individuell relevante Informationen aufgenommen und vieles dadurch im wahrsten Sinne "übersehen". Für die unterschiedlichen Spielarten die Augen zu öffnen, urbane Handlungsfelder und Bedeutungsschichten zu definieren, Linien und Layer im unübersichtlichen Schnittmusterplan einer Stadt nachzufahren, ist hier exemplarisch anhand der Stadt Graz vorgenommen worden. Als Working Tools wurden Kategorien zu den unterschiedlichen Vorgangsweisen erstellt, die nach ihrem Modus geordnet wurden, als symbolträchtige Icons dienten Stencils, die im Grazer Stadtraum entdeckt wurden.},
	language = {German},
	publisher = {Bibliothek der Provinz},
	editor = {Fiedler, Elisabeth and Hainzl, Joachim and Riewe, Alexandra},
	collaborator = {Verlag Bibliothek der Provinz},
	year = {2020},
	keywords = {Graffiti, Austria, Graz},
}

@book{figueroa_saavedra_graphitfragen_2006,
	address = {Madrid},
	series = {Anejos de {Cuadernos} del {Minotauro}},
	title = {Graphitfragen: {Una} mirada reflexiva sobre el graffiti},
	isbn = {978-84-613-8413-6},
	abstract = {En un momento en el que todas aquellas manifestaciones que se producen en el marco del espacio público recaban de nuevo nuestra atención,Graphitfragen. Una mirada reflexiva sobre el Graffiti analiza el fenómeno del Graffiti desde diferentes puntos de vista: históricos, estéticos, artísticos, antropológicos, políticos, éticos, etc. Siempre desde la consciencia de encontrarnos frente a una manifestación humana, viva y en continua evolución. Con ello, tenemos ocasión de compartir una de las visiones más abiertas e indagadoras que sobre el graffiti contemporáneo y la cultura marginal existen en la actualidad. Graphitfragen. Una mirada reflexiva sobre el Graffiti se concibe como una recopilación de textos realizados entre 1998 y 2005, que incluyen artículos, conferencias, ponencias o capítulos de tesis doctoral y que plantean de un modo abierto diferentes aspectos históricos, estéticos, artísticos, antropológicos, políticos, éticos, etc. concernientes al graffiti contemporáneo.},
	language = {Spanish},
	number = {1},
	publisher = {Minotauro Digital},
	author = {Figueroa Saavedra, Fernando},
	year = {2006},
	keywords = {Graffiti},
}

@book{figueroa_saavedra_graphitfragen_2021,
	address = {Madrid},
	edition = {Nueva edición revisada},
	series = {Textos},
	title = {Graphitfragen: {Una} mirada reflexiva sobre el graffiti},
	isbn = {978-84-123987-0-0},
	abstract = {Nueva edición (2021) revisada de este clásico de los estudios sobre Graffiti en España. En el tránsito de los años noventa a los dos mil, todas aquellas manifestaciones que se producían en el marco del espacio público recababan una especial atención. Graphitfragen. Una mirada reflexiva sobre el Graffiti analizaba el fenómeno grafitero desde diferentes puntos de vista: históricos, estéticos, artísticos, antropológicos, políticos, éticos, etc. Siempre desde la consciencia de encontrarnos frente a una manifestación humana, viva y en continua evolución. Gracias a su lectura, tenemos ocasión de compartir una de las visiones más abiertas e indagadoras que sobre el grafiti contemporáneo y la cultura marginal se han dado. Una aportación que sigue siendo sorprendentemente vigente y rica en sus aportes para un debate sin prejuicios.},
	language = {Spanish},
	number = {3},
	publisher = {Minobitia},
	author = {Figueroa Saavedra, Fernando},
	year = {2021},
	keywords = {Graffiti},
}

@book{figueroa-saavedra_graffiti_2014,
	address = {Madrid},
	series = {Textos},
	title = {El {Graffiti} de firma: {Un} recorrido histórico-social por el graffiti de ayer y hoy},
	isbn = {978-84-938344-7-0},
	abstract = {Nos adentramos a lo largo del laberinto de la historia para conocer qué es el grafiti y, en concreto, saber qué funciones, constantes y matices ha tenido el grafiti de firma en distintas circunstancias. Gracias a ello, podremos descubrir una serie de falacias tejidas a su alrededor, como esa que afirma que el grafiti es algo ilegal, efímero y vandálico, valores creados entorno a una sociedad controladora y capitalista. Tampoco es un ejercicio natural, rudimentario e ingenuo, planteamiento propio de una visión romántica. Se trata de una actividad cultural hija de la civilización que se define, en todo caso, como marginal, precaria y gamberra, con una precisa funcionalidad dentro de lo ordinario y lo extraordinario, del festejo de la libertad y de la denuncia de la injusticia. En el caso del grafiti de firma, el yo-soy, el yo-estuve y el yo-existo se enredan y conjugan, además, de un modo cada vez más latente y patente en un mundo contemporáneo verdaderamente insatisfactorio y opresivo. Así, se confirman ciertas pautas culturales agudizadas en el hombre social de hoy, nunca antes tan dominado por los sueños de libertad y las quimeras utópicas, y a la vez tan enfrentado a los espejismos de un mundo feliz y los fantasmas del control totalitario. En definitiva, este ensayo es un pretexto excelente para tratar de modo general cuestiones tan fundamentales para nuestro mundo actual como la identidad, la esencia humana, los márgenes de la cultura y la sociedad, la cultura popular y la contracultura, la vertebración, integración y participación en la construcción social de los individuos y los grupos sociales, o los diferentes modos en que el ser humano afronta la vida e, incluso, la muerte física y social. La firma como un grito vital frente a la civilización del "hombre blanco", definida como la dominación encadenada del hombre por el hombre.},
	language = {Spanish},
	number = {2},
	publisher = {Ediciones Minobilia},
	author = {Figueroa-Saavedra, Fernando},
	year = {2014},
	keywords = {Graffiti},
}

@article{filippi_street_2019,
	title = {Street {Art} is dead. {Again} and again: {Brief} {State} of the ({Urban}) {Art}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.206},
	abstract = {What do we mean today, in 2019, by the label ‘Street Art’? 
Is there really anything that still associate Mexican murals, New York tags and Brazilian pichação with festivals, exhibitions, fairs and millionaire auctions? What links the political and media performances of Banksy to the silent and detailed decorations of Nespoon, the enormous and spectacular installations of Kaws to the tiny and ephemeral characters of Slinkachu, or even the powerful vandalistic actions of Brad Downey to the shining live paintings of Natalia Rak?},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Filippi, Mauro},
	year = {2019},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Terminology},
	pages = {84--90},
}

@article{finchett-maddock_bass_2023,
	title = {Bass, {Slate} and {Spray} {Paint}: {On} the {Edge} of, and within, {Trespass}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Finchett-Maddock, Lucy},
	year = {2023},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art},
	pages = {24--34},
}

@book{finchett-maddock_art_2020,
	address = {Oxford},
	title = {Art, {Law}, {Power}: {Perspectives} on {Legality} and {Resistance} in {Contemporary} {Aesthetics}},
	isbn = {978-1-910761-07-6},
	abstract = {This volume brings together interdisciplinary perspectives from critical social science and humanities scholars to provide answers to the following questions: what role does law play within art or aesthetics? Where does aesthetic judgement lie? How do artists and/or activists engage with the location of power within and beyond law? To what extent do negotiations of law provide new spaces for action? How does street art traverse the thin line between legality and illegality in different geographic contexts? What role does protest play in distinguishing art from law, or does it further demonstrate their similarities? What spaces and boundaries are created by real or imagined forms of aesthetics and resistance? What role does property play in delineating orders of acceptable and unacceptable art? 
This collection comes at a poignant juncture in contemporary power and politics, seeking to contribute a call to renegotiate and cross old boundaries between the disciplines and practices of art and law in the hope of demonstrating the agential nature of the aesthetic, the legal, and the political as a locus for change.},
	language = {English},
	publisher = {Counterpress},
	editor = {Finchett-Maddock, Lucy and Lekakis, Eleftheria},
	year = {2020},
	keywords = {Graffiti, Street art, Art, Law, Urban art, Urban heritage},
}

@article{firdevs_yucel_urban_2021,
	title = {Urban {Outdoor} {Seating} {Elements}, {An} {Assessment} for the {Post}-{Pandemic} {Era}},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i2.490},
	abstract = {In threatening social life on a global scale, the Covid-19 pandemic epidemic made us think and experience the fragility of our cities from different aspects. The pandemic spread rapidly, feeding off the established social system of our cities. Having become crowded with population growth, urban communal areas were effective in increasing the flow of pathogens. The most intense common usage of the city is open spaces. In this article, it is aimed to determine the design-related effects of the pandemic in the urban open space. For the study, a seating element was chosen that provides contact density in the common use of urban residents in the urban open area. Following a literature review regarding urban public open spaces, the impact of the Covid-19 pandemic was investigated. In the urban open space, the effects of the pandemic are listed over the settlement, design and maintenance criteria of the seating element. The table prepared in accordance with information obtained in the article and the urban open-space seating element was discussed comparatively before and after the pandemic. In line with the findings, an attempt was made to determine the foresights that will benefit the design phenomenon for the post-pandemic era and urban open spaces in general.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Firdevs Yücel, Gökçen and Uzgör, Onur},
	year = {2021},
	note = {Num Pages: 17
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, COVID-19, Furniture},
	pages = {48--64},
}

@book{fitz_street_2012,
	address = {Hamburg},
	series = {Schriften zur {Kunstgeschichte}},
	title = {Street art: {Wie} sich die {Kunst} die {Stadt} als {Galerie} erobert},
	isbn = {978-3-8300-6239-4},
	abstract = {Die Stadt stellt für Street Art- und Graffiti-Künstler eine Funktion dar, sie ist wie eine lebendige Leinwand, mit der ein Dialog geführt wird. Die Herausforderung ist, die Möglichkeiten, die die Stadt aufzeigt, zu nutzen, um den optimalen Ort für ein Bild zu finden. In diesem Buch werden anhand von Beispielen die unterschiedlichen Momente aufgezeigt, die Wert und Funktion der Bilder in der Street Art und im Graffiti bestimmen. Im Zuge dessen wird das Geheimnis der Graffiti-Entzifferung gelüftet und eine Sichtweise auf die Stadt geöffnet, die dem Betrachter hilft, die Kunst in der Strasse zu entdecken und in einen Kontext einzuordnen. Die Autorin Annika Fitz geboren 2.8.1981 in Henstedt-Ulzburg. Das Industrial Design Studium an der HfbK Hamburg schloss sie 2010 mit dem Diplom ab. Die Autorin ist wohnhaft in Hamburg und arbeitet als Designerin.},
	language = {German},
	number = {36},
	publisher = {Verlag Dr. Kovač},
	author = {Fitz, Annika},
	year = {2012},
	keywords = {Street art},
}

@book{flores_gang_2015,
	series = {Quick {Reference} {Guide}},
	title = {Gang {Slanging} {Dictionary}},
	isbn = {978-1-56325-265-5},
	abstract = {A guide for law enforcement, emergency medical services, teachers and parents. This fascinating volume contains over 8600 words and phrases from around the country. An important tool for understanding the gang culture in our society.},
	language = {English},
	author = {Flores, Russell D.},
	year = {2015},
	keywords = {Graffiti},
}

@article{flynn_depicting_2018,
	title = {Depicting {Physical} {And} {Social} {Fears}: {Shark} {Graffiti} {On} {Reunion} {Island}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.150},
	abstract = {This short paper focuses on graffiti depicting desperate warnings over the increase in shark attacks, the threat of which has been encouraged by the idyllic feeding climate on the Indian Ocean island, and suggests a metaphorical simile of the threatening invisible and ever present malevolent force felt in the social climate of expanding inner cities through greed within capital investment.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Flynn, Danny and Carter, Marina},
	year = {2018},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, France, Reunion Island, Shark attack},
	pages = {118--121},
}

@article{fogaca_deep_2023,
	title = {Deep {Learning}-{Based} {Graffiti} {Detection}: {A} {Study} {Using} {Images} from the {Streets} of {Lisbon}},
	volume = {13},
	issn = {2076-3417},
	doi = {10.3390/app13042249},
	abstract = {This research work comes from a real problem from Lisbon City Council that was interested in developing a system that automatically detects in real-time illegal graffiti present throughout the city of Lisbon by using cars equipped with cameras. This system would allow a more efficient and faster identification and clean-up of the illegal graffiti constantly being produced, with a georeferenced position. We contribute also a city graffiti database to share among the scientific community. Images were provided and collected from different sources that included illegal graffiti, images with graffiti considered street art, and images without graffiti. A pipeline was then developed that, first, classifies the image with one of the following labels: illegal graffiti, street art, or no graffiti. Then, if it is illegal graffiti, another model was trained to detect the coordinates of graffiti on an image. Pre-processing, data augmentation, and transfer learning techniques were used to train the models. Regarding the classification model, an overall accuracy of 81.4\% and F1-scores of 86\%, 81\%, and 66\% were obtained for the classes of street art, illegal graffiti, and image without graffiti, respectively. As for the graffiti detection model, an Intersection over Union (IoU) of 70.3\% was obtained for the test set.},
	language = {English},
	number = {4},
	journal = {Applied Sciences},
	author = {Fogaça, Joana and Brandão, Tomás and Ferreira, João C.},
	year = {2023},
	note = {Num Pages: 21},
	keywords = {Graffiti, Machine learning, AI (Artificial Intelligence), Classification, Portugal, Deep learning, Lisbon, Automated detection},
	pages = {2249},
}

@article{forster_evaluating_2012,
	title = {Evaluating the cultural significance of historic graffiti},
	volume = {30},
	issn = {0263-080X},
	doi = {10.1108/02630801211226637},
	abstract = {Purpose 
Graffiti, both ancient and contemporary, could be argued to be significant and therefore worthy of protection. Attaching value is, however, subjective with no specific method being solely utilised for evaluating these items. The purpose of this paper to help those who are attempting to evaluate the merit of graffiti to do so, by determining “cultural significance”, which is a widely adopted concept for attaching value to the historic built environment. The current Scottish system utilised to assess “cultural significance” is the Scottish Historic Environment Policy (SHEP) which shares many common features with other determinants of cultural significance in different countries. The SHEP document, as with other systems, could however be criticised for being insufficiently sensitive to enable the evaluation of historic graffiti due, in part, to the subjective nature of determination of aesthetic value. 
Design/methodology/approach 
A review of literature is followed by consideration of case studies taken from a variety of historical and geographical contexts. The majority of examples of graffiti included in this paper have been selected for their relative high profile, previous academic study, and breadth of geographic spread. This selection will hopefully enable a relatively comprehensive, rational assessment to be undertaken. That being said, one example has been integrated to reflect commonly occurring graffiti that is typical to all of the built environment. 
Findings 
The determination of aesthetic value is particularly problematic for the evaluator and the use of additional art‐based mechanisms such as “significant form”, “self expression” and “meaning” may aid this process. Regrettably, these determinants are also in themselves subjective, enhancing complexity of evaluation. Almost all graffiti could be said to have artistic merit, using the aforementioned determinants. However, whether it is “good” art is an all together different question. The evaluation of “good” art and graffiti would have traditionally been evaluated by experts. Today, determination of graffiti should be evaluated and value attached by broader society, community groups, and experts alike. 
Originality/value 
This research will assist those responsible for historic building conservation with the evaluation of whether graffiti is worthy of conservation.},
	language = {English},
	number = {1},
	journal = {Structural Survey},
	author = {Forster, Alan M. and Vettese‐Forster, Samantha and Borland, John},
	year = {2012},
	note = {Num Pages: 22},
	keywords = {Graffiti, Preservation, Conservation, Value, Building conservation, Historic graffiti},
	pages = {43--64},
}

@article{fransberg_spotting_2020,
	title = {Spotting {Trains}: {An} {Ethnography} of {Subcultural} {Media} {Practices} {Among} {Graffiti} {Writers} in {Helsinki}},
	volume = {2},
	issn = {2535-549X},
	abstract = {This research article examines the subcultural media practices among a group of male graffiti writers in the city of Helsinki, Finland. It builds on Jeff Ferrell and Robert Weide’s ‘spot theory’ and focuses on letter-based graffiti writing on trains. The object of this study is to articulate how local graffiti writers, who take part in the city’s spatial subcultural play, use subcultural media for the purpose of ‘spotting’ and boundary making. It concludes that seeking respect and prestige in the local community is not always achieved by way of acquiring visibility or ‘fame’, or through the proliferate circulation of graffiti painted trains on different media channels. The article is based on the findings of a long-term ethnographic fieldwork project (2011–2018) carried out in Helsinki.},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Fransberg, Malin},
	year = {2020},
	note = {Num Pages: 14},
	keywords = {Graffiti, Street art, Train, Helsinki},
	pages = {14--27},
}

@article{fransberg_embodied_2023,
	title = {Embodied graffiti and street art research},
	volume = {23},
	issn = {1468-7941},
	doi = {10.1177/14687941211028795},
	abstract = {Graffiti and street art research (GSAR) has become more acknowledged within the academic discourse; however, it has much to gain from theorising its methodological aspects. As a multidisciplinary field, GSAR has mostly used qualitative research methods, exploring urban space through methods that range from visual recordings to ethnography, emphasising the researchers’ reflexivity. This qualitative approach has, however, paid little attention to the role of embodied practices. In this paper we discuss how embodied methodologies provide multisensory research results where the experienced moments, the participant’s and researcher’s senses, cognition and mobility in urban spaces are connected. Our discussion draws on the authors’ fieldwork experiences of walking and edge working, and on the literature concerning embodiment and embodied methodology related to the context of GSAR.},
	language = {English},
	number = {2},
	journal = {Qualitative Research},
	author = {Fransberg, Malin and Myllylä, Mari and Tolonen, Jonna},
	year = {2023},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, Gender, Edgework},
	pages = {362--379},
}

@book{fraser_monumental_2022,
	title = {Monumental {Fury}: {The} {History} of {Iconoclasm} and the {Future} of {Our} {Past}},
	isbn = {978-1-63388-811-1},
	abstract = {Recent years in America have seen Confederate monuments toppled, statues of colonizers vandalized, and public icons commemorating figures from a history of exploitation demolished. Some were alarmed by the destruction, claiming that pulling down public statues is a negation of an entire cultural heritage. For others, statue-smashing is justified vandalism against a legacy of injustice. Monumental Fury confronts the long-neglected questions of our relationship with statues, icons, and monuments in public spaces, providing a rich historical perspective on iconoclastic violence. 
Organized according to specific themes that provide insights into the erection and destruction of statues — from religion, war, and revolution to colonialism, ideology, art, and social justice — author Matthew Fraser examines the implications of our monuments from the Buddhas of Bamiyan to those of Napoleon Bonaparte, Abraham Lincoln, Robert E. Lee, Vladimir Lenin, and many more. Above all, the book endeavors to frame moments of statue-toppling throughout history so we can better understand the eruptions of iconoclastic violence that we are witnessing today. 
Statues are erected as expressions of power, and the impulse to destroy them is motivated by a desire to defy, reject, and eradicate their authority. However, the symbolic power of statues can stubbornly persist even after their destruction. This enduring paradox — between destruction and resurrection – is at the heart of this book. 
Fraser concludes with reflections that propose new ways of thinking about our relationship with statues and monuments and, more practically, about how we can creatively integrate their legacy into our collective memory in a way that inclusively enriches shared historical experience.},
	language = {English},
	author = {Fraser, Matthew author},
	year = {2022},
	keywords = {Graffiti, Cultural heritage, Iconoclasm},
}

@article{frederick_shake_2014,
	title = {Shake {Well} {Midden}: {An} archaeology of contemporary graffiti production in {Perth}, {Western} {Australia}},
	volume = {78},
	doi = {10.1080/03122417.2014.11682004},
	abstract = {Following on from the inroads archaeologists have made into the study of graffiti, this project set out to examine graffiti production through the lens of its associated material culture. A graffiti midden comprising the detritus of mark-making paraphernalia and other contemporary residues was recorded. The study reveals that aerosol painting was the dominant technique employed in the production of graffiti. One component of the assemblage—the aerosol can—was selected as a focus for detailed analysis. The results show distinctive patterns in the archaeological remains suggestive of particular behaviours on the part of graffiti writers, including the selection of speciality aerosols and particular discard practices. The findings of this preliminary investigation indicate that an understanding of graffiti as an artefact-generating activity complements and broadens existing archaeological treatments of graffiti as artefact. This approach has the potential to reveal new insights into a wider context of activities surrounding graffiti production and the creation of graffiti writing places and communities.},
	language = {English},
	number = {1},
	journal = {Australian Archaeology},
	author = {Frederick, Ursula},
	year = {2014},
	note = {Num Pages: 7},
	keywords = {Graffiti, Australia, Perth},
	pages = {93--99},
}

@article{frederick_signs_2014,
	title = {Signs of the times: {Archaeological} approaches to historical and contemporary graffiti},
	volume = {78},
	doi = {10.1080/03122417.2014.11681999},
	language = {English},
	number = {1},
	journal = {Australian Archaeology},
	author = {Frederick, Ursula and Clarke, Anne},
	year = {2014},
	note = {Num Pages: 4},
	keywords = {Graffiti, Archaeology},
	pages = {54--57},
}

@article{frederick_revolution_2009,
	title = {Revolution is the {New} {Black}: {Graffiti}/{Art} and {Mark}-making {Practices}},
	volume = {5},
	issn = {1555-8622},
	doi = {10.1007/s11759-009-9107-y},
	abstract = {In recent years there has been a strong resurgence in the production and visibility of graffiti/art in Australian cities. This paper considers what we may learn about this practice by adopting an archaeological approach to its study. The results yield interesting insights into two contemporary phenomena of graffiti/art production that offer intriguing links to Australian rock art. The study considers the significance of contemporary mark-making and explores how this practice may inform our approach to rock art research.},
	language = {English},
	number = {2},
	journal = {Archaeologies},
	author = {Frederick, Ursula K.},
	year = {2009},
	note = {Num Pages: 28},
	keywords = {Graffiti, Street art, Australia, Stencil graffiti},
	pages = {210--237},
}

@book{freeman_graffiti_1966,
	address = {London},
	title = {Graffiti},
	language = {English},
	publisher = {Hutchinson},
	author = {Freeman, Richard},
	year = {1966},
	keywords = {Graffiti},
}

@article{friederike_pank_past_2019,
	title = {The {Past} in {Public} {Space}. “{Der} {Jahrhundertschritt}”: {A} {Lieu} de {Memoire} {As} {An} {Urban} {Intervention} of {Memory}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.126},
	abstract = {Sites of memories do not always take the form of a memorial or museum – objects placed in the midst of the urban space, like the sculpture “Der Jahrhunderschritt” in a shopping street of Leipzig, Germany, serve just as well (or better) to trigger the memory of past events and relate them by direct encounter to the immediate present. In what ways do encounters with the sculpture serve as a stepping stone for a memory culture which confronts and interrupts the stream of passersby? How does it relate to its surroundings, what are the reactions with which the artwork is met? This article explores the potential of this specific lieu de memoire conceptualized as an urban intervention in bringing the past to the present, analyzing how awareness for the past-present-future continuum is raised in the mundane, yet historically delicate context of Leipzig’s inner city as a shopping street that used to be the site of the Peaceful Revolution of 1989.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Friederike Pank, Julia},
	year = {2019},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {32--37},
}

@book{fuggle_return_2015,
	address = {London},
	series = {Strands book series},
	title = {Return to the street},
	isbn = {978-0-9571470-5-8},
	abstract = {What might a ‘return’ to the street look like? This is not a bright, new dawn. It is not the first steps out into the light following an environmental or technological apocalypse. This return concerns a renewed and heightened awareness of the vast social inequalities, violence and exclusion which continue to be perpetuated across the world. 
Return to the Street brings together a series of approaches to the question of the street via a range of lenses, methodologies and objects of enquiry. Covering multiple sites and spaces these interventions demonstrate the primacy of the street as an object of ongoing analysis, critique and debate across a range of disciplines including architecture, urban geography, gender and race studies, sociology, political science, history, cultural and media studies.},
	language = {English},
	publisher = {Pavement Books},
	editor = {Fuggle, Sophie and Henri, Tom},
	year = {2015},
	keywords = {Graffiti, Street art},
}

@article{fyfe_leaving_2014,
	title = {Leaving their mark: {Contextualising} the historical inscriptions and the {European} presence at {Ngiangu} ({Booby} {Island}), western {Torres} {Strait}, {Queensland}},
	volume = {78},
	doi = {10.1080/03122417.2014.11682000},
	abstract = {Situated at the western edge of Torres Strait, the island of Ngiangu has played an important role in the colonial and maritime history of Australia for nearly two centuries. Perhaps best known as a European ‘Post Office’, the island has also acted as a critical navigational marker, a refuge for shipwrecked mariners and a strategic monitoring station during World War II. The island features a remarkable collection of historical inscriptions that bear witness to these multiple phases of European presence on the island. Using systematically collected data from Queensland Museum expeditions to the island in 1985 and 1990 we examine and contextualise the historical inscription assemblage. Our results reveal how historical inscriptions were used to inscribe the island’s landscape during three distinct phases of use, as well as explore patterns of content and continuity in the assemblage. We conclude by considering the potential of these inscriptions to provide insight into notions of memory and memorialisation.},
	language = {English},
	number = {1},
	journal = {Australian Archaeology},
	author = {Fyfe, Jane and Brady, Liam},
	year = {2014},
	note = {Num Pages: 11},
	keywords = {Graffiti, Australia, Island of Ngiangu, Torres Strait},
	pages = {58--68},
}

@misc{gadsby_critical_1995,
	title = {A {Critical} {Review} and {Taxonomy} of {Graffiti} {Texts}},
	url = {https://www.graffiti.org/faq/critical.review.html},
	abstract = {This essay is a work in progress and will be added to as I uncover more texts. The review and taxonomy will be forming part of my master's thesis. If you use this text in any form, please be sure to properly cite me as a reference and I would appreciate it if you would drop me a line to let me know that it was useful to you. Please feel free to contact me if you have any questions or additional texts for this work. Thanx!},
	language = {English},
	author = {Gadsby, Jane M.},
	year = {1995},
	keywords = {Graffiti, Graffiti writing},
}

@book{galal_street_2009,
	address = {Milano},
	series = {Rumori},
	title = {Street art},
	isbn = {978-88-86784-43-6},
	language = {Italian},
	number = {1},
	publisher = {Auditorium},
	author = {Galal, Claudia},
	year = {2009},
	keywords = {Street art},
}

@book{ganter_graffiti_2013,
	address = {London},
	title = {Graffiti school: {A} student guide with teacher's manual},
	isbn = {978-0-500-29097-2},
	abstract = {Graffiti School is the world's first fully illustrated graffiti coursebook for college use. It opens with an exploration of graffiti's background and history, from Pompeii to the Hip Hop revolution to the present day, as well as how to stay on the right side of the law. It then introduces modern-day graffiti media and terminology, going on to conduct the reader through the process of designing graffiti, setting out the possibilities and skills needed to create a successful work on paper, ready to be transferred to a wall. The author explains the practical techniques of using a spray can, and the step-by-step methods and skills required to create artistic graffiti. The final section is a manual designed specifically to be of use to teachers. It gives ideas for running both theoretical and practical graffiti lessons and units, as well as providing suggestions on the details, such as marking schemes and ideas for class trips.},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Ganter, Chris},
	year = {2013},
	keywords = {Graffiti, Street art, Tags, Manual, Throw-up},
}

@book{ganter_graffiti_2013-1,
	address = {München; London; New York},
	title = {Graffiti {School}: {Der} {Weg} zum eigenen {Style}},
	isbn = {978-3-7913-4841-4},
	abstract = {Graffiti, Tags, Throwups, Blockbuster, Wildstyles - die Begriffsvielfalt ist so bunt wie die Handschriften der Künstler. Mit 'Graffiti School' liegt nun der ultimative Überblick zu allen Fragen rund um die Kunst aus der Spraydose vor. Auch wenn die Meinungen, ob das kunstvoll oder eher kriminell ist, häufig noch auseinandergehen, hat zumindest der Markt längst entschieden und honoriert die Arbeiten von Aktivisten wie Banksy oder Blek le Rat ebenso hoch wie die anderer zeitgenössischer Künstler.},
	language = {German},
	publisher = {Prestel},
	author = {Ganter, Christoph},
	year = {2013},
	keywords = {Graffiti, Art},
}

@book{ganz_graffiti_2006,
	address = {London},
	title = {Graffiti woman: {Graffiti} and street art from five continents},
	isbn = {978-0-500-51306-4},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Ganz, Nicholas},
	year = {2006},
	keywords = {Graffiti, Gender, Sex, Women},
}

@book{ganz_street_2015,
	address = {Årsta},
	title = {Street {Messages}},
	isbn = {978-91-85639-73-1},
	language = {English},
	publisher = {Dokument Press},
	author = {Ganz, Nicholas},
	year = {2015},
	keywords = {Graffiti},
}

@book{ganz_graffiti_2004,
	address = {New York},
	title = {Graffiti world: {Street} art from five continents},
	isbn = {978-0-8109-4979-9},
	language = {English},
	publisher = {Harry N. Abrams},
	author = {Ganz, Nicholas and Manco, Tristan},
	year = {2004},
	keywords = {Graffiti, Street art},
}

@article{garbov_served_2022,
	title = {Served on a {Plate}: {A} {Late} {Medieval} {Ceramic} {Vessel} with {Sgraffito} {Decoration} of a {Sailing} {Ship} from the {Ropotamo} {Underwater} {Excavations}, {Black} {Sea}, {Bulgaria}},
	volume = {5},
	issn = {2571-9408},
	doi = {10.3390/heritage5010010},
	abstract = {We report on the interpretation of a late medieval Eastern Mediterranean glazed ceramic vessel with sgraffito decoration depicting a sailing ship. The artefact represents a chance find that was recovered outside the excavation area of the Ropotamo underwater archaeological excavations on the Southern Bulgarian Black Sea Coast in 2017. Fragments of late medieval sgraffito-decorated ceramics with depictions of sailing ships are rare. Complete examples can be considered exceptional. The Ropotamo artefact is of particular interest due to the freehand execution of its decoration, which suggests some understanding of contemporary ship proportions and seafaring practices on behalf of the artisan. The specimen is analyzed against similar artefacts and discussed in the context of maritime graffiti from the Black Sea and Eastern Mediterranean regions. The aim is to establish its potential for studying archaeological ceramics and evaluate the extent to which the decoration reflects aspects of Eastern Mediterranean maritime culture of the late Byzantine and early post-Byzantine periods. More research is required to appreciate the full potential of the Ropotamo artefact. A hypothesis for origin, dating and significance has been proposed. However, due to a shortage of published parallels, it may be subject to further refinements in the future in case more stratified similis are identified.},
	language = {English},
	number = {1},
	journal = {Heritage},
	author = {Garbov, Dragomir and Batchvarov, Kroum},
	year = {2022},
	note = {Num Pages: 22},
	keywords = {Graffiti, Medieval, Sgraffito, Medieval graffiti, Underwater archaeology, Ship, Black Sea, Bulgaria, Cermaic, Ropotamo, Ship graffiti, Vessel},
	pages = {170--191},
}

@article{garcia_image_2018,
	title = {Image versus writing: from post-graffiti and murals’ assault to graffiti’s scriptural riposte in {Madrid}, {Spain}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.133},
	abstract = {The 2010s have witnessed the rise of a new aspect of street art on the world stage: institutionalized murals. Downtown Madrid is no exception, though the mural scene there remains less developed than in some other European cities like Saragossa or Paris. Forsaking its graffiti forbear’s emphasis on writing, this new trend embraces instead the power of imagery. Meanwhile in the walls of central Madrid, the writers are showing a new resilience with a variety of strategies that will ensure that the written word survives the ascent of the image in street art. This leads to a plastic discord juxtaposed—graffiti and mural, illicit and sanctioned, word and image—in an urban art scene in constant flux.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Garcia, Lisa},
	year = {2018},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Spain, Mural art, Madrid},
	pages = {130--136},
}

@article{garcia_gayo_post-graffiti_2017,
	title = {From post-graffiti to contemporary mural art: {The} evolution of conservation criteria},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.60},
	abstract = {Works of art in public spaces are part of a type of art adrift because, throughout their existence, they face different attempts of appropriation. From the first instance of sales of graffiti in international fairs like ARCO to their involuntary arrival at auction houses, all of these intermediate actions can be understood as attempts at conservation, since there is a system of assessment in which their ephemeral nature is more questionable than their need for survival. This change of approach also influences the different self-organized artistic approaches that have given way to commissioned works of art, due to the professionalization of artistic activity, which has given rise to a legal change in works of art and, therefore, in the possibilities of their transcendence.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {García Gayo, Elena},
	year = {2017},
	note = {Num Pages: 3
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Conservation, Restauration, Murals},
	pages = {26--28},
}

@article{garcia-luna_romero_art_2021,
	title = {Art and urban space: {Reading} the contemporary {Latin} {American} city},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i1.483},
	abstract = {In the XXI century, the cultural sphere of urban expressions are a reflection of the perception of life in the city, of the routines and figurations that tend to relate to the urban environment and that come to shake or shape the conditions of urban life . The practice of urban art marks a drastic change within artistic movements and offers recognition to urban expressions in the bigger scale affecting the city, its identity, and its social interaction. 
The elaboration of this project consists of the analysis of urban art throughout the understanding of the urban system and its elements. As a case study we examined the murals produced inside the metropolitan area of the city of Monterrey, N.L., Mexico. 
The purpose of the documentation is to examine the relationship that each of these murals has within the urban context where they are located, achieving it through the reading of its adjacent urban elements, the study of the space where it resides and also by analyzing how these works of arts had influenced the citizens by their presence in the metropolitan context, so it can be demonstrated the impact these murals can generate, seeking the revaluation of street art within the city.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {García-Luna Romero, Ana Cristina},
	year = {2021},
	note = {Num Pages: 28
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Latin America, Mexico, Mural art, Muralism, Urbanism},
	pages = {42--69},
}

@book{garrucci_graffiti_1856,
	address = {Paris},
	edition = {Seconde édition augmentée},
	title = {Graffiti de {Pompéi}: {Inscriptions} et gravures. {Tracées} au stylet. {Recueillies} et interprétées},
	language = {French},
	publisher = {W. Remquet et Cie},
	author = {Garrucci, Raphael},
	year = {1856},
	keywords = {Graffiti, Pompeii, Roman archaeology},
}

@article{gartus_white_2014,
	title = {The white cube of the museum versus the gray cube of the street: {The} role of context in aesthetic evaluations},
	volume = {8},
	issn = {1931-3896},
	doi = {10.1037/a0036847},
	abstract = {The cognitive and emotional processes involved in experiencing an artwork are influenced by characteristics of the artwork and the viewer, but also by contextual factors. We studied how the 2 contexts of street and museum, as well as personal interest in modern art and graffiti art, affect aesthetic judgments and aesthetic emotions. For this purpose, we embedded modern artworks and graffiti art in street and museum scenes. Participants with different style preferences were asked to evaluate them for liking, interest, and valence. We found that being interested in modern art led to higher liking and interest ratings for modern artworks, but not for graffiti art. Conversely, being interested in graffiti increased ratings on all scales for graffiti art, but not for modern art. Also, interest in graffiti art had a stronger effect on valence ratings in a street context (“gray cube”) than in a museum context (“white cube”). Therefore, we conclude that the context in combination with individual attitudes, such as specific art interests, has a relevant influence on our aesthetic experiences, with museums not always eliciting most positive effects.},
	language = {English},
	number = {3},
	journal = {Psychology of Aesthetics, Creativity, and the Arts},
	author = {Gartus, Andreas and Leder, Helmut},
	year = {2014},
	note = {Num Pages: 10},
	keywords = {Graffiti, Museum, Aesthetics},
	pages = {311--320},
}

@book{gastman_history_2010,
	address = {New York},
	title = {The {History} of {American} {Graffiti}},
	isbn = {978-0-06-169878-1},
	abstract = {Unprecedented in scope, The History of American Graffiti is the definitive story behind the most influential art form of the last one hundred years. Tracing the evolution of the medium from its early freight-train days to its big-city boom on the streets of New York City and Philadelphia, and to its modern-day influences, this volume is a compelling look at the key moments, places, and players in an art form distinctly American in flavor yet global in its reach. 
Featuring behind-the-scenes stories and profiles gleaned from more than four years' worth of interviews with graffiti's most prominent names, as well as its lesser-known pioneers, authors Roger Gastman and Caleb Neelon provide an insider's perspective on the history of the medium. Not only do they reveal the most popular trends and styles that have dominated the scene for the last fifty years but they also provide a thorough examination of the regional differences among major American hubs—New York, Los Angeles, the Bay Area, Chicago—and under-the-radar scenes in cities like Washington, D.C., Boston, and Miami. All told, more than twenty-five American cities are profiled, making this one of the most comprehensive volumes on the subject. 
With more than one thousand photographs—the majority of which are seen here for the first time—from more than two hundred photographers, most of whom also created the artwork, The History of American Graffiti captures the look and feel of a genuine American art form with exceptional clarity and detail. An instant classic, this book is the ultimate resource to which aficionados of the art form will turn again and again, and which the uninitiated will regard as the definitive tutorial of all that is graffiti.},
	language = {English},
	publisher = {Harper Design},
	author = {Gastman, Roger and Neelon, Caleb},
	year = {2010},
	keywords = {Graffiti, New York, USA},
}

@book{gastman_freight_2006,
	address = {New York},
	title = {Freight train graffiti},
	isbn = {978-0-8109-9249-8},
	abstract = {Like Graffiti World, Freight Train Graffiti is the definitive history of a vibrant art form. Until now there was almost no written insight into this vast subculture, which inspires fascination across America and around the world. As dazzling as the art it celebrates, the book is packed with 1,000 full-color illustrations and features in-depth interviews with more than 125 train artists and "writers." Hundreds of never-before-seen photographs span the style's evolution, while the authoritative text from an all-star team of authors provides unprecedented perspective, including the first-ever written history of "monikers," the precursors of graffiti, developed by hobos and rail workers to communicate en route. Bound to surprise graffiti artists, graphic designers, and urban culture buffs alike, this book will inspire anyone who has ever been interested in graffiti.},
	language = {English},
	publisher = {Abrams},
	author = {Gastman, Roger and Rowland, Darin and Sattler, Ian},
	year = {2006},
	keywords = {Graffiti, Train},
}

@book{gastman_angeles_2007,
	address = {New York},
	title = {Los {Angeles} graffiti},
	isbn = {978-0-9790486-1-6},
	abstract = {In the land of Hollywood, gang wars and beach bums, Los Angeles graffiti teems with the city’s myriad cultural influences. From intricately tagged walls that seem to grow out of blooming roadside flower beds to spray-painted palm trees, Los Angeles Graffitiillustrates how the landscape of America’s anti-city has fomented a distinct brand of graffiti, recognized the world over. Compiled by Roger Gastman, author of Freight Train Graffiti and co-founder (with Shepard Fairey) of Swindle magazine, this colorful book benefits from Gastman’s long-term, intimate involvement with L.A. graffiti writers. Recruiting friends and graffiti legends, like SABER and RETNA, Los Angeles Graffiti documents the history of the unique, world-class graffiti scene that thrives in Los Angeles. In particular, the interview with L.A. graffiti luminary POWER breathes history into these photographs of work created by the famous, infamous, and anonymous.},
	language = {English},
	publisher = {Mark Batty Publisher},
	author = {Gastman, Roger and Teri, Sonja},
	year = {2007},
	keywords = {Graffiti, Street art, Gangs, Hollywood},
}

@book{gavin_street_2007,
	address = {London},
	title = {Street renegades: {New} underground art},
	isbn = {978-1-85669-529-9},
	abstract = {Graffiti and street have been at the heart of many groundbreaking visual subcultures for the past thirty years. However, there is now emerging a new wave of artists who are moving in fresh directions beyond graffiti and street art. Frustrated by wholesale corporate theft of street creativity, these artists are employing different techniques in their work, different materials, different means of dissemination and different ways of getting their work noticed. Often using new materials-fly-tipped rubbish, street signs, children's toys, chalk, vinyl, perspex - these artists are subverting the three-dimensional streetscape to shock, educate and entertain.},
	language = {English},
	publisher = {Laurence King Publishing},
	author = {Gavin, Francesca},
	year = {2007},
	keywords = {Graffiti, Street art},
}

@article{gayo_street_2015,
	title = {Street art conservation},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.7},
	abstract = {There is a need to create a documentation system adapted to facilitate the conservation and restoration of Street Art and Graffiti. Even though they are ephemeral manifestations of art, there have been some signs of the need for preservation mechanisms that would respect their own special features. For selected works we must establish a procedure that enables their preservation with the highest guarantee.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Gayo, Elena García},
	year = {2015},
	note = {Num Pages: 2
ISBN: 9781522943389},
	keywords = {Graffiti, Preservation, Conservation, Restauration, Preventive},
	pages = {99--100},
}

@article{gerini_street_2019,
	title = {From the street to the walls: the “yellow vests” movement in {France}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.172},
	abstract = {The French yellow vests movement (the “Gilets Jaunes”, GJ in the text below) is a new kind of resistance and fighting against the state and financial policies. It’s nearly a revolution and also a way to bypass (and criticize) the traditional press - television or written press-, thanks to the digital social networks and instant communication with the smartphones. 
A possible expression of this "revolt" or of the support that some people express for it, occurs through what is now called street art. We will briefly illustrate (without being exhaustive), with illustrations to support it, what forms this presence of street art takes in relation to the GJ movement. We will indicate the connexions between this two kinds of revolts and the reasons why it is also important to consider how digital social networks, protest websites and blogs have provided the possibility all around the world to get acquainted with the Gilets Jaunes protest as well as with the urban artists directly or indirectly linked to this movement. In addition, we will demonstrate that the digital memory of this ephemeral art or of this revolt in the streets is a matter of urgency, the crucial question being whether or not are to be saved the historic and artistic memories of the quickly deleted walls (erased by State or local authorities decision).},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Gerini, Christian},
	year = {2019},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, France, Yellow vests},
	pages = {58--67},
}

@article{gerini_urbex_2023,
	title = {From {Urbex} places to official walls in the cities in {France}: the liminal circulation of street art, from illegal to legal},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.682},
	abstract = {Many street artists started their practice as vandals on walls, trains, etc. But we often forget what they did in abandoned places called Urbex. It is in such places that we have been working for many years in proximity, exchanging and sharing with these artists, some of whom have gained recognition in the art world or in urban politics. This fieldwork is both a work about history of contemporary art and an anthropological study. It has enabled us to highlight the need for these artists to remain between the two worlds: that of known and recognized art and that of their origins, i.e. illegal, hidden and free. We give an overview here with examples of Urbex locations and artists from the south of France. But we also show the discomfort they feel in the "cultural third places" where their freedom is often limited by those who finance these places.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Gerini, Christian and Lambert, Vincent},
	year = {2023},
	note = {Num Pages: 13
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Urban art, Anthropology, France, Liminality},
	pages = {51--63},
}

@book{geschke_strase_2009,
	address = {Wiesbaden},
	title = {Straße als kultureller {Aktionsraum}: {Interdisziplinäre} {Betrachtungen} des {Straßenraumes} an der {Schnittstelle} zwischen {Theorie} und {Praxis}},
	isbn = {978-3-531-16212-6},
	language = {German},
	publisher = {VS Verlag für Sozialwissenschaften},
	editor = {Geschke, Sandra Maria},
	year = {2009},
	doi = {10.1007/978-3-531-91346-9},
	keywords = {Graffiti, Street art, Urban art},
}

@article{gilmore_at_2018,
	title = {At work and play: an exploration of street and graffiti artists},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.125},
	abstract = {Identity work has been a dominant metaphor within the identity literature, while ‘identity play’ has yet to be fully developed. The purpose of this study is to enhance the understanding of the relationship between play at work and identity play. Contributions to date have proposed and outlined its theoretical potential principally by drawing upon work in other fields such as child development and relevant aspects of psychology and sociology. In contrast this study seeks to address a (creative) work situation directly, introduce empirical insights into identity play within the organisational and creativity literature, and deliver theoretical insights into the relationship between (identity) work and play. The empirical focus of this study is on an area where play is central to the work and identity, that of the lived experiences of street and graffiti artists, where there is a strong connection between the identities and the work (play) created. Using a life history methodology, I seek to explore creative (identity) work and play within the street and graffiti art context, and what (work and play) identity outcomes can occur as a part of their artistic practices.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Gilmore, Charlotte},
	year = {2018},
	note = {Num Pages: 3
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Artists},
	pages = {93--95},
}

@article{glaser_derwanz_2015,
	title = {Derwanz, {H}., 2013. {Street} {Artists}: {Careers} on the {Art} and {Design} {Markets}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.21},
	abstract = {In her book “Street Artists. Careers on the Art and Design Markets” Heike Derwanz traces back the careers of three different street artists: Banksy, Shepard Fairey and No Logo/Jens Besser. She addresses questions of self-professionalization and conceptualizes street art as both an art historical and social phenomenon. She asks: How do careers of street artists evolve and under which circumstances are they successful? By outlining a transnational network of the so called ‘street art world’ she finally discusses the phenomenon on the basis of four different social spaces: the street, the media, and the art and design market.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Glaser, Katja},
	year = {2015},
	note = {Num Pages: 1
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Book review, Review},
	pages = {101},
}

@article{glaser_place_2015,
	title = {The ‘{Place} to {Be}’ for {Street} {Art} {Nowadays}: is no {Longer} the {Street}, it´s the {Internet}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.23},
	abstract = {The current practice of photographic presentation, documentation, circulation, reception and negotiation of street art (pictures) online leads to a reconfiguration of both the global and the local, and therefore, to new norms and power relations. This article discusses the reciprocal constitution of local street art practices and global art discourse, with special attention to the concept of location and placement. As will be shown, central photographers as well as bloggers and administrators of Facebook pages position themselves – and are positioned – as decisive experts, opinion makers and gatekeepers. By defining ‘the global view of individual cities,’ they significantly influence – and continuously reinforce – the formation of a somehow globally accepted street art canon. Whereas Facebook´s positively connoted real time stream emerged into some kind of ubiquitously present ‘street art monitoring system,’ a dominant lack of profound critique and far-sighted contextualization can be observed regarding the negotiation of street art and urban art festivals. These ‘trends,’ in the end, allude to more general questions addressing topics of the creative city, gentrification processes, urban policy and (de)centralized infrastructures. Subsequently, it becomes apparent that debates about spatial appropriation, advertising, legal restrictions, institutionalization, domestication, censorship, the quest for freedom and privacy as well as the questioning of hierarchies – which in the context of today´s street art remain tied to the framework of the physical city – must be transferred to the internet. The internet and its central nodes are places of decision making which inevitably display the current (infra)structures of power. Therefore, a possible future, decisive and consistent step for street artists might be to both reclaim the city and the internet.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Glaser, Katja},
	year = {2015},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {6--13},
}

@article{glaser_eitheror_2017,
	title = {From ‘either/or’ to ‘both/and’: {Some} thoughts on graffiti and street art conservation, curatorial practices and the handling of cultural heritage},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.67},
	abstract = {The institutionalization of street art and graffiti has been discussed a thousand times. My article takes the next step and asks: Are we not simply in charge of reevaluating the ‘interventions’ happening outdoors, be they commissioned or not, and integrating them into (fine art) shows, exhibitions and museum collections – with no attempt to plexiglass? The long-term perspective might be an equal treatment of commissioned and uncommissioned artworks, as well as the appreciation and self-confident exposition of their direct and unambiguous linkage. This article includes interviews with Pietro Rivasi (Italy) and Robert Kaltenhäuser (Germany) and refers to the ‘BLU controversy’ in Bologna, Italy. The text was written with regard to an exhibition that took place in Herne, Germany, where I contributed as a curatorial and scientific assistant.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Glaser, Katja},
	year = {2017},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Cultural heritage, Museum, Conservation},
	pages = {85--88},
}

@book{glaser_street_2017,
	address = {Bielefeld},
	series = {Locating {Media}/{Situierte} {Medien}},
	title = {Street {Art} und neue {Medien}: {Akteure} - {Praktiken} - Ästhetiken},
	isbn = {978-3-8376-3535-5},
	abstract = {On the trail of key figures in street art: based on a media studies theory of practice, this volume portrays their world in the context of new media and as a socio-technical negotiation process.},
	language = {German},
	number = {17},
	publisher = {Transcript Verlag},
	author = {Glaser, Katja},
	year = {2017},
	keywords = {Graffiti, Street art},
}

@article{glaser_gigo_2020,
	title = {Gigo {Propaganda}: {Framing} and {Reframing}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Glaser, Katja},
	year = {2020},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, Iconoclasm},
	pages = {36--41},
}

@book{gogerly_graffiti_2013,
	address = {London},
	series = {Radar},
	title = {Graffiti culture},
	isbn = {978-0-7502-7788-4},
	abstract = {Graffiti art is making an impact on our urban landscape - make sure it's on your radar! Look inside to find out which artists are at the cutting edge of graffiti culture, learn about the different methods of creating urban art and read a star story of a famous graffiti artist! Are you on the radar?},
	language = {English},
	publisher = {Wayland},
	author = {Gogerly, Liz},
	year = {2013},
	keywords = {Graffiti, Street art},
}

@book{golden_philadelphia_2002,
	address = {Philadelphia},
	title = {Philadelphia murals and the stories they tell},
	isbn = {978-1-56639-951-7},
	abstract = {In June, 1984, Jane Golden, a young muralist from Margate, New Jersey, headed up a project that was originally planned as a six-week youth program in the fledgling Philadelphia Anti-Graffiti Network. This small exercise in fighting graffiti grew into the most vibrant public art project in the United States. Lead by Golden and dozens of artists, neighborhood residents, and volunteers, the Philadelphia Murals Art Program has adorned the city with over two thousand murals. In the process, this vibrant art, painted mostly on city walls, helped to change the look of the city, creating an enduring legacy in all of the neighborhoods in which the murals were added. In this lushly illustrated chronicle of the Mural Arts Program, readers are now able to see the murals in all of their beauty, and how the work of the program leaves its mark on neighborhoods. We read of the often complicated negotiations required to make murals, in neighborhoods where such work is the product not only of doing the work of painting, but also of bringing neighbors together to agree on the art and put larger, historical disagreements aside. And we see, through pictures and text, how, in a city in which people defi},
	language = {English},
	publisher = {Temple University Press},
	author = {Golden, Jane and Rice, Robin and Kinney, Monica Yant},
	collaborator = {Graham, David and Ramsdale, Jack},
	year = {2002},
	keywords = {Graffiti, New York, USA, Murals},
}

@article{gonos_anonymous_1976,
	title = {Anonymous {Expression}: {A} {Structural} {View} of {Graffiti}},
	volume = {89},
	issn = {00218715},
	doi = {10.2307/539545},
	language = {English},
	number = {351},
	journal = {The Journal of American Folklore},
	author = {Gonos, George and Mulkern, Virginia and Poushinsky, Nicholas},
	year = {1976},
	note = {Num Pages: 9},
	keywords = {Graffiti},
	pages = {40--48},
}

@article{gonzalez_graffiti_2020,
	address = {New York},
	chapter = {A},
	title = {Graffiti {Is} {Back} in {Virus}-{Worn} {New} {York}},
	url = {https://www.nytimes.com/2020/07/08/nyregion/graffiti-nyc.html},
	abstract = {The city’s coronavirus lockdown and subsequent rise in unemployment have created the perfect conditions for a new generation of graffiti writers.},
	language = {English},
	journal = {The New York Times},
	author = {Gonzalez, David},
	month = jul,
	year = {2020},
	note = {Num Pages: 1},
	keywords = {Graffiti},
	pages = {18},
}

@misc{gorajek_travel_2019,
	title = {Travel {A} {Decade} {Back} in {Berlin} {With} {Google} {Street} {View}},
	url = {https://www.iheartberlin.de/travel-a-decade-back-with-google-street-view/},
	language = {English},
	author = {Gorajek, Michalina},
	year = {2019},
	keywords = {Graffiti, Berlin, Germany, Google street view},
}

@book{gottlieb_graffiti_2008,
	address = {Jefferson},
	title = {Graffiti art styles: {A} classification system and theoretical analysis},
	isbn = {978-0-7864-3436-7},
	abstract = {This book presents a classification system for graffiti art styles that reflects the expertise of graffiti writers and the work of art historian Erwin Panofsky. Based on Panofsky's theories of iconographical analysis, the classification model is designed to identify the style of a graffiti art piece through its visual characteristics. Tested by image cataloguers in archives, libraries, and museums, the system assists information professionals in identifying the iconic styles of graffiti art pieces. It also demonstrates the power of Panofsky's theories to provide access to non-representational or abstract art images. The result is a new paradigm for Panofsky's theories that challenges the assumptions of traditional models. This innovative book is a valuable resource for anyone who wants to learn more about graffiti art and for information professionals concerned with both the practical and intellectual issues surrounding image access.},
	language = {English},
	publisher = {McFarland \& Company, Inc.},
	author = {Gottlieb, Lisa},
	year = {2008},
	keywords = {Graffiti, Street art, Graffiti writing},
}

@phdthesis{graf_facets_2018,
	address = {Milwaukee},
	type = {{PhD} thesis},
	title = {Facets of {Graffiti} {Art} and {Street} {Art} {Documentation} {Online}: {A} {Domain} and {Content} {Analysis}},
	abstract = {In this dissertation research I have applied a mixed methods approach to analyze the documentation of street art and graffiti art in online collections. The data for this study comes from the organizational labels used on 241 websites that feature photographs of street art and graffiti art, as well as related textual information provided on these sites and interviews with thirteen of the curators of the sites. The goal of the research is to demonstrate the existence of a coherent domain of street art and graffiti art documentation that may in turn be used to inform the formal design of systems to record evidence of the art movement and the works. 
Open coding was applied to the organizational text used by the websites to reveal a set of four categories of descriptive facets. The categories are related to general aspects of the websites themselves, the supports upon which works are created or placed, the various types of works, and location information. There are several facets included within each of these four categories. When a website shared information about the site itself, most frequently on an about sub-page, this was analyzed for audience, explicit organization methods, motivations for creating the site, and art style vocabulary used. Audience and explicit organization methods were rarely shared. Motivations were coded as internal, external, or mixed with emphasis on internal or external. Art style vocabulary varies and is tied to motivations, but the most commonly named style is graffiti or a variant thereof. Sites that feature work from internally motivated sites feature the widest variety of art style terminology and tend to avoid use of graffiti and graffiti-related terms. 
All website curators that could be contacted were offered the opportunity to participate in an interview regarding website organization for graffiti art and street art. Thirteen interviews were conducted: one by phone, one by Skype, and eleven by email. The interview data reveals varying opinions on what terminologies or categories should be used to organize photographic collections of graffiti art and street art online, but there is general agreement that the name of the artist or crew (if known), the year of the work, and the location of the work are the most important facets. The curators demonstrate that the size of the collection, geographic focus, and scope of works featured will have an impact on how the site should be organized. The ontological formation of the domain of street art and graffiti art documentation is evidenced by the combined results of the website analyses and interviews.},
	language = {English},
	school = {University of Wisconsin-Milwaukee},
	author = {Graf, Ann M.},
	collaborator = {Smiraglia, Richard P.},
	year = {2018},
	keywords = {Graffiti, Street art, Documentation, Information science, KOS (Knowledge Organisation System)},
}

@article{graf_warrant_2019,
	title = {Warrant {Revealed} and an {Institutional} {Response}: {The} {AAT} and {Graffiti} {Art}},
	volume = {7 (Proceedings from North American Symposium on Knowledge Organization)},
	doi = {10.7152/nasko.v7i1.15641},
	abstract = {Knowledge organization concerns itself with the process of documenting the products of various domains of scientific and cultural research and expression. Disciplines with the longest history of intellectual inquiry often have the most granular systems in popular use to describe their respective processes and products of endeavor, such as the hard sciences, age old religions, mathematics, and philosophy. Yet the world is a place of continuous exploration, discovery, and development. Newer disciplines such as gender and sexuality studies, nanotechnology, and social media studies have shorter histories and have undergone challenges as terminologies adapt from older, parent disciplines to provide descriptive support for related, yet new concepts. One such discipline is that of street art.},
	language = {English},
	number = {1},
	journal = {NASKO},
	author = {Graf, Ann M.},
	year = {2019},
	note = {Num Pages: 7},
	keywords = {Graffiti, KOS (Knowledge Organisation System), AAT (Art \& Architecture Thesaurus), Knowledge management},
	pages = {183--189},
}

@article{graf_domain_2020,
	title = {Domain {Analysis} of {Graffiti} {Art} {Documentation}: {A} {Methodological} {Approach}},
	volume = {17 (Proceedings of the Sixteenth International ISKO Conference, 2020, Aalborg, Denmark)},
	issn = {0938-5495},
	doi = {10.5771/9783956507762-161},
	abstract = {Details are presented of a recent research project undertaken to ascertain the documentary and descriptive practices associated with graffiti artwork from within the graffiti art community as evidenced by 241 graffiti websites. Domain analytic methodologies following a pragmatic approach to knowledge organization and using evidence obtained from within an artistic community are extremely useful ways to provide insight into what are the most important facets of information to capture for works not often documented from within libraries, archives, and museums. This paper will discuss various methods used to analyze community-driven graffiti art collection, organization, and description in the online environment, the results of which form a part of the basis upon which a faceted KOS can be built.},
	language = {English},
	journal = {Advances in Knowledge Organization},
	author = {Graf, Ann M.},
	year = {2020},
	note = {Num Pages: 10},
	keywords = {Graffiti, KOS (Knowledge Organisation System), Knowledge management},
	pages = {161--170},
}

@article{graf_domain_2021,
	title = {Domain {Analysis} {Applied} to {Online} {Graffiti} {Art} {Image} {Galleries} to {Reveal} {Knowledge} {Organization} {Structures} {Used} {Within} an {Outsider} {Art} {Community}},
	volume = {47},
	issn = {0943-7444},
	abstract = {Domain analysis is useful for examination of individual spheres of intellectual activity, both academic and otherwise, and has been used in the knowledge organization (KO) literature to explore specific communities and uses, including web pornography (Beaudoin and Ménard 2015), virtual online worlds (Sköld, Olle 2015), gourmet cooking (Hartel 2010), healthy eating (McTavish 2015), art studies (Ørom 2003), the Knowledge Organization journal (Guimarães et al. 2013), and domain analysis itself (Smiraglia 2015). The results of domain analyses are useful for the development of controlled vocabularies, taxonomies, ontologies, metadata schemas, and other systems for the documentation, description, and discovery of resources, as well as for knowledge discovery in general (Smiraglia 2015; Hjørland 2017). This research describes a methodology for the elucidation of knowledge organization systems (KOS) currently in use on image websites that document graffiti, graffiti art, and street art around the world.},
	language = {English},
	number = {7},
	journal = {Knowledge Organization},
	author = {Graf, Ann M.},
	year = {2021},
	note = {Num Pages: 15},
	keywords = {Graffiti, KOS (Knowledge Organisation System), Images},
	pages = {543--557},
}

@article{graf_hashtag_2021,
	title = {Hashtag and visual analysis of the graffiti art response to {Covid}-19 on {Instagram}},
	volume = {8 (Proceedings from North American Symposium on Knowledge Organization)},
	abstract = {The Covid-19 pandemic fostered a flurry of activity from various quarters, including the artistic response of the graffiti art community. Numerous works of graffiti art are documented daily on the image sharing platform Instagram, making it an obvious choice for examination of graffiti art images relating to the pandemic and the hashtags associated with the works. Using manual gathering of data from Instagram, a series of visual themes became apparent. Hashtags were also examined for comparison to the visual themes and to confirm the use of compound tagging to express complex subjects within the limitations of the platform. This preliminary work demonstrates the possibility of manual data collection from Instagram, but also raises a number of other questions that could not be addressed in a short report. The research is a first step in the effort to support previous research on facets for graffiti art description from other platforms curated by the graffiti art community outside Instagram.},
	language = {English},
	journal = {Archives},
	author = {Graf, Ann M.},
	year = {2021},
	note = {Num Pages: 7},
	keywords = {Graffiti, Instagram, Covid, Hashtag},
}

@article{graf_time_2021,
	title = {Time and {Space} in the {Organization} of {Online} {Graffiti} {Art} {Image} {Collections}},
	volume = {69},
	doi = {10.1353/lib.2021.0010},
	abstract = {The research presented herein provides insight into the use of chronological and geographical organization in the management of noninstitutional graffiti art image collections online. The use of smartphones and other GPS-enabled technology may lead one to expect precision in the geographic location of images, but this is not the norm when image galleries are often based on submissions from a large variety of sources, a small percentage of which may include the artists of the original works. The fact that graffiti art is very often carried out illegally influences the granularity of geographic information provided by those who submit photos to online graffiti art websites, as well as the willingness of those managing the websites to divulge precise information. Concerning the element of time, images added to the websites also lack precision in the differentiation of when a work was completed, modified, painted over, buffed or otherwise removed, photographed, or added to the image collection. Despite these challenges, time and, even more so, space remain commonly encountered organizational divisions used by those who manage online image galleries of graffiti art.},
	language = {English},
	number = {3},
	journal = {Library Trends},
	author = {Graf, Ann M.},
	year = {2021},
	note = {Num Pages: 21},
	keywords = {Graffiti, Spatio-temporal},
	pages = {696--716},
}

@book{graffiti_diplomacy_learn_2012,
	address = {New York},
	title = {Learn {To} {Draw} {A} {Graffiti} {Master}-{Piece}: {Your} {Essential} {Guide} {To} {Tags}, {Bubble} {Letters}, {Wildstyle}, {Layout} {And} {Piecing}},
	isbn = {978-0-9887772-9-3},
	abstract = {Starting with simple letters, you can learn to create an infinite variety of exciting graffiti word designs with this amazing book. It is jam packed with easy-to-follow, step-by-step, detailed instructions, in both pictures and text that will guide you through the process of creating a successful graffiti masterpiece. You will discover that the process of making graffiti is as satisfying as the end result. This book unlocks the secrets of this amazing art form and encourages creativity, experimentation, and fun. You gotta start somewhere!},
	language = {English},
	publisher = {Graffiti Diplomacy},
	author = {Graffiti Diplomacy},
	year = {2012},
	keywords = {Graffiti},
}

@book{graffiti_diplomacy_why_2017,
	address = {New York},
	edition = {Second},
	title = {Why {Write} {When} {You} {Can} {Tag}: {Learn} {To} {Draw} {The} {Best} {Graffiti} {Tags} {Ever}!},
	isbn = {978-0-9904381-5-1},
	language = {English},
	publisher = {Graffiti Diplomacy},
	author = {Graffiti Diplomacy},
	year = {2017},
	keywords = {Graffiti, Tags},
}

@misc{graffiti_empire_80_2023,
	title = {80+ {Graffiti} {Glossary} with explainations},
	url = {https://www.graffiti-empire.com/graffiti-glossary/},
	abstract = {In our graffiti glossary we provide a comprehensive list of terms of the graffiti culture with explanations for every word and phrase. »},
	language = {English},
	author = {Graffiti Empire},
	year = {2023},
	keywords = {Graffiti, Glossary},
}

@book{gralinska-toborek_aesthetic_2016,
	address = {Łódź},
	title = {Aesthetic {Energy} of the {City}. {Experiencing} {Urban} {Art} \& {Space}},
	isbn = {978-83-8088-151-8},
	abstract = {Energy is the capacity of a physical system to perform work -this is the simplest definition of energy. Energy as a physical quantity is manifested in many forms -as heat, kinetic, mechanical, and chemical energy, or potential energy. In this book, metaphorically referring to the concept ofenergy, we wish to po int out that it is also possible to talk about aesthetic energy and that this concept is ver\vphantom{\{}\} useful in the discussion on the subject of the city. This energy in the context of the city can be understood in two ways. On the one hand, a given place with its ownaestheticnaturehasits ownpotentialofenergy.Afterall,the cityphysically, with its space, landscapes, architecture and art, is an object of permanent aesthetic experience. Can this potential be transformed into work? These aesthetic experiences make people abandon certain places and admire others; sorne cities fall, while others grow. The aesthetic object -and it should be noted that among aesthetic qualities we experience not only beauty or harmony, but also the sublime, tragedy, ugliness and kitsch -in itself, affecting its recipients, may become a source of specific exploitative but also creative activities. The other meaning in which aesthetic energy is understood is related to revealing the aesthetic aspect ofhuman activities. Are we not willing to perform some work in order to save the aesthetic experience or participate in it? It is not difficult to note that the movement of this energy in favourable conditions takes place in a circle: the energy ofplaces affects people’s behaviour and people create places full of energy.},
	language = {English},
	publisher = {Wydawnictwo Uniwersytetu Łódzkiego},
	editor = {Gralińska-Toborek, Agnieszka and Kazimierska-Jerzyk, Wioletta},
	year = {2016},
	keywords = {Graffiti, Street art, City},
}

@article{grasskamp_handschrift_1982,
	title = {Handschrift ist verräterisch: {Stichworte} zu einer Ästhetik der {Graffiti}},
	volume = {50},
	url = {https://www.kunstforum.de/artikel/handschrift-ist-verraterisch/},
	language = {German},
	number = {4},
	journal = {Kunstforum International},
	author = {Grasskamp, Walter},
	year = {1982},
	note = {Num Pages: 47},
	keywords = {Graffiti},
	pages = {15--61},
}

@article{grasskamp_plakataktionen_1982,
	title = {Plakataktionen},
	volume = {50},
	url = {https://www.kunstforum.de/artikel/plakataktionen/},
	language = {German},
	number = {4},
	journal = {Kunstforum International},
	author = {Grasskamp, Walter},
	year = {1982},
	note = {Num Pages: 3},
	keywords = {Graffiti, Posters},
	pages = {134--136},
}

@article{grasskamp_politische_1982,
	title = {Politische {Wandbilder}},
	volume = {50},
	url = {https://www.kunstforum.de/artikel/politische-wandbilder/},
	language = {German},
	number = {4},
	journal = {Kunstforum International},
	author = {Grasskamp, Walter},
	year = {1982},
	note = {Num Pages: 17},
	keywords = {Graffiti},
	pages = {117--133},
}

@article{grasskamp_wandbilder_1982,
	title = {Wandbilder},
	volume = {50},
	url = {https://www.kunstforum.de/artikel/wandbilder/},
	language = {German},
	number = {4},
	journal = {Kunstforum International},
	author = {Grasskamp, Walter},
	year = {1982},
	note = {Num Pages: 26},
	keywords = {Graffiti},
	pages = {62--87},
}

@book{grasskamp_wilde_1982,
	address = {Köln},
	title = {Wilde {Bilder} - {Graffiti} und {Wandbilder} ({Kunstforum} {International} {Band} 50/4)},
	language = {German},
	publisher = {Kunstforum},
	editor = {Grasskamp, Walter},
	year = {1982},
	keywords = {Graffiti},
}

@book{greenberg_big_1977,
	address = {Philadelphia},
	title = {Big {Art}: {Megamurals} and supergraphics},
	isbn = {978-0-89471-007-0},
	language = {English},
	publisher = {Running Press},
	author = {Greenberg, D. and Smith, Kathryn and Teacher, Stuart},
	year = {1977},
	keywords = {Graffiti, Street art, Murals},
}

@book{gretzki_bundeskunsthall_2016,
	address = {Bonn},
	title = {{BundeskunstHALL} {OF} {FAME}: {Graffiti}- und {Street}-{Art}-{Festival} in der {Bundeskunsthalle} 2015},
	language = {German},
	publisher = {Kunst- und Ausstellungshalle der Bundesrepublik Deutschland},
	author = {Gretzki, Allan and Adam, Johanna},
	year = {2016},
	keywords = {Graffiti, Street art, Exhibition catalogue},
}

@book{greve_look_2014,
	address = {Vero Beach},
	series = {Art and music},
	title = {A look at urban art},
	isbn = {978-1-62169-772-5},
	abstract = {Urban art is a style of art that relates to cities and city life. Because the urban arts are characterized by existing in the public space, they are often viewed as vandalism and destruction of private property. Although urban art started at the neighborhood level, where a lot of people of different cultures live together, it is an international art form with an unlimited number of uses today. This title will allow students to use information gained from illustrations and photographs, and the words in a text to demonstrate understanding of the text.},
	language = {English},
	publisher = {Rourke Educational Media},
	author = {Greve, Tom},
	year = {2014},
	keywords = {Graffiti, Street art, Urban art, Public art},
}

@book{grevy_graffiti_2008,
	address = {New York},
	title = {Graffiti {Paris}},
	isbn = {978-0-8109-7089-2},
	abstract = {Graffiti artists in Paris, much like in New York and Los Angeles, have transformed urban spaces—sidewalks, metro stations, staircases, abandoned buildings—into showrooms that exhibit their work in all of its many mediums, from a proliferation of stickers to cleverly applied stencils to giant murals. In Graffiti Paris, Fabienne Grévy takes readers on a tour of Paris’s street art, and also discusses the variety of unique sources that inspire the artists, including the cave paintings at Lascaux, nineteenth-century Japanese blockprints, and comics.},
	language = {English},
	publisher = {Abrams},
	author = {Grévy, Fabienne},
	translator = {Elliot, Nicholas},
	year = {2008},
	keywords = {Graffiti, France, Paris},
}

@book{grist_batik_1978,
	address = {Leigh-on-Sea},
	title = {Batik, collage and all that graffiti: {Ideas} for art in religious education},
	isbn = {978-0-905725-45-1},
	language = {English},
	publisher = {LtfPublishers},
	author = {Grist, Ken},
	year = {1978},
	keywords = {Graffiti},
}

@book{grondahl_revolution_2012,
	address = {Cairo; New York},
	title = {Revolution graffiti: {Street} art of the new {Egypt}},
	isbn = {978-977-416-576-4},
	language = {English},
	publisher = {American University in Cairo Press},
	author = {Gröndahl, Mia},
	year = {2012},
	keywords = {Graffiti, Street art, Egypt, Revolution},
}

@book{grose_urban_2008,
	address = {Berlin},
	title = {Urban art photography: {Vol}. 1: {Berlin}},
	isbn = {978-3-89955-205-8},
	language = {German},
	publisher = {Die Gestalten-Verlag},
	author = {Große, Jürgen},
	year = {2008},
	keywords = {Graffiti, Berlin, Photography},
}

@book{grotschnig_street_2019,
	address = {Villach},
	title = {Street {Art} {Guide} {Vienna}: {Volume} 2},
	isbn = {978-3-9504716-3-2},
	language = {English},
	publisher = {Vienna Murals},
	author = {Grötschnig, Thomas},
	year = {2019},
	keywords = {Graffiti, Street art},
}

@book{grotschnig_street_2021,
	address = {Vienna},
	edition = {Third},
	title = {Street {Art} {Guide} {Vienna}},
	isbn = {978-3-9504716-6-3},
	language = {English},
	publisher = {Vienna Murals},
	author = {Grötschnig, Thomas},
	year = {2021},
	keywords = {Graffiti, Street art},
}

@book{grotschnig_street_2022,
	address = {Villach},
	title = {Street {Art} {Guide} {Austria}},
	isbn = {978-3-9505022-9-9},
	language = {English},
	publisher = {Vienna Murals},
	author = {Grötschnig, Thomas},
	year = {2022},
	keywords = {Graffiti, Street art},
}

@article{grunow_making_2019,
	title = {Making {Memory} on the {Wall}: {Constructing} and {Contesting} {Collective} {Memory} in {Bogotá}},
	volume = {2},
	issn = {2535-549X},
	abstract = {Within the context of the peace negotiations between the Colombian government and the FARC-EP guerrilla group, different versions of the past and present are discussed among the Colombian people. Bogotá's many street artists engage in this process by expressing their critique of the social and political situation of the country on the walls of the city. These perspectives become part of the contested construction of collective memory. In this article, I therefore explore the ways in which memory can be constructed through and with street art. Instead of treating the image as a transmitter of a message, I want to analyse the various ways in which street art and memory can be related based on different examples from ethnographic fieldwork. I will show how we can think about the construction of collective memory on the wall by analysing street art as testimonio, as palimpsest, as lieux de mémoire, and as practice.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Grunow, Hendrikje},
	year = {2019},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art, Bogotá, COlumbia, FARC-P, Guerrilla},
	pages = {41--49},
}

@article{guichard_scratched_2016,
	title = {Scratched {Surfaces}: {Artists}’ {Graffiti} in {Eighteenth}-{Century} {Rome}},
	url = {https://www.journal18.org/420.},
	doi = {10.30610/1.2016.2},
	language = {English},
	number = {1},
	journal = {Journal18},
	author = {Guichard, Charlotte},
	year = {2016},
	keywords = {Graffiti, Rome, Scratch},
}

@article{guimaraes_augmented_2016,
	title = {Augmented {Reality} and {Storytelling} in {Cities}: {An} {Application} to {Lisbon} {Street} {Art}},
	volume = {10},
	abstract = {Cities are spaces of memory with several zones (parts of cities) with their own history and cultural events. Today, cities are also marked by a form of intangible cultural heritage like street art, which creates a visual culture based on the process of reflection about the city and the world. To link these realities and create a personal user interaction with this cultural heritage it is important to capture the story and aesthetics, and find alternatives to immerse the user in these spaces of memory. To that end, this article presents a project which combines Augmented Reality technologies and concepts of Transmedia Storytelling applied to Lisbon City, using Street Art artifacts as markers in a framework of digital media-art.},
	language = {English},
	number = {11},
	journal = {World Academy of Science, Engineering and Technology},
	author = {Guimarães, Francisco and Figueiredo, Mauro and Rodrigues, José},
	year = {2016},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Portugal, AR (Augmented Reality), Lisbon},
	pages = {3654--3657},
}

@article{gustafsson_oldest_1956,
	title = {The {Oldest} {Graffiti} in the {History} of the {Church}?},
	volume = {3},
	issn = {0028-6885},
	doi = {10.1017/S002868850001746X},
	language = {English},
	number = {1},
	journal = {New Testament Studies},
	author = {Gustafsson, Berndt},
	year = {1956},
	note = {Num Pages: 5},
	keywords = {Graffiti, Church, Christian, Jerusalem},
	pages = {65--69},
}

@article{gutierrez_augmented_2015,
	title = {Augmented {Reality} {Technology} {Spreads} {Information} about {Historical} {Graffiti} in {Temple} of {Debod}},
	volume = {75},
	issn = {18770509},
	doi = {10.1016/j.procs.2015.12.262},
	abstract = {Learning can occur at anytime and anywhere, even when you are travelling. In this article, we explain how augmented reality (AR) can be used to better educate tourists and visitors about the sites they choose to visit. Using the Temple of Debod in Madrid and its structures as an example, we focus on applying AR to the engravings on the walls of the temple. Through AR, these engravings take on a new life, giving visitors a more interesting and interactive experience that better educates them about the temple itself and about the different historical periods in which the ‘graffiti’ were engraved. Augmented reality, combined with audio commentary in different languages, will help visitors to locate the different graffiti more easily and appreciate the true wonder of the site and the motives behind the engravings.},
	language = {English},
	journal = {Procedia Computer Science},
	author = {Gutierrez, Jorge Martin and Molinero, Miguel Angel and Soto-Martín, Ovidia and Medina, Cristóbal Ruíz},
	year = {2015},
	note = {Num Pages: 8},
	keywords = {Graffiti, Temple, Debod, AR (Augmented Reality)},
	pages = {390--397},
}

@article{gutierrez-cuevas_fernandez_concept_2016,
	title = {The concept of centre-periphery in the work of {Daido} {Moriyama}},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i1.38},
	abstract = {This text analyses the concept of centre-periphery in the work of the photographer Daido Moriyama. The objective is to study how the binomial centre-periphery becomes blurred in postmodern society. The work explores how difficult it is to distinguish centre from periphery in the postmodern era, to know where one starts and the other finishes. It’s a Japanese vision on the theme, which sees beauty in darkness and shadows, unlike the western world, where aesthetics is typically built around light.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Gutiérrez-Cuevas Fernández, Jose Maria},
	year = {2016},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Daido Moriyama, Japan, Shadow},
	pages = {19--26},
}

@article{h_graffiti_1860,
	title = {The graffiti of {Pompeii}},
	volume = {s2-IX},
	issn = {0029-3970},
	doi = {10.1093/nq/s2-IX.211.21},
	language = {English},
	number = {211},
	journal = {Notes and Queries},
	author = {H., S.},
	year = {1860},
	note = {Num Pages: 2},
	keywords = {Graffiti, Pompeii, Roman graffiti},
	pages = {21--22},
}

@book{haan_graffiti_1980,
	address = {Madison},
	title = {Graffiti in the {Big} {Ten}},
	isbn = {0-9604534-0-7},
	language = {English},
	publisher = {Brown House Galleries},
	author = {Haan, Marina N. and Hammerstrom, Richard B.},
	year = {1980},
	keywords = {Graffiti, USA, American graffiti},
}

@article{habachi_two_1957,
	title = {Two {Graffiti} at {Sehēl} from the {Reign} of {Queen} {Hatshepsut}},
	volume = {16},
	issn = {0022-2968},
	doi = {10.1086/371378},
	language = {English},
	number = {2},
	journal = {Journal of Near Eastern Studies},
	author = {Habachi, Labib},
	year = {1957},
	note = {Num Pages: 17},
	keywords = {Graffiti, Egypt, Hatshepsut},
	pages = {88--104},
}

@phdthesis{hackl_graffiti_1906,
	address = {Munich},
	type = {Inaugural {Dissertation}},
	title = {Graffiti und {Dipinti} auf attischen {Vasen}},
	language = {German},
	school = {K. Ludwig-Maximilians-Universität München},
	author = {Hackl, Rudolf},
	year = {1906},
	keywords = {Graffiti, Ancient graffiti, Depinti, Attica, Ceramic},
}

@article{hadley_protest_2023,
	title = {Protest {Art} on {Contested} {Statues} {Igniting} {Conversations} about {Art}, {Law}, and {Justice}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Hadley, Marie and Hook, Sarah and Orr, Nikolas and Manning, Adam and Wright, Rewa},
	year = {2023},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Law, Justice},
	pages = {78--84},
}

@book{haedicke_contemporary_2013,
	address = {Basingstoke; New York},
	series = {Studies in {International} {Performance}},
	title = {Contemporary {Street} {Arts} in {Europe}: {Aesthetics} and {Politics}},
	isbn = {978-1-349-30585-8},
	abstract = {Street theatre invades a public space, shakes it up and disappears, but the memory of the disruption haunts the site for audiences who experience it. This book looks at how the dynamic interrelationship of performance, participant and place creates a politicized aesthetic of public space that enables the public to rehearse democratic practices.},
	language = {English},
	publisher = {Palgrave Macmillan},
	author = {Haedicke, Susan C.},
	year = {2013},
	doi = {10.1057/9781137291837},
	keywords = {Street art, Europe, Theatre},
}

@techreport{hale_investigating_2017,
	address = {Edinburgh},
	title = {Investigating and {Recording} {Scotland}'s {Graffiti} {Art}. {Phase} 1 {Report}},
	abstract = {In 2016 Historic Environment Scotland (HES), Survey \& Recording Group undertook a project to consider the identification and recording of historic and recent graffiti art. This project report sets the context for the study; describes its aims, the recording and engagement methodologies and outlines the results of fieldwork and research. In addition, the report reviews approaches to effectively archiving evidence of graffiti art and considers graffiti art as an aspect of Scotland’s historic environment. It closes w ith a set of recommendations for the organisation ’s future approach to historic and recent graffiti art.},
	language = {English},
	author = {Hale, Alex},
	collaborator = {Historic Environment Scotland},
	year = {2017},
	note = {Num Pages: 32},
	keywords = {Graffiti, Scoland},
}

@misc{hale_is_2018,
	title = {Is 52 weeks enough? {Unsettling} archaeology with graffiti recording},
	url = {https://graffitireview.com/is-52-weeks-enough-unsettling-archaeology-with-graffiti-recording#more-1152},
	abstract = {This is a guest post by Dr Alex Hale. Alex is an archaeologist, who works in Scotland. He considers archaeology to be a creative practice that should be far more accessible and part of a democratic process that enables people to understand themselves, each other and our space-time journeys together.},
	language = {English},
	author = {Hale, Alex},
	collaborator = {the GRAFFITI REVIEW},
	year = {2018},
	keywords = {Graffiti, Street art, Scotland},
}

@book{halgand_women_2014,
	address = {Weitra},
	title = {Women, {Street}, {Art} \& {Studio}},
	isbn = {978-3-99028-410-0},
	abstract = {Dieser Katalog ist das Ergebnis eines Projektes, an dem Robert Hinterleitner gemeinsam mit Nathalie Halgand und Daniel Leidenfrost seit 2012 gearbeitet haben. Im Zentrum stehen die Interviews mit zehn Frauen und deren Arbeiten. Das Spektrum reicht von illegalen Werken auf öffentlichen Wänden zu im Atelier entstandenen Arbeiten, die ausschließlich für den Kunstmarkt gedacht sind und sich der Formensprache von Graffiti und Streetart bedienen. Unsere zehn Positionen sind: bee, Feba, Frau Isa, Helga Schager, Jana\&JS, Jaye, Miz Justice, Oona Valarie, Stern, Zoé Byland.},
	language = {German},
	publisher = {Verlag Bibliothek der Provinz},
	author = {Halgand, Nathalie and Hinterleitner, Robert and Leidenfrost, Daniel},
	collaborator = {Kulturverein Zweitausendsechs},
	year = {2014},
	keywords = {Graffiti, Street art},
}

@article{hamdy_walls_2015,
	title = {Walls of {Freedom}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.19},
	abstract = {The Egyptian revolution of 2011 produced a massive transformation in the perception of urban space and the interrelated dynamic of people, their bodies, and the language within that space. Cultural expressions such as caricature galleries, makeshift exhibitions, chants, poetry readings, and memorial spaces defined the square as a place where activism and art intersected weaving a lyrical tapestry of the revolution. The most prominent of these expressions was the street art of the revolution where the act of painting on walls re-territorialized the city making it the revolution’s barometer by registering the shifting political discourses as they unfolded. Documenting and preserving these visual expressions was the driving force behind a three-year book project, entitled Walls of Freedom: Street Art of the Egyptian Revolution, which narrates the revolution through striking images of the art that transformed Egypt’s walls into a visual testimony of bravery and resistance. This article will serve to offer a detailed analysis of the methodologies and tools used in creating the book as well as managing, financing, and collecting all of its necessary components. Primarily focused on qualitative visual research methodologies, the book is layered into three components or levels: one level is a visual journey of the revolution through a chronological image-timeline. The categorization and indexing of images by artist, photographer, date and translation was an important function allowing quick access to images visually placing them in a larger continuum. The second level is a reference-based timeline of events where a connection between the art and the historical/political events is presented. The third level involves the essays and analysis supplementing the timeline with historical implications, political and social contexts and personal voices collected from artists and activists.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Hamdy, Basma},
	year = {2015},
	note = {Num Pages: 13
ISBN: 9781522943389},
	keywords = {Graffiti, Street art, Egypt, Freedom},
	pages = {67--79},
}

@book{hampshire_signs_2008,
	address = {Mies; Hove},
	series = {Communicating with pattern},
	title = {Signs and symbols},
	isbn = {978-2-940361-90-8},
	language = {English},
	publisher = {RotoVision},
	author = {Hampshire, Mark and Stephenson, Keith},
	year = {2008},
	keywords = {Graffiti, Signs, Symbols},
}

@article{hannerz_scrolling_2016,
	title = {Scrolling down the line – a few notes on using {Instagram} as point of access for graffiti research},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i2.50},
	abstract = {This article discusses using social media, here Instagram, as a point of access in studies on subcultural graffiti, so as to provide an established arena for initiating contact with a variety of participants. Drawing from an ongoing ethnography of Swedish graffiti writers, the approach presented here works to mitigate the often so major hurdle within ethnographic work on subcultural groups: that of access, not only to the field, but also to the diversities and peripheries of that field. Actively exploring diversities and interactions through social media as part of a larger methodological frame opens up an innovative investigation of plural subcultural scripts of what and how and where the subcultural should be, that can then be assessed and explored through other methodological means. As such it also provides the researcher with the means to ground parts of the analysis in how and where the participants themselves present their subcultural activity.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Hannerz, Erik},
	year = {2016},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Instagram, Social media, Ethnography},
	pages = {37--40},
}

@article{hannerz_bodies_2017,
	title = {Bodies, doings, and gendered ideals in {Swedish} graffiti},
	volume = {54},
	issn = {0038-0342},
	abstract = {Drawing from extensive fieldwork among graffiti writers in Sweden this article investigates gendered identity work and its consequences. It points to how potentially inclusive aspects of disembodied subcultural performances—that identities are negotiated through the material representation of the writer rather than on basis of the physical body—nevertheless work excludingly, especially so in terms of gender. This is so because identity work in graffiti revolves around a re-embodiment of identities through normative notions of the able, male and invisible body.},
	language = {English},
	number = {4},
	journal = {Sociologisk Forskning},
	author = {Hannerz, Erik},
	year = {2017},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Sweden, Gender, Identity},
	pages = {373--376},
}

@article{hannerz_pretty_2023,
	title = {The {Pretty} {Vacant}: {Exploring} {Absence} in {Subcultural} {Graffiti}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Hannerz, Erik},
	year = {2023},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art},
	pages = {35--44},
}

@article{hannerz_keeping_2020,
	title = {Keeping it clean: {Graffiti} and the commodification of a moral panic},
	volume = {9},
	issn = {2045-5879},
	doi = {10.1386/vi_00011_1},
	abstract = {Whereas subcultures such as punk, metal, skate, goth and emo have all been the target of moral panics in the past, the conditions that sparked these moral panics have since become banal and normalized, in line with Stanley Cohen’s claim that moral panics per definition tend to be short-lived. The moral panic about subcultural graffiti in Sweden, however, has proved remarkably consistent. Drawing from contemporary work on moral panics as extreme forms of more mundane moral regulations, this article deals with graffiti as mal placé in relation to both urban space and romanticized conceptions of youth resistance, rendering it not only a suitable enemy for moral entrepreneurs but also a reliable source of income for surveillance and graffiti-removal firms. Whereas the previous subcultural research has discussed moral panics as a first step of the commodification of the subcultural (Williams 2011), the authors use the example of graffiti in Stockholm to point to a commodification, not so much of subcultural style, but of the moral panic itself.},
	language = {English},
	number = {1},
	journal = {Visual Inquiry},
	author = {Hannerz, Erik and Kimvall, Jacob},
	year = {2020},
	note = {Num Pages: 14},
	keywords = {Graffiti, Street art},
	pages = {79--92},
}

@article{hannerz_negative_2022,
	title = {Negative chain referral sampling: doing justice to subcultural diversity},
	volume = {25},
	issn = {1367-6261},
	doi = {10.1080/13676261.2021.1948979},
	abstract = {This paper calls for renewed consideration of the way research subjects are selected in the study of subcultures. All too often, subcultural researchers limit themselves to the use of one or two of the orthodox sampling designs, such as ‘convenience sampling’ (selecting subjects who are readily available) or ‘chain referral sampling’ (selecting a readily available subject who refers the researcher to other subjects). While these designs certainly have their merits, especially in the early research phase of negotiating access and acceptance, they may impede insight into the diversity that exists within subcultural groups. Based on ethnographic fieldwork among punks and graffiti writers, this paper introduces a supplementary design, that of ‘negative chain referral sampling’, which consists of using group members’ categorisations of subcultural anomalies as an opening to explore subcultural variation and tensions. This design is one that flips the logic of conventional chain referral sampling: if we are encouraged not to speak to certain subjects, for instance, due to their lack of authenticity or status, this forms the motivation for doing exactly that. Closer examination of subcultural anomalies may deepen our understanding of the boundary work, identity-making and social exclusion that occurs in all subcultural groups.},
	language = {English},
	number = {9},
	journal = {Journal of Youth Studies},
	author = {Hannerz, Erik and Tutenges, Sébastien},
	year = {2022},
	note = {Num Pages: 16},
	keywords = {Graffiti, Subculture},
	pages = {1268--1283},
}

@article{hansen_heritage_2018,
	title = {Heritage protection for street art? {The} case of {Banksy}’s {Spybooth}},
	volume = {1},
	issn = {2535-549X},
	abstract = {In April 2014, two works by Banksy – Mobile Lovers and Spybooth – appeared overnight, 40 miles apart, in the Southwest of England. They each set a precedent for the preservation, safeguarding and ownership of street art. However, while Mobile Lovers achieved this by subverting legal strictures in favour of a socio-moral course of action (see Hansen, 2018) the disruption effected by Spybooth lay in its appropriation and co-option of existing heritage frameworks. Through their site-specific placement, these pieces subverted the recent trend for the removal of street art for private auction without the consent of either the artist or the community in which the work is located. This controversial trend has sparked debates reminiscent of the illegal trade of antiquities (Merrill, 2014). The tension at the basis of this lawful yet morally problematic practice is grounded in the legal recognition of the rights of property owners to the tangible works on their walls over the moral rights of street artists to control the first distribution of their work; the rights of communities to assert ownership over works they regard as public art intended for their enjoyment, and the until now unrealized potential for the recognition of the value of such works to their communities of origin through heritage protection. This research note explores the case of Spybooth, and in particular, the precedent this work set for the protection of street art in situ, and the community debate this generated.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Hansen, Susan},
	year = {2018},
	note = {Num Pages: 5},
	keywords = {Graffiti, Banksy, Street art},
	pages = {31--35},
}

@article{hansen_role_2022,
	title = {The {Role} of {Street} {Art} in {Sustainable} {Development}: {Art} and {Social} {Change}},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.616},
	abstract = {This paper explores the potential role of street art in making a meaningful contribution towards the UN’s Sustainable Development Goals (SDGs) via a review of the academic literature and a series of case studies of existing street art initiatives that demonstrate the alignment of this form of art with the SDGs and the 5 P’s of the UN Agenda 2030: People (social), Planet (environmental), Prosperity (cities and economies), Peace, and Partnerships. I also examine the impact of visual forms of communication about sustainability issues, as a powerful means of “synthesizing complex information, portraying new ideas, prompting thought and dialogue, and rapidly conveying ideas” (Nicholson-Cole, 2005: 32). The paper concludes with a focus on the first organised initiative, internationally, to address the Sustainable Development Goals though street art. TOward2030: WHAT ARE YOU DOING? (Lavazza, 2019-2021) represents the first comprehensive street art-based project that aims to address and raise awareness of all 17 SDGs. Building street art culture’s awareness of the complex issues raised by the SDGs, encouraging artists to reflect on sustainability issues in their existing practice, and developing creative networks to include a wider range of stakeholders may augment the capacity of street art to make a significant contribution to progress towards the SDGs.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Hansen, Susan},
	year = {2022},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Sustainability, Sustainaible development},
	pages = {132--143},
}

@article{hansen_this_2015,
	title = {‘{This} is not a {Banksy}!’: street art as aesthetic protest},
	volume = {29},
	issn = {1030-4312},
	doi = {10.1080/10304312.2015.1073685},
	abstract = {This paper examines the dialogue and transformation of public space that occurred after Banksy's Slave Labour was removed without notice from a wall in North London, transported to Miami and listed for auction. Despite the high-profile media coverage of the ‘theft’ of Banksy's piece, the explosion of new works provoked by its extraction was for the most part simply erased as it appeared. We argue that the excision of Slave Labour provided a ‘gap in the sensible’ and the conditions of possibility for the emergence of a lively local intertextual visual dialogue, which transformed this otherwise apparently unremarkable London side street into an arena for aesthetic protest and critical social commentary.},
	language = {English},
	number = {6},
	journal = {Continuum},
	author = {Hansen, Susan and Danny, Flynn},
	year = {2015},
	note = {Num Pages: 15},
	keywords = {Graffiti, Banksy, Street art},
	pages = {898--912},
}

@article{hansen_longitudinal_2015,
	title = {Longitudinal photo-documentation: recording living walls},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.13},
	abstract = {This working paper advocates a methodological approach to the study of street art and graffiti that is based on the documentation of single sites over time. Longitudinal photo-documentation is a form of data collection that allows street art and graffiti to be examined as visual dialogue. By capturing everyday forms of public mark making alongside both more recognizably ‘artistic’ images, and more visually ‘offensive’ tags, we aim to attend to graffiti and street art’s existence within a field of social interaction. We describe a relevant analytic tool drawn from ethnomethodology and conversation analysis – the next turn proof procedure – which may be adapted in order to study street art and graffiti as a form of asynchronous, yet sequential, communication. This form of analysis departs from existent forms of analysis in that it is not concerned with the semiotics or iconography of decontextualized individual photographs of street art or graffiti. We present a worked analytic example to demonstrate the utility of longitudinal photo-documentation in making visible the dialogue amongst artists, writers and community members, and we employ the principles of the next turn proof procedure to illustrate the ways in which each party shows their understanding of the prior work on the wall via their own contribution to the ‘conversation.'},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Hansen, Susan and Flynn, Danny},
	year = {2015},
	note = {Num Pages: 6
ISBN: 9781522943389},
	keywords = {Graffiti, Ethnomethodology},
	pages = {26--31},
}

@article{harfleet_tourist_2019,
	title = {Tourist in the {Daylight}},
	volume = {2},
	issn = {2535-549X},
	abstract = {Paul Harfleet is a London based artist, writer, and designer. He formulated The Pansy Project in 2005 in Manchester, since then he has travelled across Europe, America, and most recently Canada. His first book, Pansy Boy, was short-listed for the Polari First Book Prize in 2018 and is available in independent bookshops. He is currently developing an exhibition with Homotopia Festival and St Helen's Libraries in Merseyside which opens in November 2019. Further information about his work can be found on thepansyproject.com.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Harfleet, Paul},
	year = {2019},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {64--69},
}

@article{harkonen_natures_2023,
	title = {Nature’s {Own} {Intellectual} {Creation}: {Copyright} in {Creative} {Expressions} of {Bioart}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Härkönen, Heidi and Ballardini, Rosa Maria and Pietarinen, Heidi and Sarantou, Melanie},
	year = {2023},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art},
	pages = {100--110},
}

@book{hartl_art_2017,
	address = {Mainaschaff},
	title = {The art of writing your name: contemporary urban calligraphy and beyond},
	isbn = {978-3-939566-50-2},
	language = {English},
	publisher = {Publikat Verlags- und Handels GmbH \& Co.},
	author = {Hartl, Patrick and Hundertmark, Christian},
	year = {2017},
	keywords = {Graffiti, Graffiti writing, Calligraphy},
}

@article{hauge_tagging_2016,
	title = {Tagging {Banksy}: using geographic profiling to investigate a modern art mystery},
	volume = {61},
	issn = {1449-8596},
	doi = {10.1080/14498596.2016.1138246},
	abstract = {The pseudonymous artist Banksy is one of the UK’s most successful contemporary artists, but his identity remains a mystery. Here, we use a Dirichlet process mixture (DPM) model of geographic profiling, a mathematical technique developed in criminology and finding increasing application within ecology and epidemiology, to analyse the spatial patterns of Banksy artworks in Bristol and London. The model takes as input the locations of these artworks, and calculates the probability of ‘offender’ residence across the study area. Our analysis highlights areas associated with one prominent candidate (e.g., his home), supporting his identification as Banksy. More broadly, these results support previous suggestions that analysis of minor terrorism-related acts (e.g., graffiti) could be used to help locate terrorist bases before more serious incidents occur, and provides a fascinating example of the application of the model to a complex, real-world problem.},
	language = {English},
	number = {1},
	journal = {Journal of Spatial Science},
	author = {Hauge, Michelle V. and Stevenson, Mark D. and Rossmo, D. Kim and Le Comber, Steven C.},
	year = {2016},
	note = {Num Pages: 6},
	keywords = {Graffiti, Banksy, Street art, Profiling, Criminology, Bayesian inference, Dirichlet process, Geographic profiling},
	pages = {185--190},
}

@book{hauser_graffiti_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	isbn = {978-3-7799-6448-3},
	abstract = {Zerstörerische Schmiererei? Was als rebellische Jugendkultur der amerikanischen 1970er Jahre erzählt wird, ist weitaus facettenreicher und komplexer. Graffiti als umstrittenes Phänomen birgt enormes wissenschaftliches Potenzial, das trotz der Omnipräsenz im öffentlichen Raum übersehen ist. Graffiti bewegt sich heute zwischen Kriminalität und Kunstmarkt und bleibt dabei eine Subkultur, die durch ihre Regeln und Chiffren für die Außenwelt oft verschlossen bleibt. In diesem Sammelband stellen die AutorInnen einen interdisziplinären Blick auf das Thema her und bieten damit einen einzigartigen Einblick.},
	language = {German},
	publisher = {Beltz Juventa},
	editor = {Häuser, Friederike},
	year = {2021},
	keywords = {Graffiti},
}

@article{hawker_repopulating_2013,
	title = {Repopulating the {Street}: {Contemporary} {Photography} and {Urban} {Experience}},
	volume = {37},
	issn = {0308-7298},
	doi = {10.1080/03087298.2013.798521},
	abstract = {Over the past thirty years, the city as represented by art photography has been shown as progressively empty and alienating. While the emptiness of nineteenth-century streets was due to the limitations of photographic technology, it was actively pursued as a formal device by the New Topographics photographers. Recent art photography shows an even more pronounced trend towards showing the city as vacant. This contrasts starkly with the densely populated, bustling, urban environments typical of twentieth-century street photography. This essay argues that images of an empty contemporary city can be understood as a symptom of disciplinary relations internal to photography as an art form, and as a consequence of art photography's distancing of itself from vernacular representations of the city when the distinction between art photography and vernacular photography is at risk of collapsing. Empty urban images tell us about modes of experience in the contemporary city and about photography itself. This essay uses the trope of the banal as a way of locating the ‘extreme form of the everyday’ that typifies the contemporary photographic discourse of the street. Philip-Lorca diCorcia and Melanie Manchot both address the everyday street as an acute site for understanding the negotiation of public space and contemporary experiences of the city. Both refer to yet go beyond the dichotomy of the city as empty or full and reveal a different set of relations to the street through photography.},
	language = {English},
	number = {3},
	journal = {History of Photography},
	author = {Hawker, Rosemary},
	year = {2013},
	note = {Num Pages: 12},
	keywords = {Graffiti, Photography, Street photography},
	pages = {341--352},
}

@article{haworth_spatio-temporal_2013,
	title = {Spatio-temporal analysis of graffiti occurrence in an inner-city urban environment},
	volume = {38},
	issn = {01436228},
	doi = {10.1016/j.apgeog.2012.10.002},
	abstract = {Graffiti management often presents policy challenges for municipal authorities. However, the inherent diversity of graffiti culture and its role in defining urban space can be neglected when formulating response strategies. This study investigates spatio-temporal trends in graffiti across inner-city Sydney, New South Wales to support alternative perspectives on graffiti and its role in urban landscapes. Graffiti removal incidence records were geocoded to examine graffiti distribution across the City of Sydney Council Local Government Area over a six-month period. Graffiti removal ‘hotspots’ were identified using spatial cluster analysis and shifts in graffiti activity were examined through trend analysis. Specific sites within the Local Government Area were identified as a focus for repeated graffiti removal activities. Finer spatial scale GPS based mapping for a selected graffiti hotspot area in the suburb of Surry Hills showed diversity in graffiti form. While the rate of return may have decreased in the Surry Hills case study, the overall number of graffiti removal incidents increased. Rapid-removal policies can change the location, form and diversity of graffiti encouraging ‘quick and dirty’ forms of graffiti over more complex design works. Spatio-temporal variability in graffiti occurrence across inner-city Sydney highlights the need to consider graffiti as a diverse urban phenomenon when attempting to understand its occurrence and formulate response strategies.},
	language = {English},
	journal = {Applied Geography},
	author = {Haworth, Billy and Bruce, Eleanor and Iveson, Kurt},
	year = {2013},
	note = {Num Pages: 11},
	keywords = {Graffiti, Spatio-temporal},
	pages = {53--63},
}

@book{helmstetter_unerlaubte_2022,
	address = {Bielefeld},
	series = {Image},
	title = {Unerlaubte {Kunst}: {Der} öffentliche {Raum} als künstlerische {Arena}},
	isbn = {978-3-8394-6072-6},
	abstract = {Kunst im öffentlichen Raum bewegt sich oft am Rande der Legalität. Für Graffiti- und Street-Art-Künstler*innen macht gerade der Regelverstoß einen wichtigen Aspekt ihrer Werke aus. Randolf Helmstetter widmet sich diesem Spannungsverhältnis zwischen Kunst und Recht und legt erstmals dezidiert den Fokus auf unautorisierte Kunstprojekte. Er zeigt auf, welche Zusammenhänge zwischen Kunst, Illegalität und Öffentlichkeit bestehen und bietet mit einem interdisziplinären Ansatz neue Blickwinkel auf künstlerische Interventionen im Außenraum. Exkurse in Grenzbereiche der Kunst und Seitenblicke auf aktuelle populärkulturelle Phänomene eröffnen dabei weitere Perspektiven.},
	language = {German},
	number = {206},
	publisher = {Transcript Verlag},
	author = {Helmstetter, Randolf},
	year = {2022},
	doi = {10.1515/9783839460726},
	keywords = {Graffiti, Street art, Art, Law, Fine art},
}

@article{helmy_artscaping_2017,
	title = {Artscaping in public places: {Jeddah}, the city of urban art},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.80},
	abstract = {This paper argues that urban art is an inclusive conception to contemporary placemaking, which has contributed significantly to (re)shaping the notion of public places in unprecedented dimension, perception, and scale. The concept of urban art implies an inclusive approach to public art, urban life and the public realm. Following the notion “the whole is greater than the sum of the parts”, the emerging design trends attempt to (re)present public places as a comprehensive synthesis and interactive form of urban art combining elements of temporary and permanent, form and space, static and dynamic, active and passive, effects and impressions. This process has greatly transformed not only the way of making and/or remaking places, but it also extends to new horizons of perceiving, and interacting of both public space and the public arts by users in their tangible and intangible terms. The paper examines the case of Jeddah, the city of Arts; a case that has transformed the city into an extensive outdoor art museum, through a broad range of urban artworks, including works of many international artists and sculptors. The paper explores the (re)making process of Jeddah’s public places under modern interpretations of aesthetical artistic values, where qualities of excitement, livability, vibrancy, and spectacularism are manifested in the city’s placemaking process. The paper attempts to build on some future directions for urban artscaping as a new perspective for understanding, interpreting and (re)making city spaces.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Helmy, Mona},
	year = {2017},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Architecture, Urban art, Artscaping, Jedah},
	pages = {42--52},
}

@article{hemelrijk_slaap_2018,
	title = {‘{Slaap} je, {Brutus}?’: {Graffiti} en politiek in {Rome} en {Pompeii}},
	volume = {131},
	issn = {0040-7518},
	doi = {10.5117/TVGESCH2018.1.HEME},
	abstract = {This paper discusses the discrepancy between the literary sources that describe how in Rome graffiti criticized men of power and voiced political dissent, and the virtual lack of such surviving graffiti in smaller Roman towns, primarily Pompeii. Who wrote political graffiti and for what public? And how can we explain the ubiquity of political graffiti in Rome (according to the literary sources) and the absence of such graffiti from Pompeii? It is argued that this lack of graffiti does not reflect harmonious political relations in Pompeii but rather our difficulty in understanding ancient wordplay as well as the loss of nearly all texts written in charcoal and chalk.},
	language = {Dutch},
	number = {1},
	journal = {Tijdschrift voor Geschiedenis},
	author = {Hemelrijk, Emily},
	year = {2018},
	note = {Num Pages: 16},
	keywords = {Graffiti, Pompeii, Roman archaeology, Roman graffiti, Rome, Ancient graffiti},
	pages = {35--50},
}

@book{hermann_book_2020,
	address = {Berlin},
	edition = {Fourth},
	title = {Book of {Bott}},
	isbn = {978-3-9817583-4-4},
	abstract = {Kulturell motivierte Tätigkeiten sollten nicht nur das Aufsuchen gemütlicher gesellschaftlicher Zusammenkünfte umfassen, sondern auch eine gehörige Portion Action, kombiniert mit der Frage: 
Wo fangen eigentlich unsere festgeglaubten gesellschaftlichen Elemente an zu verschwimmen? Ein Verschwimmen, bei dem sich die Kategorien auflösen, komplette Modelle zu erodieren beginnen, pulverisiert werden, schmelzen oder sich versprühen wie eine Fassade in Zürich. 
ELIAS HERMANN, ein heimlich Psytrance hörender, arbeitsloser Schulabbrecher mit Streetart-Vergangenheit. Kommt ursprünglich aus Parchim, wo er immer noch gemeldet ist. Da ihm der offizielle Presseausweiß verwehrt blieb, hat er sich kurzerhand einen inoffiziellen mit Photoshop gebastelt, mit dem besucht er regelmäßig Kulturveranstaltungen für lau..  
KARL DIETRICH, vom Himmel gefallen. Dietrich, Sohn des Polizeivizepräsidenten, fing seine schulische Ausbildung erst gar nicht an und absolvierte danach auch keine Ausbildung zum Yogalehrer. Anschließend arbeitete er zunächst in der Polizeidirektion 3 Abschnitt 34 Reinickendorf, um danach in die Fußstapfen seines Vaters zu treten.},
	language = {German},
	publisher = {Korbinian Verlag},
	editor = {Hermann, Elias and Dietrich, Karl},
	year = {2020},
	keywords = {Graffiti, Street art},
}

@book{hermann_berlin_2019,
	address = {Berlin},
	title = {{BERLIN}: {Writing} {Graffiti}},
	isbn = {978-3-9820295-0-4},
	language = {German; English},
	publisher = {Hitzerot},
	author = {Hermann, Katia and Straeck, Mark},
	year = {2019},
	keywords = {Graffiti, Street art, Berlin, Germany},
}

@article{heyd_handstyle_2020,
	title = {Handstyle as social meaning: {Graphic} variation, graffiti and gender},
	volume = {7},
	issn = {22150390},
	doi = {10.1016/j.amper.2020.100063},
	abstract = {The work presented here contributes to a better understanding of graphic variation and its role in the making of social meaning. Specifically, we report on a case study of female-coded graffiti, and how its graphematic and visual rendering undermines dominant street art norms. In early 2018, the inner city of a small German college town was covered with street art with an overt feminist stance, including tropes such as “riot girls” and topics such as female empowerment and anti-fraternity stances. Because of the temporal and spatial consistency of the inscriptions, they became salient to public perception and were reported on as such in the local press. However, these instances of feminist graffiti did not just stand out based on their content and political positioning, but arguably due to their graphematic and visual qualities. Thus the handstyles displayed in the graffiti are described as diverging from expected visual street art norms – as unprofessional, but also as feminine or even “girly”. This unexpected, and transgressive, graphematic quality raises interesting questions for the construction of social personas around graphematic practice. 
Our study is based on a picture corpus of over 60 street art instances, as well as a reference corpus of non-female coded graffiti in the same location. We analyze the linguistic landscape data based on semantic and lexicogrammatical, but also graphematic features such as coloring, capitalization, roundedness and use of serifs in the handstyles. By interpreting our data as a case of graphematic variation as social practice, we locate our case study in the larger discussion on street art and the making of social meaning in written discourse. Specifically, we critically discuss perceptions of graffiti as a transgressive semiotic practice (Pennycook 2008), and draw attention to the gendered social meaning to be found here: as Macdonald (2001: 149) argues, street art can be seen as “(n)ot a site for ‘youth’, but a site for ‘male’ youth – an illegal confine where danger, opposition and the exclusion of women is used to nourish, amplify and salvage notions of masculinity.” We link this to ongoing research into gendered perceptions of graphematic practice, such as Vaisman's (2014) study on gender and graphic style.},
	language = {English},
	journal = {Ampersand},
	author = {Heyd, Theresa and Karnatz, Alexandra},
	year = {2020},
	note = {Num Pages: 12},
	keywords = {Graffiti, Gender, Handstyle},
	pages = {100063},
}

@article{hicks_wall_2019,
	title = {Wall {Story}: {An} {Eleven}-year {Visual} {Record} of a {Street} {Art} {Site} in {Sydney}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Hicks, Megan},
	year = {2019},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {83--88},
}

@article{hicks_this_2022,
	title = {This {New} {Chalk} {Era}: {Pavement} {Graffiti} in {Australia}, 1930-1934},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Hicks, Megan},
	year = {2022},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Australia, Chalk, Pavement graffiti},
	pages = {9--18},
}

@misc{hidreley_french_2001,
	title = {French {Street} {Artist} {Paints} {3D} {Creature} {Graffiti} {And} {It}’s {Not} {For} {The} {Faint} {Of} {Heart} (30 {New} {Pics})},
	url = {https://www.boredpanda.com/optical-illusion-street-graffiti-part2-scaf-oner/},
	language = {English},
	author = {Hidrėlėy},
	year = {2001},
	keywords = {Graffiti, Street art},
}

@misc{hidreley_french_2020,
	title = {French {Artist}’s {Realistic} {Graffiti} {Art} {That} {Seems} {To} {Jump} {Off} {The} {Wall} (30 {Pics})},
	url = {https://www.boredpanda.com/optical-illusion-street-graffiti-scaf-oner/},
	language = {English},
	author = {Hidrėlėy},
	year = {2020},
	keywords = {Graffiti, Street art},
}

@article{hilmer_evolution_2018,
	title = {The evolution of {Halls} of {Fame} in graffiti writing and my run to a masterpiece},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.130},
	abstract = {Cultural and urban geographical research related to graffiti and street art poses interdisciplinary questions and employs multi-methodical approaches. In recent years, research methods in the field of ethnography have been receiving more and more attention in the German-speaking community of human geography. With this in mind, the following working paper presents a methodological experiment for examining the everyday urban practice of graffiti writing and its spatial relevance. “My run to a masterpiece” presents the current status of this ethnographic research, whereby it has been attempted to localize and analyze legal walls for graffiti writing (some of them considered “Halls of Fame”) in the urban cultural landscape as well as these walls’ potential for integrated urban development policies in Germany.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Hilmer, Christopher D.},
	year = {2018},
	note = {Num Pages: 9
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Legality, Hall of fame, Masterpiece},
	pages = {113--121},
}

@techreport{historic_england_recording_2016,
	title = {Recording historic graffiti: advice and guidance},
	abstract = {Graffiti, in its many forms, is a common feature of modern urban landscapes. It is not a new phenomenon, however, and historic examples frequently ‘decorate’ older buildings and monuments. Although graffiti is typically viewed as a problem to be removed, it is now increasingly recognised that study of it can produce surprisingly large amounts of detail about such things as people’s habits, occupations and literacy as well as historical events. The aim of this document is to provide anyone working in the historic environment with basic advice and guidance for the systematic recording of graffiti of all types and ages. It aims to introduce the range and types of graffiti, provide practical advice on recording techniques and give some indication as to the range of information that can be learnt.},
	language = {English},
	author = {Historic England},
	year = {2016},
	note = {Num Pages: 37},
	keywords = {Graffiti, Recording},
}

@book{historic_scotland_graffiti_2005,
	address = {Edinburgh},
	series = {{INFORM}},
	title = {Graffiti and its safe removal},
	abstract = {This INFORM guide offers practical advice on the removal of graffiti to owners of historic buildings and structures. Graffiti removal from the masonry is a complex issue.},
	language = {English},
	publisher = {Historic Scotland},
	author = {Historic Scotland},
	year = {2005},
	keywords = {Graffiti, Graffiti removal},
}

@article{hivzi_muharremi_street_2022,
	title = {Street art and graffiti in former communist {Albania} from 2010 to 2022},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.577},
	abstract = {This paper deals with graffiti in the streets of Albania, a former communist state which in the time of communism had every modern motif banned, except the art of propaganda that was under the service of the party. Graffiti on the walls of buildings in different cities of Albania since 2010 has social, political, economic, psychological, social, and personal motives. It shows the development of murals, the freedom of expression of artists, and positive propaganda through this art. In Albania, artists are now free to express all their artistic ideas, and graffiti is used as public art which reflects any current events occurring. Color is the main element that distinguishes mural artists, as well as motive and figuration.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Hivzi Muharremi, Ilir and Krasniqi, Albana},
	year = {2022},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Freedom, Albania, Propaganda},
	pages = {95--102},
}

@book{hoekstra_coming_1992,
	address = {Groningen},
	title = {Coming from the subway: {New} {York} {Graffiti} {Art}. {Geschiedenis} en ontwikkeling van een controversiële beweging},
	isbn = {90-5477-003-1},
	language = {Dutch; English; German},
	publisher = {Groninger Museum},
	editor = {Hoekstra, Froukje},
	year = {1992},
	note = {New York Graffiti Art. Geschiedenis en ontwikkeling van een controversiële beweging [tentoonstelling van 4 oktober 1992 tot 10 januari 1993, Groninger Museum, Groningen]},
	keywords = {Graffiti},
}

@book{hoekstra_coming_1992-1,
	title = {Coming from the subway: {New} {York} {Graffiti} {Art}: {Geschichte} und {Entwicklung} einer außergewöhnlichen {Bewegung}},
	isbn = {3-86070-348-X},
	language = {German},
	publisher = {Karl Müller},
	editor = {Hoekstra, Froukje},
	translator = {Liedloff, Katrin},
	year = {1992},
	keywords = {Graffiti},
}

@article{honig_spatio-temporal_2017,
	title = {Spatio-temporal mapping of street art using {Instagram}},
	volume = {22},
	url = {https://firstmonday.org/ojs/index.php/fm/article/view/7072/5921},
	doi = {10.5210/fm.v22i3.7072},
	abstract = {By scraping metadata from Instagram images tagged with \#MelbourneStreetArt, we are able to create geographical and temporal maps of street art in Melbourne, mediated through the collective eye of Instagram. Apart from merely identifying the most popular images, geo-tagged metadata allows us to create spatial heat maps to identify physical locations of high-image production. Caption data beneath the images allows us to search for high frequency words, which we use to identify patterns within the online audience’s relationship to street art. Finally by simply plotting out the number of images produced each day and cross-referencing with the corresponding caption data, we are able to identify historically significant events within Melbourne’s street art culture. The analysis is easy to use, even for a researcher with minimal programming experience and can be used to project cultural trends (beneath any hashtag) or as a tool to navigate historical Big Data within a conservation context.},
	language = {English},
	number = {3},
	journal = {First Monday},
	author = {Honig, Christopher D.F. and MacDowall, Lachlan},
	year = {2017},
	keywords = {Graffiti, Digital humanities, City, Instagram, Urban art, Mapping, Spatio-temporal},
}

@article{honrado_lisbon_2017,
	title = {Lisbon {Street} {Art} and {Urban} {Creativity} {International} {Conference} 2017},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.72},
	abstract = {In the context of Lisbon Street Art \& Urban Creativity International Conference 2017, I would like to congratulate the organization of the 4th Edition of this event; the Faculty of Fine Arts of the University of Lisbon for hosting once again this initiative; the other partners of this meeting. It is with great pleasure that the Ministry of Culture, through the Directorate-General for the Arts, supports this Conference. 
Considering the intense programme announced for these three days of work, it is easy to confirm the relevance that this subject, connected with graffiti and street art, has come to gain as an object of study, for a very diverse academic environment, including several scientific areas, which I would classify as a multinational one, taking into account the origins of the participating researchers.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Honrado, Miguel},
	year = {2017},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {110--111},
}

@article{hoppe_street_2009,
	title = {Street {Art} und "{Die} {Kunst} im öffentlichen {Raum}"},
	volume = {1},
	doi = {10.48633/ksttx.2009.1.87223},
	abstract = {Der Beitrag geht dem widersprüchlichen Verhältnis von Street Art und der "Kunst im öffentlichen Raum" nach. Lässt sich das junge Phänomen der Street Art leicht unter den bereits etablierten Oberbegriff subsumieren, werden bei näherer Betrachtung der jeweiligen Entwicklung zahlreiche Unterschiede deutlich. Jede Position hat ein eigenständiges und folgewidriges Verhältnis zum Kunstsystem entwickelt. Als Resultat dieses Vergleiches wird aber nicht nur auf die Unterscheidung zwischen Design und Hochkunst abgehoben, sondern auf das Potential ihrer Gemeinsamkeiten aufmerksam gemacht.},
	language = {German},
	journal = {Kunsttexte},
	author = {Hoppe, Ilaria},
	year = {2009},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Public art},
	pages = {1--7},
}

@article{hoppe_review_2018,
	title = {Review of {Glaser}, {K}., 2017. {Street} {Art} and {New} {Media}. {Actors} – {Practices} – {Aesthetics}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.152},
	abstract = {[See: http://www.transcript-verlag.de/978-3-8376-3535-5/street-art-und-neue-medien; Original in German: Glaser, K., 2017. Street Art und neue Medien. Akteure – Praktiken – Ästhetiken. transcript, Bielefeld.]},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Hoppe, Ilaria},
	year = {2018},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Review},
	pages = {124--125},
}

@article{hoppe_posturban_2018,
	title = {The posturban paradigm and where street art and graffiti are not (going to be)},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.129},
	abstract = {Over the past decade, we faced a great outcome and success of urban creativity because cities started to adopt it for image branding within a global competition. This output is tied to the possibility of diverse aesthetic experiences in the urban space. But is this development also meant to last in the future? What can be said about the urban imaginary, planned by global investors or the military complex? The aim of this working paper is to shed light on the desired future urban space, already realized in ambitious projects around the globe. By adopting the post-contemporary critique on the discourse of the urban, it appears that the future is already present in ‘ghost-cities’ that do not embrace urban creativity anymore, but overtly try to avoid or even fight it.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Hoppe, Ilaria},
	year = {2018},
	note = {Num Pages: 3
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Posturban, Smart city},
	pages = {110--112},
}

@article{hoppe_graffiti_2020,
	title = {Graffiti is back in town: {Critical} approaches to visual and spatial practices in {Berlin}},
	volume = {7},
	issn = {2050-9790},
	doi = {10.1386/jucs_00026_1},
	abstract = {The article considers the critical potential of both graffiti and street art using Berlin as an example, where these forms of urban creativity have flourished. It offers an interdisciplinary, context-related analysis by combining visual and spatial theories, which highlight both their critical agency as well as their affirmative potential in processes of gentrification. In this way, the study takes up the question of Avramidis and Tsilimpounidi about what graffiti and street art actually do in urban space. Thus, they are understood as spatial and visual forms of critique and protest, as also historic positions within the discourses on architecture and the city show, where graffiti, in particular, appears as a critical term. This applies to the general notion of graffiti being a confrontation with the capitalist system and its hegemonic spectacle, as well as the abject view, comparing them with dirt within a racist discourse. Finally, these contestations of and within the democratic city dissolve themselves in the post-urban paradigm. This implies a notion of the city under complete private ownership and control where there is no place for dialectics anymore and the ‘urban’ is seen as a threat to society.},
	language = {English},
	number = {2-3},
	journal = {Journal of Urban Cultural Studies},
	author = {Hoppe, Ilaria},
	year = {2020},
	note = {Num Pages: 25},
	keywords = {Graffiti, Street art, Berlin, Spatial theory, Post graffiti},
	pages = {199--223},
}

@book{huber_paris_1986,
	address = {London},
	title = {Paris graffiti},
	isbn = {978-0-500-27440-8},
	abstract = {Collects color photographs of more than 50 images spray painted on walls in Paris.},
	language = {English},
	publisher = {Thames and Hudson},
	author = {Huber, Joerg and Bailly, Jean-Christophe},
	translator = {Clark, Charles L.},
	year = {1986},
	keywords = {Graffiti, Paris},
}

@book{hugel_handbuch_2003,
	address = {Stuttgart; Weimar},
	title = {Handbuch populäre {Kultur}: {Begriffe}, {Theorien} und {Diskussionen}},
	isbn = {978-3-476-01759-8},
	abstract = {In diesem Handbuch wird Populäre Kultur als interdisziplinäres Forschungsfeld und als eigenständige Wissenschaftsdisziplin begründet. Es informiert in rund 120 Artikeln über alle Sparten der Populären Kultur wie Literatur, Film, Fernsehen, Musik und Neue Medien. Die Beiträge widmen sich dabei allgemeinen Begriffen (wie z.B. Fan, Glamour, Kult) ebenso wie Medien und Orten der Populären Kultur (wie z.B. Fernsehen, Graffiti, Video, Kino, Stadion, Volksfestplatz) und auch Themen und Figuren (wie z.B. Verbrechen, Zukunft, Sex, Diva, Androide, Westernheld). Die Artikel liefern einen chronologischen Überblick und beschreiben die aktuellen Ausprägungen jedes Phänomens.},
	language = {German},
	publisher = {Verlag J. B. Metzler},
	editor = {Hügel, Hans-Otto},
	year = {2003},
	doi = {10.1007/978-3-476-05001-4},
	keywords = {Graffiti, Street art, Culture},
}

@book{hundertmark_world_2003,
	address = {Corte Madera},
	series = {The art of rebellion},
	title = {World of streetart},
	isbn = {1-58423-157-2},
	language = {English},
	number = {1},
	publisher = {Gingko Press Inc.},
	author = {Hundertmark, Christian},
	year = {2003},
	keywords = {Graffiti, Street art, Rebellion},
}

@book{hundertmark_erosie_2009,
	address = {Mainaschaff},
	series = {Part of rebellion},
	title = {Erosie},
	isbn = {978-3-939566-18-2},
	language = {English},
	number = {3},
	publisher = {Publikat Verlags- und Handels GmbH \& Co.},
	author = {Hundertmark, Christian},
	year = {2009},
	keywords = {Graffiti},
}

@book{hundertmark_masterpieces_2016,
	address = {Mainaschaff},
	series = {The art of rebellion},
	title = {Masterpieces of urban art},
	isbn = {978-3-939566-49-6},
	language = {English},
	number = {4},
	publisher = {Publikat},
	author = {Hundertmark, Christian},
	year = {2016},
	keywords = {Graffiti, Street art},
}

@book{hunink_glucklich_2022,
	address = {Ditzingen},
	edition = {2., erweiterte und durchgesehene Auflage},
	series = {Reclams {Universal}-{Bibliothek}},
	title = {Glücklich ist dieser {Ort}!: 1000 {Graffiti} aus {Pompeji} : {Lateinisch}/{Deutsch}},
	isbn = {978-3-15-014204-2},
	language = {German},
	number = {14204},
	publisher = {Reclam},
	author = {Hunink, Vincent},
	year = {2022},
	keywords = {Graffiti, Pompeii, Roman graffiti},
}

@book{hunter_urban_2013,
	address = {London},
	title = {Urban art: {The} world as a canvas},
	isbn = {978-1-78212-050-6},
	abstract = {Urban art - the decoration of public spaces - combines street art and grafiiti and is an international creative practice. many urban artists address issues such as human rights. the environment and lifestyle choices by challenging and confronting everyday thinking. Some artists feature heroes or icons in their work, others use illusion to lure the viewer into examining the art and trying to figure out what is real and what is not. Others still pay homage to less well-known people who have worked for the good of humanity. Along with the urban landscape, this art form is evolving all the time, reflecting the zeitgeist, asking questions, and grabbing the attention of the passing city dweller.},
	language = {English},
	publisher = {Arcturus Publishing},
	author = {Hunter, Garry},
	year = {2013},
	keywords = {Street art, Urban art},
}

@article{huntington_sustainable_2018,
	title = {Sustainable {Graffiti} {Management} {Solutions} for {Public} {Areas}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.122},
	abstract = {Towards advancing sustainable graffiti management solutions for public areas, this article investigates the efficacy and socio- ecological effects of a range of contemporary graffiti management tactics. In addition to finding that reactive management tactics (e.g. painting over graffiti, chemical-based graffiti removal, and anti-graffiti coatings) are largely ineffective at deterring graffiti vandalism in public areas, it is shown that reactive management efforts also entail both short- and long-term environmental risks. Moreover, a comparison of reactive and proactive management tactics (e.g. landscaping techniques, green walls, community murals, legal graffiti spaces, and public art workshops) indicates that the cumulative environmental effects of reactive tactics are significantly more detrimental to human health and local ecosystems. Accordingly, it is recommended that local authorities focus on proactive graffiti management tactics for public areas. Finally, several best practice case studies of sustainable graffiti management are highlighted.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Huntington, David},
	year = {2018},
	note = {Num Pages: 29
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Public space},
	pages = {46--74},
}

@book{icomos_-_international_scientific_committee_for_stone_illustrated_2010,
	address = {Petersberg},
	series = {Monuments and sites},
	title = {Illustrated glossary on stone deterioration patterns: {English}-{German} version; {Englisch}-{Deutsche} {Fassung} = {Illustriertes} {Glossar} der {Verwitterungsformen} von {Naturstein}},
	isbn = {978-3-86568-667-1},
	abstract = {The ICOMOS International Scientific Committee for Stone (ISCS) is providing a forum for the interchange of experience, ideas, and knowledge in the field of stone conservation. ISCS aims at facilitating the publication, dissemination and presentation of state of the art reviews on pre-identified issues. Simplification and demystification of scientific information for practitioners are also part of the main goals of the group. In studies on stone deterioration and conservation, terminological confusions lead to major communication problems between scientists, conservators and practitioners. In this context, it is of primary importance to set up a common language; if degradation patterns can be shown, named and described, then they can be recognised and compared with similar ones in a more accurate way in further investigations. The ISCS glossary constitutes an important tool for scientific discussions on decay phenomena and processes. It is also an excellent basis for tutorials on stone deterioration. It is based on the careful examination of pre-existing glossaries of English terms. It does not aim at replacing these glossaries, often set up originally in a language other than English, and for most of them done to a high standard.},
	language = {German; English},
	number = {15},
	publisher = {Michael Imhof Verlag GmbH \& Co},
	author = {{ICOMOS - International Scientific Committee for Stone}},
	year = {2010},
	keywords = {Graffiti, Glossary, Stone, Stone degradation},
}

@book{iljadica_copyright_2016,
	address = {Oxford},
	title = {Copyright {Beyond} {Law} : {Regulating} {Creativity} in the {Graffiti} {Subculture}},
	isbn = {978-1-84946-777-3},
	abstract = {The form of graffiti writing on trains and walls is not accidental. Nor is its absence on cars and houses. Employing a particular style of letters, choosing which walls and trains to write on, copying another writer, altering or destroying another writer's work: these acts are regulated within the graffiti subculture. Copyright Beyond Law presents findings from empirical research undertaken into the graffiti subculture to show that graffiti writers informally regulate their creativity through a system of norms that are remarkably similar to copyright. The 'graffiti rules' and their copyright law parallels include: the requirement of writing letters (subject matter) and appropriate placement (public policy and morality exceptions for copyright subsistence and the enforcement of copyright), originality and the prohibition of copying (originality and infringement by reproduction), and the prohibition of damage to another writer's works (the moral right of integrity). The intersection between the 'graffiti rules' and copyright law sheds light on the creation of subculture-specific commons and the limits of copyright law in incentivising and regulating the production and location of creativity.},
	language = {English},
	publisher = {Hart Publishing},
	author = {Iljadica, Marta},
	year = {2016},
	doi = {10.5040/9781782257899},
	keywords = {Graffiti, Copyright, Law},
}

@techreport{ingrid_annotationsmanual_2019,
	title = {Annotationsmanual ({Arbeitsversion})},
	url = {https://www.uni-paderborn.de/fileadmin/ingrid/INGRID_Manual_Oktober_2019.pdf},
	language = {German},
	author = {{INGRID}},
	month = oct,
	year = {2019},
	note = {Num Pages: 65},
	keywords = {Graffiti, Street art, Annotation, INGRID (Informationssystem Graffiti in Deutschland)},
}

@article{irian_wall_2016,
	title = {Wall photography. {What} {Remains} - {An} incursion into the surface of urban murals of {Bucharest} city center},
	volume = {1},
	abstract = {The idea of studying city walls as both a form of urban skin in constant change and archives of recent memory  has come from questions  related to what remains  of the decomposing process of walls' surfaces used as communication tool, to how do walls react to people affixing/drawing actions, to what are the new aesthetic elements that arise from the interaction people-walls in urban environments.  The analysis  is structured  along four main  lines: 1)  the sources of original images affixed; 2) the  process of new  images creation; 3)  the  type  of images  shaped  and 4) the way materials mix. 
The following artists conducted  connected photographic research: G. Brassai· (surface of derelict industrial  places), Sally Mann ('What remains'  - human bodies), Ernst Haas (urban  ripped posters) and  Walker  Evans (movie  ripped posters). Connected graffiti archeological research is conducted by the group guided by Cassidy Curtis on http:/Igrafarc.org/about.html},
	language = {English},
	journal = {Revelar},
	author = {Irian, Ana Cristina},
	year = {2016},
	note = {Num Pages: 14},
	keywords = {Graffiti, Archaeology, Photography, Architecture, Urban art, Bucharest, Palimpsest},
	pages = {9--22},
}

@phdthesis{ivanovic_street_2018,
	address = {Zagreb},
	type = {Bachelor thesis},
	title = {Street {Art} as {Visual} {Communication}},
	language = {English},
	school = {University of Zagreb},
	author = {Ivanović, Sara},
	year = {2018},
	keywords = {Graffiti, Communication, Visual culture},
}

@book{jacobson_dom_2000,
	address = {Stockholm},
	title = {Dom kallar oss klottrare: {Svensk} graffiti/{They} call us vandals: {Swedish} graffiti},
	isbn = {978-91-973981-0-7},
	language = {English},
	publisher = {Dokument Förlag},
	author = {Jacobson, Malcolm},
	year = {2000},
	keywords = {Graffiti, Graffiti writing, Sweden, Vandalism},
}

@article{jacobson_dialectics_2015,
	title = {The dialectics of graffiti studies: {A} personal record of documenting and publishing on graffiti since 1988},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.36},
	abstract = {There is an abundance of books, magazines, films and internet-forums dedicated to graffiti. How this documentation has influenced and been a part of the graffiti subculture has not been studied much. Drawing on personal experiences, as a documentarian and publisher of graffiti media over 27 years, Malcolm Jacobson recollects how the positions of participant and observer incessantly have twisted around each other. This has been mediated through development in media technology as well as by the coming of age of graffiti and its practitioners.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Jacobson, Malcolm},
	year = {2015},
	note = {Num Pages: 5
Publisher: Urban Creativity},
	keywords = {Graffiti},
	pages = {99--103},
}

@article{jacobson_marketing_2017,
	title = {Marketing with graffiti: {Crime} as symbolic capital},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.86},
	abstract = {Graffiti is extensively used within marketing. Products such as cars, sodas, and clothes are fueled with the symbolic capital of illegal graffiti. Graffiti artists transform settings such as hotels, bars and boutiques into daring experiences. Building on ethnographic observations and interviews in Sweden, this article shows that graffiti artists and commercial companies cooperate in maintaining a narrative where graffiti is presented as essentially illegal. This narrative enables graffiti writers to exchange symbolic capital for economic capital and preserve their identity as authentic graffiti writers. The idea that subcultures are distinct from, and thus compromised, when appropriated by the mainstream is questioned. Instead it is established that graffiti artists adopt a pragmatic perspective towards commercial work.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Jacobson, Malcolm},
	year = {2017},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Crime, Advertising, Marketing},
	pages = {104--111},
}

@article{jacobson_graffiti_2020,
	title = {Graffiti friendships and existential visual sociology},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i2.337},
	abstract = {The aim of this paper is to utilize photographs to investigate existential aspects of graffiti that are theoretically underdeveloped such as how the subculture offers foundation for life-long friendships. Previous literature on the life of graffiti writers has often emphasized aspects of hyper masculinity such as competition, bravery, law breaking and risk behavior and neglected how boundaries concerning space and generations are negotiated through graffiti writing.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Jacobson, Malcolm},
	year = {2020},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Photography, Sociology, Hall of fame, Cultural sociology, Friendship},
	pages = {110--113},
}

@article{jacobson_graffiti_2020-1,
	title = {Graffiti, {Aging} and {Subcultural} {Memory}—{A} {Struggle} for {Recognition} through {Podcast} {Narratives}},
	volume = {10},
	doi = {10.3390/soc10010001},
	abstract = {This article engages with the existential importance of subcultural memory for middle aged men. The social site is digital and consists of the first three Swedish graffiti podcasts where graffitied life courses are reflexively constructed through conversations. The empirical material gives unique insight into the construction of subcultural aging and self-identity and offers a critical reflection on theories of youth cultures. The results show that sharing memories of youth, crime and agency shapes the meaning of graffiti and subcultural cohesion. Retrospective narratives on personal development and increased reflexivity and self-control are constructed. Story telling has a long tradition in graffiti and social media has lately been incorporated within the subculture. As graffiti is a holistic practice, writers adopt many techniques to create graffiti personas, and podcasts, in addition to writing, have been established as a contemporary way to practice graffiti. The article illustrates how graffiti podcasting forms a mnemonic community where the meaning of graffiti is negotiated. Podcasts are memory sites in a struggle for individual and cultural recognition of what used to be labeled a deviant subculture.},
	language = {English},
	number = {1},
	journal = {Societies},
	author = {Jacobson, Malcolm},
	year = {2020},
	note = {Num Pages: 17},
	keywords = {Graffiti, Subculture, Podcast},
	pages = {1},
}

@article{jafarpour_ghalehteimouri_identifying_2023,
	title = {Identifying the pleasant sounds in the city's public parks environment ({Case} study: {Mellat} riverside park, {Urmia})},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.690},
	abstract = {Noise pollution is a prevalent issue in contemporary public spaces, leading to discomfort and mental distress in individuals. This study aims to improve the quality of soundscape in urban public spaces and enhance the comfort and well-being of citizens. Using a mixed-methods approach, including literature review, field observations, questionnaires, and interviews, the research was conducted at Mellat Park in Urmia, Iran. The sample consisted of 170 randomly selected park visitors, who were surveyed to gather data. The findings indicate that the majority of visitors prefer the use of music in public spaces but emphasize the importance of a balanced audio environment. The results further reveal that natural sounds were found to be the most preferred type of sound, as they provide a sense of leisure, relaxation, and calmness. This study highlights the significance of creating a harmonious soundscape in public spaces to improve the overall experience and comfort of citizens. The low level of Sig, Water sound, Car sound, Speakers sounds, Types of treble sounds, and Types of bass sounds differs significantly from the average level due to the positive upper and lower 95\% confidence in the water sound, this value is also higher than the average. Because of the negative upper and lower 95\% confidence levels in the car sound, speakers sounds, types of treble sounds, and types of bass sounds, this value is lower than the average level.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Jafarpour Ghalehteimouri, Kamran and Shamsoddini, Ali and Bayramzadeh, Nima and Najaf Mousavi, Mir},
	year = {2023},
	note = {Num Pages: 17
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Mellat, Urmia},
	pages = {149--165},
}

@article{jagganath_future_2018,
	title = {The future of art is urban: {Nicolas} {Whybrow} on {Art} and the {City}},
	volume = {1},
	issn = {2535-549X},
	abstract = {Nicolas Whybrow is Professor of Urban Performance Studies in the School of Theatre \& Performance and Cultural \& Media Policy Studies at the University of Warwick, Coventry, UK. His most recent books are Art and the City, and the edited volume Performing Cities. He is currently writing a book on contemporary art biennials in Europe (for Bloomsbury). Nicolas is the principal investigator in a 3-year UK Arts and Humanities Research Council-funded research project entitled Sensing the City: An Embodied Documentation and Mapping of the Changing Uses and Tempers of Urban Place which commenced in April 2017 and will undertake a series of sitespecific studies of urban rhythms, atmospheres, textures, practices and patterns of behaviour.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Jagganath, Thejas},
	year = {2018},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art},
	pages = {109--112},
}

@book{jakob_street_2020,
	address = {Berlin},
	edition = {Ninth},
	title = {Street art in {Berlin}},
	isbn = {978-3-89773-094-6},
	language = {English; German},
	publisher = {Jaron Verlag},
	author = {Jakob, Kai},
	year = {2020},
	keywords = {Graffiti, Street art, Berlin, Germany},
}

@book{jakob_urban_2022,
	address = {Berlin},
	title = {Urban {Art} {Berlin} - {Version} 3.0},
	isbn = {978-3-89773-876-8},
	language = {German; English},
	publisher = {Jaron Verlag},
	editor = {Jakob, Kai},
	year = {2022},
	keywords = {Street art, Berlin, Germany, Urban art},
}

@article{jalandoni_intensity_2021,
	title = {Intensity {Values} of {Terrestrial} {Laser} {Scans} {Reveal} {Hidden} {Black} {Rock} {Art} {Pigment}},
	volume = {13},
	issn = {2072-4292},
	doi = {10.3390/rs13071357},
	abstract = {The intensity values of terrestrial laser scanning (TLS) can be used to reveal painted black rock art behind graffiti and moss. The effect was observed in Gumahon cave in Peñablanca, Philippines where previously unnoticed black pigment was exposed underneath moss, red and white painted graffiti, and etched name graffiti. The application of TLS intensity values for this purpose has not, to our knowledge, been previously reported. The significance of this finding is that archaeologists are provided a new method of detecting obfuscated rock art that can aid interpretation. The method can be applied in similar contexts as black painted rock art is common in limestone caves across Southeast Asia and Micronesia, but also ubiquitous globally.},
	language = {English},
	number = {7},
	journal = {Remote Sensing},
	author = {Jalandoni, Andrea and Winans, W. and Willis, Mark},
	year = {2021},
	note = {Num Pages: 9},
	keywords = {Graffiti, Rock art, Laser scanning, TLS (Terrestrial Laser Scanning)},
	pages = {1357},
}

@article{jaramillo_that_2021,
	title = {That {Episode} of {Urban} {Calligraphy} in {Guayaquil} {Some} {Would} {Rather} {Forget}: {An} in-depth look into the history  of chapeteo},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Jaramillo, María Fernanda López},
	year = {2021},
	note = {Num Pages: 20},
	keywords = {Graffiti, Street art, Calligraphy, Chapateo, Guayaquil},
	pages = {28--47},
}

@article{jeziorowska_conventionality_2021,
	title = {Conventionality and {Innovation}. {Détournement} in 2011-2012 {Protest} {Art}},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i1.482},
	abstract = {In this paper I look into the conventional side of protest street art in 2011–2012. I am particularly interested in whether there are any rules of formation of revolutionary and protest images, and do any historical conventions apply in protest art nowadays.
Translating the method of horizontal discourse analysis on a micro-scale, I analyze three case studies of reusing and recycling certain symbols and artifacts during protests of the Indignados movement in Spain, the Occupy movement in the United States, and the Egyptian revolution during the Arab Spring. Apart from investigating the visual sphere of protest, in appendix I also show how this research method works on protest slogans.
Thanks to supplementing my research with the situationist theory of détournement strategy, I was able to distinguish three modes of image and symbol reproduction: the historical, the external, and the internal. Reproducing in the historical mode consists of referring to certain symbols or images from the past, in the external mode—to symbols or images that are inherently neutral to the protest. The internal mode of reproduction works within the protest, producing its original symbols, images and mythology, separate for each social movement.
In conclusion, the historical and the external modes of reproduction are generally responsible for the conventional visual components of protest, internal mode on the other hand—for more distinctive, innovative ones.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Jeziorowska, Emilia},
	year = {2021},
	note = {Num Pages: 9
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Arab uprising},
	pages = {70--78},
}

@book{jh_rh_watzlaf137_32_2014,
	address = {Munich},
	title = {32 {Notes} on {Graffiti}},
	language = {English},
	publisher = {Die Färberei},
	editor = {JH, RH, Watzlaf.137},
	year = {2014},
	keywords = {Graffiti},
}

@book{jones_inside_2007,
	title = {Inside the {Graffiti} {Subculture}: {Why} {Graffiti} is not {Art}},
	abstract = {Illegal graffiti is disconnected from standard modes of visual production in fine art and design. The primary purpose of illegal graffiti for the graffiti writer is not the visual product, but "getting up." Getting up involves writing or painting one's name in as many places as possible for fame. The elements of risk, freedom and ritual unique to illegal graffiti serve to increase camaraderie among graffiti writers even as an individual's fame in the graffiti subculture increases. When graffiti has moved from illegal locations to the legal arenas of fine art and advertising; risk, ritual and to some extent, camaraderie, has been lost in the translation. Illegal graffiti is often erroneously associated with criminal gangs. Legal modes of production using graffiti-style are problematic in the public eye as a result. I used primary and secondary interviews with graffiti writers in this book. My art historical approach differed from previous writers who have used mainly anthropological and popular culture methods to examine graffiti. This analysis enabled me to demonstrate that illegal graffiti is not art.},
	language = {English},
	author = {Jones, Russell M.},
	year = {2007},
	keywords = {Graffiti, Art},
}

@article{jones_wrestling_2017,
	title = {Wrestling with the {Social} {Value} of {Heritage}: {Problems}, {Dilemmas} and {Opportunities}},
	volume = {4},
	issn = {2051-8196},
	doi = {10.1080/20518196.2016.1193996},
	abstract = {In this article I consider the problems, dilemmas and opportunities surrounding approaches to social value in heritage conservation and management. Social value encompasses the significance of the historic environment to contemporary communities, including people's sense of identity, belonging and place, as well as forms of memory and spiritual association. These are fluid, culturally specific forms of value created through experience and practice. Furthermore, whilst some align with authorized heritage discourses, others are created through unofficial and informal modes of engagement. I argue that traditional, expert-driven modes of significance assessment fail to capture the dynamic, iterative and embodied nature of social value. Social research methods, such as qualitative interviewing and rapid ethnographic assessment, are more suited to assessing social values. However, these are best combined with community participatory practices, if we wish to capture the fluid processes of valuing the historic environment.},
	language = {English},
	number = {1},
	journal = {Journal of Community Archaeology \& Heritage},
	author = {Jones, Siân},
	year = {2017},
	note = {Num Pages: 17},
	keywords = {Graffiti, Cultural heritage},
	pages = {21--37},
}

@article{jones_3d_2018,
	title = {{3D} heritage visualisation and the negotiation of authenticity: the {ACCORD} project},
	volume = {24},
	issn = {1352-7258},
	doi = {10.1080/13527258.2017.1378905},
	abstract = {This article examines the question of authenticity in relation to 3D visualisation of historic objects and monuments. Much of the literature locates their authenticity in the accuracy of the data and/or the realism of the resulting models. Yet critics argue that 3D visualisations undermine the experience of authenticity, disrupting people’s access to the materiality, biography and aura of their historic counterparts. The ACCORD project takes questions of authenticity and 3D visualisation into a new arena – that of community heritage practice – and uses rapid ethnographic methods to examine whether and how such visualisations acquire authenticity. The results demonstrate that subtle forms of migration and borrowing occur between the original and the digital, creating new forms of authenticity associated with the digital object. Likewise, the creation of digital models mediates the authenticity and status of their original counterparts through the networks of relations in which they are embedded. The current pre-occupation with the binary question of whether 3D digital models are authentic or not obscures the wider work that such objects do in respect to the cultural politics of ownership, attachment, place-making and regeneration. The article both advances theoretical debates and has important implications for heritage visualisation practice.},
	language = {English},
	number = {4},
	journal = {International Journal of Heritage Studies},
	author = {Jones, Siân and Jeffrey, Stuart and Maxwell, Mhairi and Hale, Alex and Jones, Cara},
	year = {2018},
	note = {Num Pages: 21},
	keywords = {Graffiti, Cultural heritage, 3D, IBM (Image-Based Modelling), PCV (Photogrammetric Computer Vision), Authenticity, ACCORD},
	pages = {333--353},
}

@techreport{jones_valuing_2015,
	address = {Manchester},
	title = {Valuing the {Historic} {Environment}: a critical review of existing approaches to social value: {Report} for the {AHRC} {Cultural} {Value} {Project}},
	url = {https://www.escholar.manchester.ac.uk/api/datastream?publicationPid=uk-ac-man-scw:281849&datastreamId=FULL-TEXT.PDF},
	abstract = {This project seeks to advance understanding about how experience of the historic environment creates forms of social value. Value is central to how aspects of the historic environment are designated, managed and conserved as heritage. For much of the twentieth century this was primarily linked to what have been seen as intrinsic historic, aesthetic and scientific values. More recently there has been increasing emphasis on the social values derived from active use of the historic environment. There are considerable difficulties surrounding how these different kinds of value should be weighed up against one another. This is exacerbated by a lack of understanding about social value, which falls largely outside of the kinds of expert knowledge traditionally associated with the heritage sector. Furthermore, social value is not readily captured by quantitative methods or easily subjected to instrumental forms of cost-benefit analysis. Through a critical review of existing research, this report examines current knowledge and understanding of social value. Encompassing the significance of the historic environment to contemporary communities, social value relates to people’s sense of identity, distinctiveness, belonging, and place, as well as forms of memory and spiritual association. Particular attention is focused on the modes of experience, engagement and practice that inform people’s relationships with the historic environment. The report also considers how to deal with the dynamic, iterative, and embodied nature of these relationships. The range of methodologies used in existing research and surveys is critically discussed, along with their application in the spheres of heritage conservation and public policy. Finally, the appropriateness of conceptual frameworks that quantify and fix values is examined. The possibilities for capturing more fluid processes of valuing the historic environment are considered, along with the implications for other spheres of arts and culture.},
	language = {English},
	author = {Jones, Siân and Leech, Steven},
	collaborator = {University of Manchester},
	year = {2015},
	note = {Num Pages: 55},
	keywords = {Graffiti, Cultural heritage},
}

@article{jorgensen_urban_2008,
	title = {Urban {Wall} {Languaging}},
	volume = {5},
	issn = {1479-0718},
	doi = {10.1080/14790710802390186},
	abstract = {Graffiti constitutes a medium through which the youth express opposition to authorities, as well as desires, dreams, and hopes. Graffiti shows many of the linguistic characteristics of youth language, including playfulness and, first and foremost, polylingual languaging. Graffiti in almost every city, at least in Europe, uses English and one or more local language, and almost everywhere additional languages are involved. The relationship to North American urban graffiti culture is obvious, but at the same time there is clear evidence of the graffiti writers’ affinity to their locality. Examples are included from Estonia, Greenland, Denmark, Catalonia, Germany, Turkey and elsewhere.},
	language = {English},
	number = {3},
	journal = {International Journal of Multilingualism},
	author = {Jørgensen, J. Normann},
	year = {2008},
	note = {Num Pages: 16},
	keywords = {Graffiti, Youth, Language, Polylingualism},
	pages = {237--252},
}

@article{joswig-mehnert_trouble_1996,
	title = {The {Trouble} with {Graffiti}},
	volume = {24},
	issn = {0075-4242},
	doi = {10.1177/007542429602400205},
	language = {English},
	number = {2},
	journal = {Journal of English Linguistics},
	author = {Joswig-Mehnert, Dagmar and Yule, George},
	year = {1996},
	note = {Num Pages: 8},
	keywords = {Graffiti},
	pages = {123--130},
}

@article{juarez_visual_2016,
	title = {The visual and social indeterminacy of pixação: the inextricable moods of {São} {Paulo}},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i1.41},
	abstract = {The visual perceptions of most citizens on pixação have changed in recent years. I tackle the ways in which these inscriptions, São Paulo’s (SP) signature, have remained both omnipresent and unreadable by the majority. The law has attacked unplanned interventions ignoring differences among several styles of expression. 2008 marks a starting point in the process of a germinating definition of pixação (also pixo) with visibility for its social protagonists, and with its corresponding corporeal negotiations –with a high point in Berlin’s Biennial 2012. The above permits an analysis of potentialities: social, material, visual and conceptual. The general social lack of understanding that surrounds pixação allows for an exploration at both the expressive and impressive levels. These considerations aim to ponder these interventions as the search of these still massively unheard citizens to express their legitimate traces.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Juarez, Benjamin},
	year = {2016},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, São Paulo, Brasil, Pixação},
	pages = {43--53},
}

@misc{julke_nachdenken_2022,
	title = {Nachdenken über … eine {Madonna} mit {Kind} unter {Denkmalschutz}},
	url = {https://www.l-iz.de/leben/gesellschaft/2022/04/nachdenken-ueber-eine-madonna-mit-kind-unter-denkmalschutz-443289},
	abstract = {Seit ein paar Tagen ist es endlich wieder zu sehen: das Schablonengraffito „Madonna mit Kind“ am Gebäude der Karl-Liebknecht-Straße 7, das 1991 vom},
	language = {English},
	author = {Julke, Ralf},
	year = {2022},
	keywords = {Graffiti, Madonna, Mother},
}

@article{jung_representations_1994,
	title = {On {Representations} of {Camels} and {Camel}-{Riders} in the {Rock} {Art} of {North} {Yemen}},
	volume = {44},
	language = {English},
	number = {2/4},
	journal = {East and West},
	author = {Jung, Michael},
	year = {1994},
	note = {Num Pages: 18},
	keywords = {Graffiti, Rock art, Camel, Yemen},
	pages = {231--248},
}

@article{kaltenhauser_texts_2019,
	title = {Texts {Lost} in {Time}: {Boulevard} {Magazine}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Kaltenhäuser, Robert and Lauterberg, Thomas},
	year = {2019},
	note = {Num Pages: 3},
	keywords = {Graffiti, Street art, Interview, Boulevard},
	pages = {105--107},
}

@book{karadensky_take_2019,
	address = {Vienna},
	title = {Take over: {Vienna} {Street} {Art} now},
	isbn = {978-3-903320-41-3},
	abstract = {Oft unerlaubt, manchmal beauftragt angebracht, sind Graffiti und Street Art heute nicht mehr aus dem Stadtbild wegzudenken. Sie sorgen für Aufsehen im öffentlichen Raum und hinterfragen unser Verständnis von Mitgestaltung und Teilhabe. 
Oft unerlaubt, manchmal beauftragt angebracht, sind Graffiti und Street Art heute nicht mehr aus dem Stadtbild wegzudenken. Sie sorgen für Aufsehen im öffentlichen Raum und hinterfragen unser Verständnis von Mitgestaltung und Teilhabe. Lässt sich Street Art, per Definition auf der Straße zu finden, glaubwürdig im Museum zeigen? Durch den geplanten Umbau des Wien Museums bot sich die Gelegenheit, in einem facettenreichen Projekt dieser Frage nachzuspüren. Das Gebäude und sein Gelände wurden zur kreativen Spielfläche für KünstlerInnen und BesucherInnen. Dabei wurde erstmals die Wiener Szene in ihrer Vielfalt und Ambivalenz vorgestellt. Die entstandenen Werke sind temporär und werden im Zuge des Umbaus wieder zerstört. Was bleibt, ist dieses Buch, das die situative Atmosphäre während “Takeover” spiegelt und 40 namhafte Protagonist\_innen und ihre vielfältigen Werke, Stile und Ausdrücke, die maßgeblich zur Transformation des Museums beigetragen haben, vorstellt.},
	language = {German; English},
	publisher = {Verlag für moderne Kunst},
	editor = {Karadensky, Karina and Koblitz, Christine},
	translator = {Grynwasser, Stephen B.},
	year = {2019},
	keywords = {Graffiti, Street art, Museum, Vienna},
}

@article{karam_beirut_2020,
	title = {Beirut {Street} {Art}: {Painting} a {Revolution} {Against} {Walls}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Karam, Danielle},
	year = {2020},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art, Beirut},
	pages = {108--116},
}

@phdthesis{kattner_calle_2016,
	address = {Linz},
	type = {{PhD} thesis},
	title = {Calle {Libre} - {Urbane} {Kunst} in {Lateinamerika}},
	abstract = {In der vorliegenden Forschungsarbeit werden künstlerische und kulturelle Strategien von Graffiti \& Street Art” Künstlern im urbanen Raum Lateinamerikas untersucht, dokumentiert und reflektiert. Street Art, Graffiti, Installationen, urbane Interventionen, performative Strategien und Methoden werden in Hinblick auf ihr Potential zur individuellen und kollektiven Identitätsbildung untersucht. Im Zuge einer Forschungsreise wurden Einzelpersonen und Gruppen, die sich intensiv mit distinktiv künstlerischen/kulturellen Strategien beschäftigen, besucht, begleitet, interviewt und dokumentiert. In den Interviews wird auf die politischen Ideologien, die intellektuell-­‐strategischen Methoden, die sozial-­‐ökonomischen Lebensumstände, das post-­‐koloniale Erbe, den westlichen Einfluss und die häretische Selbstreflexion der Künstler und Gruppen eingegangen. 
Street Art und Graffiti ist längst im Diskurs der zeitgenössischen Kunst im öffentlichen Raum arriviert und etabliert. Hierbei bedienen sich die Künstler und Gruppen verschiedenster Materialien, Medien, Techniken, Strategien und Methoden, um ihre Werke und teils politischen Überzeugungen der Öffentlichkeit zu präsentieren. Die innovative und kritisch-­‐reflexive Dekontextualisierung von bekannten Grafiken, Images, Zeichen, Symbolen und Text erlaubt es den Künstlern vorhandene Denkmuster zu irritieren, Objekte in einen neuen Sinnzusammenhang zu stellen und dadurch die Rezeption zu verfremden oder zu hinterfragen. 
Die Künstler selbst befinden sich oft in gesellschaftlichen Randzonen, prekären Lebensumständen und bewegen sich an der Grenze der Illegalität. Das urbane Feld wird auf kreativ-­‐innovative Weise umgestaltet, hinterfragt, die omnipräsente Indoktrination von Werbung, Kommerz und Politik wird kritisiert, um einen Gegenpol zur vorherrschenden öffentlichen Ordnung zu schaffen. Immer öfter finden diese distinktiven, subversiven Kunstformen Eingang in die zuvor kritisierte Mehrheitsgesellschaft in Form von Werbung, Grafiken oder Auftragsarbeiten. Die zuvor oppositionelle und subkulturelle Position wird vereinnahmt und in die Mainstreamkultur assimiliert. Antikapitalistische Attitüden werden selbst „kapitalistisch konnotiert“ und kommerziell verwertet, die Künstler stellen in Museen aus, werden Teil des Kunstdiskurses und verkaufen ihre Werke am internationalen Kunstmarkt. Die Ambiguität der Kunstform, die wechselnden Perspektiven, die künstlerischen Strategien und Methoden, die den Personen und Gruppen zur Identitätsbildung verhelfen, sind Thema und Agenda der Arbeit. 
Ein zentraler Fokus der Forschungsarbeit ist die symbiotische Verbindung von künstlerischen/gestalterischen Disziplinen untereinander sowie die Kooperation von künstlerischen mit wissenschaftlich-­‐theoretischen Disziplinen. Mit Hilfe von offener teilnehmender Beobachtung, Beobachtungsprotokollen, qualitativen Interviews, Inhaltsanalysen und begleitender Video-­‐ bzw. Fotodokumentation, wird der transdisziplinäre Ansatz umgesetzt. 
Neben der Fertigstellung der wissenschaftlich-­‐theoretischen Arbeit werden Resultate und Forschungserkenntnisse in Form eines Dokumentarfilms präsentiert werden. Die in der Arbeit behandelten Künstler und Arbeiten werden schließlich im Zuge eines Kunstfestivals in einer Ausstellung der Öffentlichkeit vorgestellt.Das Projekt zielt darauf ab die untersuchten Akteure, Gruppen und Szenen mit ihren Projekten, Kunstwerken, kulturellen Aktivitäten, Themen und Agenden in eine internationale Auseinandersetzung zu positionieren und die Forschungsergebnisse in relevanten Zeitschriften, auf Festivals, Kongressen, bei Symposien und Tagungen zu präsentieren.},
	language = {German},
	school = {Kunstuniversität Linz},
	author = {Kattner, Jakob},
	year = {2016},
	keywords = {Graffiti, Street art, Latin America, Calle Libre},
}

@article{kee_people_2022,
	title = {“{People} want good graffiti”: {Tensions}, contradictions, and everyday politics surrounding graffiti in {Hanoi}, {Vietnam}},
	volume = {54},
	issn = {0004-0894},
	doi = {10.1111/area.12754},
	abstract = {Graffiti has become an omnipresent feature of urban landscapes, with sprawling words and images on public and private surfaces triggering heated debates on the meaning, implications, and legality of these urban inscriptions. Yet, to date, there has been little academic research conducted on graffiti and street art in the Asian context, and none that we could find on the burgeoning scene in Vietnam. In the context of a socialist state, with little tolerance for public dissent, we investigate how, and by whom, graffiti is created, and to what degree it transgresses public space norms in the country's capital city, Hanoi. We analyse how young graffiti writers negotiate the social, physical, and cultural boundaries which serve as either deterrents or catalysts for graffiti creation, and consider whether strategies of compliance or everyday resistance are employed in order to create their work. With the effects that globalisation and urbanisation have had on the Asian region, and the tactics citizens employ to negotiate state-imposed censorship and restraints having been studied closely, we position our work within these broader debates.},
	language = {English},
	number = {1},
	journal = {Area},
	author = {Kee, Michelle and Turner, Sarah and Labbé, Danielle},
	year = {2022},
	note = {Number Of Volumes: area.12754},
	keywords = {Graffiti, Hanoi, Vietnam},
	pages = {96--104},
}

@book{keegan_graffiti_2014,
	address = {Abingdon; New York},
	title = {Graffiti in antiquity},
	isbn = {978-1-84465-607-3},
	abstract = {Ancient graffiti - hundreds of thousands of informal, ephemeral texts spanning millennia - offer a patchwork of fragmentary conversations in a variety of languages spread across the Mediterranean world. Cut, painted, inked or traced in charcoal, the surviving graffiti present a layer of lived experience in the ancient world unavailable from other sources. Graffiti in Antiquity reveals how and why the inhabitants of Greece and Rome - men and women and free and enslaved - formulated written and visual messages about themselves and the world around them as graffiti. The sources - drawn from 800 BCE to 600 CE - are examined both within their individual historical, cultural and archaeological contexts and thematically, allowing for an exploration of social identity in the urban society of the ancient world. An analysis of one of the most lively and engaged forms of personal communication and protest, Graffiti in Antiquity introduces a new way of reading sociocultural relationships among ordinary people living in the ancient world.},
	language = {English},
	publisher = {Routledge},
	author = {Keegan, Peter},
	year = {2014},
	keywords = {Graffiti, Antiquity, Roman graffiti},
}

@article{kelling_broken_1982,
	title = {Broken {Windows}: {The} police and neighborhood safety},
	language = {English},
	number = {March},
	journal = {The Atlantic},
	author = {Kelling, George L. and Wilson, James Q.},
	year = {1982},
	note = {Num Pages: 9},
	keywords = {Graffiti, Broken window theory},
	pages = {29--38},
}

@book{ket_wide_2023,
	address = {New York},
	title = {The {Wide} {World} of {Graffiti}},
	isbn = {978-1-58093-601-9},
	abstract = {A guide to the art, artists, and culture of graffiti from the 1970s to today, as told by the taggers themselves. 
This major co-publication with the Museum of Graffiti chronicles the worldwide graffiti movement from its birth in the 1970s, through the street and train painting of the 1980s, to its emergence as an artistic genre admired in museums and sold at auction. With hundreds of never-before-seen photographs of graffiti art from the 1970s to today, many of which have been provided exclusively for this volume by the artists themselves, the book gives an insider’s view through multiple interviews with celebrated graffiti artists, including Roger Smith of Sane Smith, Hotboy Hert, DESA, Shirt King Phade, RIME, MadC, Saber, AURA, and others. 
Told through essays, hundreds of images, and interviews with the artists – both the underground outlaws and the writers who went mainstream – The Wide World of Graffiti will become the standard-bearer of the art form’s history and life today, a unique contribution from the first and only museum dedicated to graffiti as an art form.},
	language = {English},
	publisher = {Monacelli Press},
	author = {Ket, Alan},
	year = {2023},
	keywords = {Graffiti, New York, Tags, Murals},
}

@book{ket_graffiti_2009,
	address = {London},
	title = {Graffiti planet 2: {More} of the best graffiti from around the world},
	isbn = {978-1-84317-346-5},
	abstract = {No longer just vandalism, graffiti has become a recognized urban art form and a unique mode of artistic expression. This jaw-dropping new collection includes examples of incredible street art from a bevy of artists, including Rosy, Os Gêmeos, Banksy, Atome, Blek le Rat, and Mode 2. Gorgeously produced with more than 100 images, this is an up-close look at today’s most spectacular artists and their work.},
	language = {English},
	publisher = {Michael O'Mara Books Limited},
	author = {KET},
	year = {2009},
	keywords = {Graffiti},
}

@book{ket_planet_2014,
	address = {London},
	title = {Planet {Banksy}: {Unauthorized}. {The} man, his work and the movement he inspired},
	isbn = {978-1-78243-158-9},
	language = {English},
	publisher = {Michael O'Mara Books},
	editor = {KET},
	year = {2014},
	keywords = {Graffiti, Banksy, Street art},
}

@book{ket_street_2016,
	address = {London},
	edition = {Fully updated},
	title = {Street art: {The} best urban art from around the world. {Compiled} and introduced by {KET}},
	isbn = {978-1-910552-18-6},
	abstract = {From Banksy and Blek le Rat to Nick Walker and Shepard Fairey, the street art movement continues to sweep the globe. This exciting and dynamic art form has captured the imaginations of art-lovers everywhere, appearing in high-profile exhibitions and galleries. In this introduction to some of the world’s most exciting street artists, world-renowned graffiti artist, painter, and graffiti historian KET brings together another 100 awe-inspiring images of urban art from around the world. With full-color glossy photographs of some of the most extraordinary graffiti art from around the world, this follow-up to Graffiti Planet will fascinate and inspire anyone excited by this imaginative and relevant art form.},
	language = {English},
	publisher = {LOM Art},
	author = {KET},
	year = {2016},
	keywords = {Graffiti, Street art},
}

@book{ket_planet_2021,
	address = {London},
	title = {Planet {Banksy}: {The} man, his work and the movement he inspired},
	isbn = {978-1-912785-67-4},
	abstract = {Banksy is the world's foremost graffiti artist, his work adorning streets, walls and bridges across nations and continents. His stencil designs are instantly recognizable and disturbingly precise in their social and political commentary, flavored with subtle humour and self-awareness. More popular than ever, Banksy has spawned countless imitators, students and fans alike, his fame - although unlooked-for - inevitably transmitting his ideas and work to the international arena. 
With a range of topics for the graffiti lover, coming from a variety of inspirational sources, this book provides an overview of how Banksy's work is changing the face of modern art - as well as the urban landscape. Distilling his influence and his genius into an easily accessible full-color 128 pages, this is the perfect purchase for any fan of Banksy or the graffiti art scene.},
	language = {English},
	publisher = {Michael O'Mara Books},
	author = {KET},
	year = {2021},
	keywords = {Graffiti, Banksy, Street art},
}

@article{kikol_graffiti_2019,
	title = {Graffiti. {Ein} diffuser {Nebel} in der {Kunstwelt}: {Ansätze} für einen differenzierten {Umgang} mit dem {Autonomen} von {Larissa} {Kikol}},
	volume = {260},
	url = {https://www.kunstforum.de/artikel/graffiti-ein-diffuser-nebel-in-der-kunstwelt/},
	language = {German},
	journal = {Kunstforum International},
	author = {Kikol, Larissa},
	year = {2019},
	note = {Num Pages: 12},
	keywords = {Graffiti},
	pages = {46--57},
}

@article{kikol_martha_2019,
	title = {Martha {Cooper}. {Ich} sehe {Graffiti} als {Spiel}!},
	volume = {260},
	language = {German},
	journal = {Kunstforum International},
	author = {Kikol, Larissa},
	year = {2019},
	note = {Num Pages: 6},
	keywords = {Graffiti, Martha Cooper},
	pages = {120--125},
}

@article{kikol_werke_2019,
	title = {Werke im {Verbotenen}: {Positionen} der freieren {Graffiti}-{Malerei}},
	volume = {260},
	language = {German},
	journal = {Kunstforum International},
	author = {Kikol, Larissa},
	year = {2019},
	note = {Num Pages: 28},
	keywords = {Graffiti, Street art},
	pages = {58--85},
}

@book{kikol_signed_2023,
	address = {Berlin},
	title = {{SIGNED}: {Unterwegs} mit der {1UP}-{Crew} und {Moses} \& {Taps}},
	isbn = {978-3-96912-121-4},
	abstract = {Wem gehört die Stadt? Eine Frage, auf die Graffitisprayer und Politik unterschiedliche Antworten geben. 1UP und Moses \& Taps sind internationale Größen der Szene, ihre Aktionen spektakulär, ihre künstlerischen Konzepte radikal. Die Kunstkritikerin Larissa Kikol hat sie drei Jahre lang auf ihren nächtlichen Streifzügen begleitet und ihre Erlebnisse in diesem Buch verarbeitet, das zu einer einmaligen Hommage an die Graffiti-Szene geworden ist. Das Buch ist ein Making-of ihrer Werke im Spannungsfeld von zivilem Ungehorsam, Gesetzesbruch und der Freiheit des Trotzdem. Kikol fährt quer durch Deutschland und schildert in packenden Dialogen verschiedene Welten: die legale und die illegale Kunstwelt, zwischen Malerei und Protest. Immer auf dem Sprung und kurz davor, entdeckt und verhaftet zu werden. Eine Reise hinter die Grenzen der gestatteten Kunst in U-Bahn-Tunnel, auf Hausdächer und Abstellgleise. Dabei entsteht ein Porträt Deutschlands und Berlins und der Machtverhältnisse, die auf unsere Gesellschaft einwirken.},
	language = {German},
	publisher = {DCV},
	author = {Kikol, Larissa},
	year = {2023},
	keywords = {Graffiti, 1UP, Crew, Moses \& Taps},
}

@book{kilroy_graffiti_1979,
	address = {London},
	title = {Graffiti: {The} scrawl of the wild. {The} great graffiti of our times},
	isbn = {978-0-552-98079-1},
	language = {English},
	publisher = {Corgi Books},
	author = {Kilroy, Roger and McLachlan, Edward},
	year = {1979},
	keywords = {Graffiti},
}

@book{kilroy_bumper_1994,
	address = {London},
	title = {The bumper book of {Graffiti}},
	isbn = {978-1-85152-677-2},
	language = {English},
	publisher = {Chancellor Press},
	author = {Kilroy, Roger and McLachlan, Edward},
	year = {1994},
	keywords = {Graffiti},
}

@book{kimvall_g-word_2014,
	address = {Årsta},
	title = {The {G}-{Word}: {Virtuosity} and {Violation}, {Negotiating} and {Transforming} {Graffiti}},
	isbn = {978-91-85639-68-7},
	abstract = {Since graffiti became a public phenomenon in the 1970s, there has always been the paradox of its illegal occurrence in the streets and on trains on the one hand and being an young and vivid form of expression in an art context on the other hand. Jacob Kimvall, writer, art-historian and co-founder of the Swedish Underground Productions magazine focused on that specific topic in his 2014 Ph.D. thesis. 
In “The G-Word” Kimvall draws a chronological line from the first attempts to fit writers into the New York 70s art- and gallery world, over to illegal writings on the Berlin Wall in the 80s up to Stockholms Zero Tolerance policy in the 90s and 2000s. 
In the chosen examples the author managed to find interesting cases in which graffiti has been praised as art form for example by the C.I.A., Stockholm museums and the City of New York, while often the same pieces have been produced by breaking the law. 
On 220 pages this book gives insight in the often contradictory handling of institutions with the topic over the last decades. Kimvall precisely analyzes the diversity of standpoints officials chose when graffiti (or the fight against it) fits into their agenda. With “The G-Word” Kimvall participates in the everlasting discussion on the question if graffiti is art or vandalism by uncovering examples in which the answer has been “yes”.},
	language = {English},
	publisher = {Dokument Press},
	author = {Kimvall, Jakob},
	year = {2014},
	keywords = {Graffiti, Street art, Germany, Berlin Wall},
}

@article{kindynis_bomb_2018,
	title = {Bomb {Alert}: {Graffiti} {Writing} and {Urban} {Space} in {London}},
	volume = {58},
	issn = {0007-0955},
	doi = {10.1093/bjc/azx040},
	abstract = {Based on three years of ethnographic research undertaken in London amongst a loose network of what British Transport Police term ‘serious graffiti vandals’, this article considers how we might conceive theoretically of the interrelationships between graffiti writing, urban space and social control. The article proceeds in two parts. By way of introduction, the first half of the article delineates some of the major subcultural elements that comprise the day-to-day practice of graffiti writing as it exists in present-day London. The second half of the article engages the theoretical work of Henri Lefebvre. It is suggested that graffiti can be understood as simultaneously disrupting authoritative spatial orderings, whilst superimposing its own alternative social geography onto the city.},
	language = {English},
	number = {3},
	journal = {The British Journal of Criminology},
	author = {Kindynis, Theo},
	year = {2018},
	note = {Num Pages: 18},
	keywords = {Graffiti, Bombing, London, Tags, Urban space},
	pages = {511--528},
}

@article{kindynis_excavating_2019,
	title = {Excavating ghosts: {Urban} exploration as graffiti archaeology},
	volume = {15},
	issn = {1741-6590},
	doi = {10.1177/1741659017730435},
	abstract = {Based on several years of near-nightly excursions into London’s disused, non-public, forgotten, subterranean and infrastructural spaces, this article considers the significance of discovering years - or even decades - old surviving traces of graffiti (‘ghosts’, in graffiti parlance) in situ. The article also draws on extensive ethnographic research into London’s graffiti subculture, as well as in-depth semi-structured interviews with several generations of graffiti writers. The article proceeds in four parts. The first part reflects on three sources of methodological inspiration: unauthorised urban exploration and documentation; more-or-less formal archaeological studies of graffiti; and ‘ghost ethnography’, an emergent methodological orientation which places an emphasis on absence and the interpretation of material and atmospheric traces. The second part of the article considers recent theoretical work associated with the ‘spectral turn’. Here, ghosts and haunting provide useful conceptual metaphors for thinking about lingering material and atmospheric traces of the past. The third part of the article offers some methodological caveats and reflections. The fourth and final part of the article seeks to connect theory and method, and asks what significance can be drawn from unauthorised encounters with graffiti ‘ghosts’.},
	language = {English},
	number = {1},
	journal = {Crime, Media, Culture: An International Journal},
	author = {Kindynis, Theo},
	year = {2019},
	note = {Num Pages: 21},
	keywords = {Graffiti, Criminology},
	pages = {25--45},
}

@book{klee_politische_2010,
	address = {Wiesbaden},
	title = {Politische {Kommunikation} im städtischen {Raum} am {Beispiel} {Graffiti}},
	isbn = {978-3-531-16276-8},
	abstract = {Sind die unzähligen Sprüche und Schriftzüge auf Häuserwänden, Haltestellen, Parkbänken, etc. nur Zufallsprodukte und unsystematische Mitteilungen oder wohnt ihnen eine weiterreichende Bedeutung inne? Sind Graffiti leere Parolen und Sprüche oder ernstzunehmende Projektionen gesellschaftlicher Phänomene des urbanen Lebens? 
Der Sammelband stellt Graffiti als Sprache an den Wänden in das Zentrum einer interdisziplinären wissenschaftlichen Auseinandersetzung. Die Beiträge fokussieren dabei nicht nur die konkrete Seite des Phänomens Graffiti, sondern entfalten einen theoretischen Rahmen zur weiterführenden Betrachtung. Grundannahme ist es dabei, dass Graffiti in ihrer Gesamtheit die sozialen und politischen Verhältnisse, Befindlichkeiten und Einstellungen in Abhängigkeit von Zeit und Ort ihrer Kreation widerspiegeln.},
	language = {German},
	publisher = {VS Verlag für Sozialwissenschaften},
	editor = {Klee, Andreas},
	year = {2010},
	doi = {10.1007/978-3-531-92228-7},
	keywords = {Graffiti, Graffiti writing, Politics, Sociology, Socio-political},
}

@article{klein_creativity_2016,
	title = {Creativity and territory: {The} construction of centers and peripheries from graffiti and street art},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i2.47},
	abstract = {This article aims to analyze the meaning of the dynamics of artwork production that graffiti and street art artists currently do from its conception of territorial centers and peripheries. The city is seen as a place of conflict and the territory as the local space where it manifests itself. For graffiti writers and street art artists the city stands symbolically as the largest street of all, as a large canvas production. These are visions that respond to processes that the members of graffiti and street art respect and legitimate. The city is the great goal to win (its places, its physiognomy, but also its symbolic spaces), it is a space of resistance and construction of citizenship, a place of belonging to be marked and delineated as a symbolic space of territorial appropriation. 
The present document takes the PhD research developed by the author under the PhD in Cultural Management and Heritage at the University of Barcelona. It seeks to approach the creative processes of analysis, legitimacy and valorization in graffiti and street art and, as a case of analysis, the researcher has chosen the cities of Barcelona (Spain) and Montevideo (Uruguay). It was established, as empirical domain of analysis, discourses from 44 graffiti writers and street art artists of the mentioned cities, taking into account some relevant dimensions of their practices: valorization, legitimacy, recognition, professionalization and technical specialization, among others.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Klein, Ricardo},
	year = {2016},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Spain, Barcelona, Montevideo},
	pages = {6--15},
}

@book{klitzke_street_2009,
	address = {Berlin},
	title = {Street art: {Legenden} zur {Strasse}},
	isbn = {978-3-940213-44-0},
	language = {German},
	publisher = {Archiv der Jugendkulturen},
	author = {Klitzke, Katrin and Schmidt, Christian},
	year = {2009},
	keywords = {Street art},
}

@article{kohl_names_1969,
	title = {Names graffiti and culture},
	volume = {3},
	issn = {0042-0972},
	doi = {10.1007/BF02322246},
	language = {English},
	number = {5},
	journal = {The Urban Review},
	author = {Kohl, Herbert and Hinton, James},
	year = {1969},
	note = {Num Pages: 15},
	keywords = {Graffiti},
	pages = {24--38},
}

@article{kolmakova_psychohermeneutics_2021,
	title = {Psychohermeneutics of graffiti: external and internal loci of control},
	volume = {273},
	issn = {2267-1242},
	doi = {10.1051/e3sconf/202127311021},
	abstract = {The article examines the features of the expression of psycho-emotional conflict within a person within the framework of external and internal loci of control through the creation of graphic art objects. The authors argue that communicative strategies for resolving problems in stressful situations and seeking social support are associated with the question of the individual's ability to independently solve emerging problem situations and find internal resources to overcome them by releasing psychoemotional stress, based on the structure of the cognitive sphere of a person, the characteristics of his perception and thinking. Typical external semantics of graffiti consists in an attempt to convince others of the hopelessness of being. The internal locus of control is associated with the conceptual sphere of social activity and is embodied in a wide variety of imperative forms, including a call, order, request, advice, and so on. In other words, the psycho-hermeneutics of graffiti is conditioned, on the one hand, by communicative and pragmatic strategies of social empathy (internal locus of control), and, on the other hand, by the conflict of the individual with society and the desire for spiritual and moral escapism, escape from reality to self-isolation and loneliness (external locus of control). The study proposes a classification of graphic art objects, which is based on the form of public expression of the individual's inner world, which is associated with the implementation of the compensatory-pragmatic function of graffiti as a universal code of modern urban communication.},
	language = {English},
	journal = {E3S Web of Conferences},
	author = {Kolmakova, Valentina and Shalkov, Denis},
	year = {2021},
	note = {Num Pages: 9},
	keywords = {Graffiti, Psychohermeneutics},
	pages = {11021},
}

@book{koopman_amsterdam_2004,
	address = {Amsterdam},
	title = {Amsterdam. {Graffiti}. {The} battle of {Waterloo}: 25 jaar graffiti historie of het {Waterlooplen}/{Mr}. {Visserplein} (1978-2003)},
	isbn = {90-5366-101-8},
	abstract = {Amsterdam Graffiti – The Battle of Waterloo shows an unique reflection of an era. The book is about the rise and fall of Amsterdam’s most infamous graffiti free haven at the Waterlooplein which was located in the centre of the city from 1978 untill 2003. The Waterlooplein/Mr. Visserplein was for years a thorn in the flesh of the local authority. At the same time this area was a pilgrimage for graffiti artists from all over Europe. In the beginning of 2003 this legendary ‘Waterloosquare Hall of Fame’ was forced to disappear, which put an end to all ‘battles’ graffitiwriters fought among themselves, against the city and against the police. It particularly put an end to the battles between the various graffiti styles that dominated the walls of the square for a period of 25 years. Exclusive pictures and sketches from private collections and interviews with artists such as Niels ‘SHOE’ Meulman, Boris ‘DELTA’ Tellegen, CAT22, RHYME, HIGH, PENGO, OASE, ZAP, AGAIN, SERCH and SUEZ have turned this book into a cultclassic.},
	language = {Dutch; English},
	publisher = {Stadsuitgeverij Amsterdam},
	author = {Koopman, Remko and Sonnemans, Hein and van Tiggelen, Marcel},
	year = {2004},
	keywords = {Graffiti, the Netherlands, Amsterdam},
}

@book{koos_new_2013,
	address = {Freeland},
	series = {Critical {Issues}},
	title = {New {Cultural} {Capitals}: {Urban} {Pop} {Cultures} in {Focus}},
	isbn = {978-1-84888-177-8},
	abstract = {The modern city, the locus of contemporary popular cultural production, is also the site where marginal if not marginalised individuals and groups invariably coalesce and develop their distinctive practices, representations, and identities in the interstices of established culture. The chapters in this volume explore the urban pop cultural imagination in the modern metropolis in three sections. ‘Visible Cities,’ analyses those visual phenomena in the modern city that attest to the complicating presence of otherwise marginalised agents and spaces. ‘Recreations,’ considers those leisure-time practices that nonetheless demarcate the parameters of resistance and identity for their participants. Finally, ‘Urban Planning,’ examines the ways by which cities are evoked, used, and reconceptualised by the pop cultural imagination. Whether verbal or written, physical or virtual, produced or received by individuals or groups, the representations and practices examined in this volume attest to the dynamic nature of urban popular cultures, a presence that has ultimately transformed the ways by which we understand and appreciate urban existence.},
	language = {English},
	publisher = {Inter-Disciplinary Press},
	editor = {Koos, Leonard R.},
	year = {2013},
	doi = {10.1163/9781848881778},
	keywords = {Graffiti, Urban, Pop culture},
}

@article{kottek_bilder_1982,
	title = {Bilder des {Wandels}},
	volume = {50},
	url = {https://www.kunstforum.de/artikel/bilder-des-wandels/},
	language = {German},
	number = {4},
	journal = {Kunstforum International},
	author = {Kottek, Alfred},
	year = {1982},
	note = {Num Pages: 29},
	keywords = {Graffiti, Murals, Portugal, Mural art},
	pages = {88--116},
}

@phdthesis{kramer_social_2009,
	type = {{PhD} thesis},
	title = {A social history of graffiti writing in {New} {York} {City}, 1990 - 2005},
	abstract = {Based on five years of qualitative sociological research involving unobtrusive observations, in-depth interviews with twenty prominent New York City graffiti writers and extensive document analysis, this dissertation explores two historical trends. On the one hand, it looks at how graffiti writing has increasingly become a legal and commercial practice. On the other, it considers the official reaction to graffiti writing. In exploring these two historical trends a discontinuity is discovered. While legal graffiti writers have come to constitute a distinct coterie within graffiti writing culture, the official reaction to graffiti continues to operate according to the financially costly logic established by the "broken windows" thesis. Within such a view, graffiti, whether legal or illegal, is perceived as activity that will invite other forms of crime and ultimately lead to the breakdown of civic society, or "urban decay". 
A Social History of Graffiti Writing in New York City, 1990--2005 argues that the growing disparity between the official reaction to graffiti and the contemporary realities of graffiti writing culture suggests that the former is motivated by political and economic ends, as opposed to any search for the "truth". Based on an extensive analysis of many documents, I suggest that the social origins of anti-graffiti initiatives are to be found in specific commercial and political interests. More specifically, I argue that anti-graffiti efforts constitute a "moral panic" that is driven by the political and economic desire to extract the maximum profit possible from urban land use.},
	language = {English},
	school = {Yale University},
	author = {Kramer, Ronald},
	collaborator = {Eyerman, Ronald},
	year = {2009},
	keywords = {Graffiti, Graffiti writing, New York, USA},
}

@article{kramer_elusive_2016,
	title = {The elusive nature of critical codes: {Graffiti} writing culture in film},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i1.46},
	abstract = {This paper engages two ideas put forth by sociologists who are interested in the arts and who have returned to questions of  meaning. Amongst such scholars, cultural producers are construed as able to connect with “codes” to create critical works of  art. These are then understood to play a pivotal role in redirecting the cultural value systems that constitute our existential frame  of reference. Through an interpretive reading of films based on graffiti writing in New York City, I suggest that the relationship  between cultural producers and critical codes is fraught with difficulty. Further, when this relationship breaks down we will encounter cultural objects that are more ideological than critical. I conclude by suggesting that culture may not offer a viable space  for the pursuit of progressive politics.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Kramer, Ronald},
	year = {2016},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Film, Graffiti writing, Culture, Politics, Writing, Movie},
	pages = {67--76},
}

@book{kramer_rise_2017,
	address = {Singapore},
	series = {Palgrave pivot},
	title = {The rise of legal graffiti writing in {New} {York} and beyond},
	isbn = {978-981-10-2799-4},
	abstract = {This pivot analyzes the historical emergence of legal graffiti and how it has led to a new ethos among writers. Examining how contemporary graffiti writing has been brought into new relationships with major social institutions, it explores the contemporary dynamics between graffiti, society, the art world and social media, paying particular attention to how New York City’s political elite has reacted to graffiti. Despite its major structural transformation, officials in New York continue to construe graffiti writing culture as a monolithic, criminal enterprise, a harbinger of economic and civic collapse. This basic paradox – persistent state opposition to legal forms of graffiti that continue to gain social acceptance – is found in many other major cities throughout the globe, especially those that have embraced neoliberal forms of governance. The author accounts for the cultural conflicts that graffiti consistently engenders by theorizing the political and economic advantages that elites secure by endorsing strong 'anti-graffiti' positions.},
	language = {English},
	publisher = {Palgrave Macmillan},
	author = {Kramer, Ronald},
	year = {2017},
	doi = {10.1007/978-981-10-2800-7},
	keywords = {Graffiti, Street art, Graffiti writing, New York},
}

@book{krause_street_2010,
	address = {Berlin},
	edition = {Second},
	title = {Street {Art}: {Die} {Stadt} als {Spielplatz}},
	isbn = {978-3-940213-57-0},
	language = {German},
	publisher = {Archiv der Jugendkulturen},
	editor = {Krause, Daniela and Heinicke, Christian},
	year = {2010},
	keywords = {Graffiti, Street art, Berlin, Germany},
}

@mastersthesis{krauthausen_exploring_2018,
	address = {Vienna},
	title = {Exploring {Soccer}-{Related} {Graffiti} by {Applying} {Geospatial} {Technology}, {Geographic} {Information} {Systems} and {Statistical} {Approaches} – {A} {Case} {Study} in {Krakow}, {Poland}},
	abstract = {The aim of this thesis is to create a “Graffiti-GIS” with which soccer-related graffiti data of Krakow can be stored, analyzed, modeled, and visualized. All relevant data are collected by a spatial video acquisition system (SVAS) which produces spatially referenced video data. The entire workflow of data acquisition from preparing the surveys to extracting the data out of the video files and integrating them into the GIS environment is described in this thesis. Thus, recommendations on the application of the technique are presented. Also some general background on the different and sometimes opposing frameworks and the social contexts in which graffiti are embedded is given, as well as some detailed knowledge on soccer-related graffiti. In order to reveal the spatial pattern of soccer-related graffiti, statistical routines are applied using the software CrimeStat. These encompass descriptive methods such as centrographic statistics and distance analysis, spatial hotspots analysis for point locations, as well as kernel density interpolations which produce density maps. In addition, the 2018 data collection is compared to previous soccer-related graffiti data that were collected in 2016, which shows partly changes and partly consistency in the distributional pattern between both surveys. Finally, hotspots of graffiti and committed crimes are explored for correlation, in order to test the well-known “broken window theory”. Results are represented by tables or maps showing the spatial distributional pattern of soccer-related graffiti and crime incidents, thus dividing the study area into regions that are either dominated by graffiti and crime or unaffected. Hence, hotspots of each soccer club can be assigned to distinct areas. However, these concentrations are sometimes spatially close or even overlapping. The latter regions are referred to as “conflict zones”, where graffiti of two or more rivaling soccer teams occur. In addition, medium to high density areas of graffiti show a correlation with the committed crimes tested in this research. Findings of this research can contribute to the decision making, where graffiti removal actions shall take place and how future graffiti can be prevented, because detailed knowledge about the spatial distribution pattern and the temporal dynamics of graffiti has become known through this research.},
	language = {English},
	school = {Universität Wien},
	author = {Krauthausen, Pascal},
	collaborator = {Leitner, Michael},
	year = {2018},
	keywords = {Graffiti, Graffiti writing, GIS (Geographic(al) Information System), Sociology, Soccer, Poland, Krakow},
}

@article{krauthausen_collecting_2019,
	title = {Collecting and analyzing soccer-related graffiti with the spatial video technology and {GIS}: a case study in {Krakow}, {Poland}},
	volume = {62},
	doi = {10.2478/udi-2019-0010},
	abstract = {In this research, the spatial video technology is applied to the collection of soccer-related graffiti locations in the city of Krakow, Poland. Krakow is predestined for this research due to the long and often violent rivalry between fan groups of the two major soccer teams, MKS Cracovia and Wisla Krakow. This form of rivalry is often expressed by the application of graffiti by fans from both clubs, which can be observed in large parts of the city. Graffiti locations 
were digitized from spatial videos, stored in a Geographic Information System (GIS), and subsequently analyzed to explore (1) the overall spatial pattern, (2) the existence of spatial hotspots, and (3) changes to a previously conducted survey of graffiti locations in 2016. As expected, results indicate that graffiti locations are statistically significantly clustered, with pro-Wisla graffiti mainly concentrating in the north, pro-Cracovia graffiti dominating the south, and pro-Hutnik graffiti mostly found in the east of Krakow. The overall spatial pattern of graffiti locations remained relatively unchanged between the 2016 and 2018 surveys. Besides scientific inquiry, this research provides city officials with important information regarding graffiti locations in Krakow for a broader and more in-depth understanding of their spatial patterns.},
	language = {English},
	number = {1},
	journal = {Urban Development Issues},
	author = {Krauthausen, Pascal and Leitner, Michael and Ristea, Alina and Curtis, Andrew},
	year = {2019},
	note = {Num Pages: 13},
	keywords = {Graffiti, Graffiti writing, GIS (Geographic(al) Information System), Sociology, Soccer, Poland, Krakow},
	pages = {61--73},
}

@book{kreuzer_graffiti-lexikon_1986,
	address = {München},
	series = {Scene},
	title = {Das {Graffiti}-{Lexikon}: {Wand}-{Kunst} von {A} bis {Z}},
	isbn = {3-453-35068-5},
	language = {German},
	number = {40},
	publisher = {Wilhelm Heyne Verlag},
	author = {Kreuzer, Peter},
	year = {1986},
	keywords = {Graffiti, Lexicon},
}

@book{krieger_milvius_2016,
	address = {Gießen},
	title = {Milvius {County}: {Twelve} months of {3Steps} contemporary art projects in 2015-2016},
	isbn = {978-3-945991-91-6},
	abstract = {Das vorliegende Werk nimmt den Betrachter mit auf eine Reise durch ein ganzes Jahr von 3Steps. Auf eine Reise während seiner Arbeit im Studio, in die Bildwelten und zur Realisierung der Visionen des Kollektivs. Dieses Buch umfasst zwölf Monate von Frühjahr 2015 bis Sommer 2016 mit drei Soloshows, großen Mural Art Projekten, kleinen Schmierereien und vielen Farbspritzern und dem konzeptuellen Werk REFLEXION von 3Steps. 
Im Buch finden sich fast alle Gemälde, Drucke und Installationen aus dem Jahr 2015 und bis Mitte 2016. Aus dem Inhalt: Street Art, Die Werther Mural an den Wetzlarer Museen, REFLEXION, Welcome to Milvus County Soloshow bei Kunst in Licher Scheunen, Heard on the Street Soloshow in der 2CforArt Galerie Salzburg, Fields of Memories Soloshow im Wetzlarer Kunstverein, Kunst am Bau mit dem Projekt159 der Volksbank Mittelhessen sowie Einblicke in die Studioarbeit von 3Steps. 
Das Hard-Cover-Buch umfasst 144 Seiten mit großen Bildern und zahlreichen Texten von Dr. Katja Marek (Kunsthistorikerin), Dr. Anja Eichler (Leitung Wetzlarer Museen), Dietlind Grabe-Bolz (Oberbürgermeisterin der Stadt Gießen), Paul-Martin Lied (Pressesprecher von Kunst in Licher Scheunen), Gert Heiland (Kurator und 1. Vorsitzender des Wetzlarer Kunstvereins) und 3Steps in deutscher und englischer Sprache. 
Das Buchprojekt wurde gefördert vom Hessischen Ministerium für Wissenschaft und Kunst, der Stadt Gießen und der Stadt Wetzlar. Wir bedanken uns sehr für die Unterstützung. Ferner danken wir unserem Team und allen, die zu unseren Projekten und der Fertigstellung des Buches beigetragen haben.},
	language = {English},
	publisher = {3Steps Press},
	author = {Krieger, Kai H. and Kriger, Uwe H. and Pitt, Joachim},
	year = {2016},
	keywords = {Graffiti, Street art},
}

@article{krupp_denkanschlage_1982,
	title = {Denkanschläge sind {Kunstbeiträge}: Über {Plakataktionen} von {Manfred} {Spies}},
	volume = {50},
	url = {https://www.kunstforum.de/artikel/denkanschlage-sind-kunstbeitrage/},
	language = {German},
	number = {4},
	journal = {Kunstforum International},
	author = {Krupp, Inge},
	year = {1982},
	note = {Num Pages: 3},
	keywords = {Graffiti, Posters, Manfred Spies},
	pages = {137--139},
}

@book{kuhn_politische_2012,
	address = {Stuttgart},
	series = {Alte {Geschichte}},
	title = {Politische {Kommunikation} und öffentliche {Meinung} in der antiken {Welt}},
	isbn = {978-3-515-10076-2},
	abstract = {Dieser Band lotet die Möglichkeiten und Grenzen der Analyse politischer Kommunikation und öffentlicher Meinung in der antiken Welt aus: Inwieweit lassen sich sozialwissenschaftliche Methoden, Theorien und Modelle für die althistorische Forschung fruchtbar machen? Welche Impulse kann andererseits die Beschäftigung mit dem antiken Quellenmaterial den Sozialwissenschaften vermitteln? Das thematisch breit gefächerte Spektrum der Beiträge umfasst die griechisch-römische Welt von der Zeit des klassischen Athens bis zur Spätantike sowie die Kulturkreise Alt-Israels, des Alten Ägyptens und Alten Chinas.},
	language = {German},
	publisher = {Franz Steiner},
	editor = {Kuhn, Christina T.},
	year = {2012},
	keywords = {Graffiti, Politics, Roman archaeology, Antiquity},
}

@book{kuhnert_graffolution_2017,
	address = {Berlin},
	title = {Graffolution: {From} graffiti writing to abstract painting},
	abstract = {“Graffolution” unites 47 international artists and crews from the post-stylewriting era, who contributed exclusive stuff to the same task. All of them interpreted the motto “From Graffiti Writing to Abstract Painting” in a practical and theoretical way, providing both, a piece of art (or a series of pieces) and an explanatory text (or interview).– 
The evolution of graffiti-writing to abstract painting can be traced mainly online since the 2000s as a phenomenon predominantly in Eastern Europe. So in the year 2015 Oliver Kuhnert had the idea, to unite selected representatives of post-stylewriting in a book project. 
He focused on the transition of classic writing to abstract painting. The participants of the project had the identical task, to work theoretical and practical with the motto „From Graffiti Writing to Abstract Painting“. 
Concretely the participants produced a single piece or a series correspondent to the motto and additionally to write a descriptive text. The artists could interpret the motto in an individual manner – there were no guidelines set. The only requirement: the art piece shouldn’t be published anywhere else before or after the project. 
Additionally Kuhnert interviewed four crews: +-0, the Coconut Clan, Moderne Jazz and the Diamonds. Further featured artists are: Abcdef, Am-Am, Apl, Bior, Christ, C·F, Cor 21, CXCVII \& O.K., David Antunes, Dima Asim, Dima Mykytenko, Effekt, Eko, Erosie, Fatum, Firm, Frida, Halber, Hrs 164, Joe Clarke, Kloy, Kyt \& ΠK, Loutsider, Maekk 85, Nelio, Oliver Kuhnert, Once, Paul Luis Fechter, Pavel Rtue, Pavel Šebek, Radio, Sandra Rummler, Sasha Kurmaz, Seikon, Simek, Skubb, Sorc, Step, Stephan Garcia, Vit Urban, Waïsstyle, Xpihofx and Yuri Averin (Yourun). 
As broad as the selection of artists is, as different are the interpretations and realizations of the „Graffolution“-motto. So the roots of the classic writing are sometimes easy to spot – in other cases theses origins can be hardly recognized. The same applies to the text contributions in which both – detailed work analyzes and short descriptions about the spontaneous emergence of the pictures – are to be read. 
The afterword of the art historian Dr. Harald Hinz forms the theoretical foundation and puts this sub-genre of graffiti into a historical context. The editors have succeeded in realizing such an unprecedented book that includes abstract writers from Germany, Ukraine, Czech Republic, France, Portugal, the Netherlands, Russia, Great Britain, Belarus, Spain, the Crimean Peninsula, Peru, Poland, Greece and Belgium for the first time, and through the project character of it, „Graffolution“ allows insights into the working and the approach of the artists.},
	language = {English},
	publisher = {Cogitatio·Factum},
	editor = {Kuhnert, Oliver},
	translator = {Litfin, Marne},
	year = {2017},
	keywords = {Graffiti, Street art, Painting},
}

@book{kuittinen_street_2010,
	address = {South Kensington},
	title = {Street art: {Contemporary} prints},
	isbn = {978-1-85177-625-2},
	language = {English},
	publisher = {V\&A},
	author = {Kuittinen, Riikka},
	year = {2010},
	keywords = {Graffiti, Street art},
}

@book{kuittinen_street_2015,
	address = {London},
	title = {Street craft: {Guerrilla} gardening / yarnbombing / light graffiti / street sculpture / and more},
	isbn = {978-0-500-51784-0},
	abstract = {Street Craft is the next chapter in the story of Street Art. Encompassing urban crochet, craftivism, yarnbombing, origami and lace graffiti, guerrilla gardening, street sculpture, light projections, miniature installations and more, this book reveals the surprising, controversial and sometimes simply beautiful creations transforming cities around the world.},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Kuittinen, Riikka},
	year = {2015},
	keywords = {Graffiti, Street art, Sculpture, Guerrilla gardening, Light graffiti, Street craft, Yarnbombing},
}

@article{kunzle_english_1970,
	title = {English {Medieval} {Graffiti} . {V}. {Pritchard}},
	volume = {45},
	issn = {0038-7134},
	doi = {10.2307/2851569},
	language = {English},
	number = {2},
	journal = {Speculum},
	author = {Kunzle, David},
	year = {1970},
	note = {Num Pages: 4},
	keywords = {Graffiti, Book review, Medieval},
	pages = {318--321},
}

@article{kuttner_osgemeos_2015,
	title = {{OSGEMEOS} and the {Institutionalization} of {Street} {Art}: {Cyclical} {Narratives}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.29},
	abstract = {When discussing the paradox of displacing the street art aesthetic, i.e. commissioning street artists to create work for art galleries, museums, or public murals, one inevitably has to address issues of co-opting, appropriation, and the institutionalization of a movement that began as a countercultural form of expression. Two commissioned pieces by OSGEMEOS are used as a case study. This paper parses through the discourse surrounding their production and removal. The goal therein is to break down these narratives and gain insight into the mechanisms at work and the inherent contradictions in the process of institutionalizing street art.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Kuttner, Theodore},
	year = {2015},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, OSGEMEOS},
	pages = {49--58},
}

@article{kuttner_approaching_2018,
	title = {Approaching the {White} {Cube} or {Approximating} the {Streets}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.115},
	abstract = {The work of OSGEMEOS is used to shed light on the issues arising from the intersection between the realms of street art and high art. The paradox of displacing street art into a gallery or museum setting is discussed, with a particular focus on the transitional period for OSGEMEOS from 2005 to 2010, during which they established their position as artists spanning the gap between the street art scene and the institutional art world. In the rst section, the critical discourse surrounding three of their exhibitions within gallery settings are analyzed in this context, alongside pertinent statements made by the artists. In the second section, the focus shifts to the highest pro le commissioned work for these artists during this phase in their careers, their 2008 mural on the façade of the Tate Modern for the exhibition titled “Street Art.” The debate surrounding the limitations concerning the displacement of street art and forces of institutionalization are presented and discussed in the context of this artwork as an attempt to gain a clearer understanding of this dilemma.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Kuttner, Theodore},
	year = {2018},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, OSGEMEOS},
	pages = {6--16},
}

@article{kuznetsov_kurskaya_2018,
	title = {Kurskaya wall},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Kuznetsov, Oleg},
	year = {2018},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Moscow},
	pages = {65--80},
}

@book{kyselak_skizzen_1829,
	address = {Wien},
	title = {Skizzen einer {Fußreise} durch {Oesterreich}, {Steiermark}, {Kärnthen}, {Salzburg}, {Berchtesgaden}, {Tirol} und {Baiern} nach {Wien}: nebst einer romantisch pittoresken {Darstellung} mehrerer {Ritterburgen} und ihrer {Volkssagen}, {Gebirgsgegenden} und {Eisglätscher} auf dieser {Wanderung}, unternommen im {Jahre} 1825. {Erster} {Teil}},
	language = {German},
	publisher = {Anton Pichler},
	author = {Kyselak, Joseph},
	year = {1829},
	keywords = {Graffiti, Austria, Kyselak},
}

@book{kyselak_skizzen_1829-1,
	address = {Wien},
	title = {Skizzen einer {Fußreise} durch {Oesterreich}, {Steiermark}, {Kärnthen}, {Salzburg}, {Berchtesgaden}, {Tirol} und {Baiern} nach {Wien}: nebst einer romantisch pittoresken {Darstellung} mehrerer {Ritterburgen} und ihrer {Volkssagen}, {Gebirgsgegenden} und {Eisglätscher} auf dieser {Wanderung}, unternommen im {Jahre} 1825. {Zweiter} {Teil}},
	language = {German},
	publisher = {Anton Pichler},
	author = {Kyselak, Joseph},
	year = {1829},
	keywords = {Graffiti, Austria, Kyselak},
}

@article{lachmann_graffiti_1988,
	title = {Graffiti as {Career} and {Ideology}},
	volume = {94},
	issn = {0002-9602},
	doi = {10.1086/228990},
	abstract = {This paper identifies the organizational and ideological sources for the creation and structural evolution of New York City graffiti art. The stages and types of graffiti careers are traced through interviews with 25 graffiti writers and their gallery and gang patrons. The ethnographic analysis serves to build a framework for joining the usually separate sociological literatures on subcultures, deviant careers, and art worlds. Geographical and social proximity to other writers is the principal determinant of entry into graffiti writing and of whether that activity develops into a career. From their social relations with other writers, graffiti writers gain a sense of audience and a belief that graffiti will give them fame. Recently, police repression and the recruitment of a few writers to paint graffiti canvases for sale in galleries have fragmented the graffiti art world. The conclusion suggests that modifications in labeling and subculture theories are needed to explain the causal connections between social relations and ideological meaning.},
	language = {English},
	number = {2},
	journal = {American Journal of Sociology},
	author = {Lachmann, Richard},
	year = {1988},
	note = {Num Pages: 22},
	keywords = {Graffiti, Career, Ideology},
	pages = {229--250},
}

@book{lake_mural_2019,
	address = {Berlin},
	title = {Mural {Art} of {Berlin} \& other cities part 3},
	abstract = {For those interested, LAKE from Berlin should have been a household name for a long time: The street artist turns gray asphalt to true eye openers with his large murals, in Berlin and as a globetrotter also on the rest of the globe. A large selection of his works offers the LAKE - Mural Art of Berlin \#3 Book on 160 pages, which is of course a real must-read for fans of the artist!},
	language = {English},
	publisher = {Daily Graphics},
	author = {Lake},
	year = {2019},
	keywords = {Graffiti, Berlin, Germany, Mural art},
}

@article{lamb_scratching_1999,
	title = {‘{Scratching} the {Surface}’: {An} {Introduction} to {Sgraffito} and its {Conservation} in {England}},
	volume = {5},
	issn = {1355-6207},
	doi = {10.1080/13556207.1999.10785234},
	abstract = {The term ‘sgraffito’ describes a technique of incised mural decoration applied to enhance the walls of buildings; it can also describe an incised decorative technique on pottery. In the context of this paper, the term is applied to the decorative technique used for the embellishment of external and internal wall surfaces. 
Although this paper describes briefly the history of this decoration in Renaissance Italy and its revival in England in the nineteenth century, its main theme relates to the issues of its conservation in England today.},
	language = {English},
	number = {1},
	journal = {Journal of Architectural Conservation},
	author = {Lamb, Jane},
	year = {1999},
	note = {Num Pages: 16},
	keywords = {Graffiti, Italy, Sgraffito},
	pages = {43--58},
}

@book{lanci_art_2022,
	address = {Cham},
	title = {Art maps and cities: {Contemporary} artists explore urban spaces},
	isbn = {978-3-031-13305-3},
	abstract = {This book presents an original study on how contemporary artists are exploring urban spaces through mapping. Despite a long history of representations of cities in maps, and the relationships that can be envisaged between art maps and cities in the contemporary world, little research is dedicated to investigating how artists intervene in the realm of urban cartography. The research examines a century-old history of art maps and draws on academic debates challenging traditional notions of maps as scientific artefacts produced through accurate measurement and surveying. The potential of art maps to construct personal narratives, through contestation, embodiment and play, is analysed in the city context, where spaces are shaped by urban planning and design, political ideologies and socio-economic forces. Adopting an exploratory and interpretative research approach that investigates the confluence of theories originated in different domains, this book conducts the reader to discover what artistic practices can bring into a more creative, while inquisitive, understanding of cities. A series of semi-structured interviews with visual artists, enquiring how they apprehend, process and re-create urban spaces in artworks, explores cartographic process and methods in visual art practices in the twenty first century, which incorporates digital technologies and critical thinking.},
	language = {English},
	publisher = {Palgrave Macmillan},
	author = {Lanci, Gloria},
	year = {2022},
	keywords = {Graffiti, Art, City},
}

@book{landes_guide_2019,
	address = {Paris},
	title = {Guide du street art en {France}},
	isbn = {978-2-07-283764-7},
	abstract = {Après le succès du Guide du street art à Paris, découvrez les plus belles scènes d'art urbain en France ! Au fil de parcours établis dans 10 villes (Lille, Rouen, Rennes, Nantes, Bordeaux, Toulouse, Sète, Marseille, Lyon et Strasbourg), partez explorer des quartiers hauts en couleur, vivant au rythme du street art ! Vous trouverez pour chaque parcours : - une carte indiquant l'itinéraire à suivre, les sites à voir et les bonnes adresses - un parcours fléché ("Suivez leguide") - des rubriques détaillées pour en savoir plus sur certaines haltes de la balade - des focus ("À ne pas manquer !" et "L'artiste à la une") sur des oeuvres, des lieux ou des artistes incontournables - des "Bon à savoir", infos pratiques pour signaler festivals et lieux de culture urbaine - un "carnet d'adresses" (bars, restos, galeries, librairies... et suggestions de visites) - un "zoom " pour en savoir plus sur les associations qui font bouger les lignes ou les manifestations autour de l'art urbain - une double page "Pour aller plus loin" pour ceux qui veulent en voir toujours plus, en ville ou en périphérie. Bonnes balades !},
	language = {French},
	publisher = {Alternatives},
	author = {Landes, Olivier},
	year = {2019},
	keywords = {Graffiti, Street art, France},
}

@article{landry_stop_2019,
	title = {‘{Stop} calling it graffiti’: {The} visual rhetoric of contamination, consumption and colonization},
	volume = {67},
	issn = {0011-3921},
	doi = {10.1177/0011392118823830},
	abstract = {Municipal graffiti abatement approaches in North America have shaped the stories we tell ourselves about ourselves upon these city walls. This article examines how the City of Ottawa (Canada) manages graffiti and murals. In doing so, I demonstrate how those management practices connect to longstanding tensions about unauthorized markings in public places and the criminalization of style. Drawing from extensive ongoing ethnographic research on graffiti and the moral and legal regulation of urban performances, I reveal the aesthetics of security which fosters a visual logic of so-called ‘crime prevention,’ state-sanctioned redactions and racialized dispossession of phrasing and text. To close, I consider how urban art regimes are implicated in the colonizing of public spaces, while also considering the liberating possibilities of graffiti.},
	language = {English},
	number = {5},
	journal = {Current Sociology},
	author = {Landry, Deborah},
	year = {2019},
	note = {Num Pages: 19},
	keywords = {Graffiti, Canada, Ottawa},
	pages = {686--704},
}

@article{landy_graffiti_1967,
	title = {Graffiti as a {Function} of {Building} {Utilization}},
	volume = {25},
	issn = {0031-5125},
	doi = {10.2466/pms.1967.25.3.711},
	abstract = {Graffiti in the past have been randomly collected without consideration for the geographic area or the buildings. The purpose of this study was to determine whether a specific graffito is unique to a specific type of building and the population utilizing that specific building. Significant differences were obtained among the graffiti found in the Art, Law, and Computer Sciences buildings individually and collectively as compared with the general use buildings. Significant sex differences were obtained; however, no significant differences were found in comparisons of either specific or general use buildings for profanity or sports comments. Other studies would make possible inferences regarding a population from graffiti found.},
	language = {English},
	number = {3},
	journal = {Perceptual and Motor Skills},
	author = {Landy, Eugene E. and Steele, John M.},
	year = {1967},
	note = {Num Pages: 2},
	keywords = {Graffiti},
	pages = {711--712},
}

@book{lang_graffiti_1976,
	address = {Princeton},
	series = {Athenian {Agora}},
	title = {Graffiti and {Dipinti}},
	isbn = {978-0-87661-221-7},
	language = {English},
	number = {21},
	publisher = {American School of Classical Studies at Athens},
	author = {Lang, Mabel},
	year = {1976},
	keywords = {Graffiti, Dipinti, Greek archaeology, Greek culture},
}

@book{lange_born_2019,
	address = {Atglen PA},
	title = {Born to run: {NYC} subway graffiti on the {IND} and {BMT} lines},
	isbn = {978-0-7643-5642-1},
	abstract = {Despite playing canvas to a long list of talented writers, the IND (Independent) and BMT (Brooklyn Manhattan Transit) lines have been underrepresented in graffiti history. This is now rectified with a collection of high-quality images from the 1970s and 80s that capture works by heavyweights from the BMT like Lee, Mono, Iz The Wiz, Baby168, OE3, P13, and many others. From Coney Island to Queensboro Plaza and everywhere in between, these nostalgic images capture elevated subway scenes, stations, and subway yards and offer a glimpse through time at Brooklyn and Queens in the height of the NYC subway graffiti era. This truly amazing lineup also features early writers on the IND lines like Pistol, Piper, A'train, and IN, in addition to obscure names and throw-ups from these undocumented corridors. This is an ideal volume of subway art for graffiti artists, fans, historians, and students looking for rare photos on the letter lines.},
	language = {English},
	publisher = {Schiffer Publishing Ltd},
	author = {Lange, Tod and Quinones, Lee George},
	year = {2019},
	keywords = {Graffiti, Graffiti writing, Train, New York, Subway, Brooklyn, Manhattan, Subway art},
}

@book{langner_antike_2001,
	address = {Wiesbaden},
	series = {Palilia},
	title = {Antike {Graffitizeichnungen}: {Motive}, {Gestaltung} und {Bedeutung}},
	isbn = {978-3-89500-188-8},
	abstract = {More than 2500 graffiti-drawings from the Classical Antiquity have survived the centuries and are known to us today, compiled and published together for the first time in this book. These ancient drawings (sketches of figures, heads and busts, gladiators, animals, ships and copies of visible objects) are equally often found on outer walls and in private living quarters. Whereas they seem mostly, but not altogether just insignificant wall scribblings, they are yet an exciting expression of an awareness of life, a mood or an event that the graphic artist wanted to grasp and capture for times to come.},
	language = {German; English; Italian},
	number = {11},
	publisher = {Ludwig Reichert},
	author = {Langner, Martin},
	year = {2001},
	keywords = {Graffiti, Roman archaeology, Greek archaeology, Antiquity, Rome},
}

@article{lannert_perpetuation_2015,
	title = {The {Perpetuation} of {Graffiti} {Art} {Subculture}},
	volume = {1},
	abstract = {Graffiti art and the subculture that supports it is a form of graffiti that differs from gang graffiti, immediate graffiti, and street art. This research is a qualitative analysis using partial participant observation of a graffiti art subculture in a Midwestern city. Six themes which characterize this subculture were individual identity, communication, competition, criminality, aesthetic criteria, and changing forms of communication. The implications of the findings for labeling theory and differential association theories are discussed.},
	language = {English},
	journal = {Butler Journal of Undergraduate Research},
	author = {Lannert, Camille},
	year = {2015},
	note = {Num Pages: 20},
	keywords = {Graffiti},
	pages = {47--66},
}

@misc{lathan_beat_1984,
	address = {USA},
	title = {Beat {Street}},
	language = {English},
	publisher = {Orion Pictures},
	author = {Lathan, Stan and Belafonte, Harry and Picker, David V.},
	year = {1984},
	keywords = {Graffiti, Movie},
}

@book{law_buffo_1982,
	address = {London},
	series = {Pocketbook series},
	title = {Buffo! {A} {Short} {Anthology} of {Political} {Pranks} and {Anarchic} {Buffoonery}},
	language = {English},
	publisher = {Spectacular Times},
	editor = {Law, Larry},
	year = {1982},
	keywords = {Graffiti},
}

@book{law_buffo_1985,
	address = {London},
	edition = {Second},
	title = {Buffo! {A} {Short} {Anthology} of {Political} {Pranks} and {Anarchic} {Buffoonery}},
	isbn = {978-0-907837-09-1},
	language = {English},
	publisher = {Spectacular Times},
	editor = {Law, Larry},
	year = {1985},
	keywords = {Graffiti},
}

@article{lazaridis_like_2021,
	title = {“{Like} {Wringing} {Water} from a {Stone}!” {Information} {Extraction} from {Two} {Rock} {Graffiti} in {North} {Kharga}, {Egypt}},
	volume = {4},
	issn = {2571-9408},
	doi = {10.3390/heritage4030127},
	abstract = {In the course of the last ten years, the North Kharga Oasis–Darb Ain Amur Survey team, led by Salima Ikram (American University in Cairo), has been exploring a network of interconnected desert paths in Egypt’s Western Desert, known as Darb Ain Amur. These marked paths run between Kharga Oasis and Dakhla Oasis, linking them to Darb el-Arbain, a notorious caravan route facilitating contacts between Egypt and sub-Saharan Africa since prehistoric times. Ancient travelers using the Darb Ain Amur spent several days in the midst of the Western Desert and were thus forced to use areas around sandstone rock outcrops as makeshift stopovers or camping sites. During these much-needed breaks, ancient travelers identified accessible, inscribable surfaces on the towering sandstone massifs and left on them their personalized markings. In this essay, I examine two short rock graffiti carved by such travelers in a site north of Kharga Oasis, focusing on the types of information one may extract from such ancient epigraphic materials.},
	language = {English},
	number = {3},
	journal = {Heritage},
	author = {Lazaridis, Nikolaos},
	year = {2021},
	note = {Num Pages: 8},
	keywords = {Graffiti, Egypt, Epigraphy, Desert, Karga, Rock graffiti},
	pages = {2253--2260},
}

@article{le_bas_unite_2023,
	title = {Unite, {Liberate}, and {Create}: {A} {Gypsy}, {Roma}, {Traveller} {Space} at {Glastonbury}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Le Bas, Damien and Haggarty, Sam},
	year = {2023},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, Glastonbury, Gypsy},
	pages = {61--66},
}

@article{le_bert_inscripciones_2021,
	title = {Inscripciones callejeras en tiempo de malestar: un análisis etno-semiótico de imágenes del estallido social en {Chile}},
	volume = {2},
	issn = {2452-574X},
	doi = {10.22370/syt.2021.3.2686},
	abstract = {La práctica de caminar es un acto de interacción que estimula nuestros sentidos de percepción y que nos ayudan a leer la ciudad. Si nos concentramos particularmente en el sentido de la vista, podemos reconocer etnográficamente las marcas inscritas sobre muros, monumentos, esquinas, semáforos, estaciones de metro. Diferentes marcas escriturales que, a modo de contexto, dan cuenta de eventos asociados al estallido social vivido en Santiago, Chile, durante los últimos meses del 2019. De hecho, al caminar por las calles de Santiago podemos observar múltiples marcas que nos interpelan, imágenes y frases que, en síntesis, transmiten el fin de un proyecto histórico, o la sensación de un malestar social acumulado por muchas décadas, y definido colectivamente como el malestar de vivir bajo una subjetividad liberal que se manifiesta desde una comprensión de normalidad asociada a estilos de vida. El presente artículo, que se encuentra en progreso, tiene el objetivo de visibilizar el cuestionamiento de esta normalidad mediante una lectura etnosemiótica, la cual busca decodificar los signos y estilos que le dan cuerpo a los múltiples mensajes que expresan el malestar general de la sociedad frente a un estilo de vida identificado con el “modelo neoliberal”, y que se proyectó en cada una de las fotografías que tomamos durante el período del estallido social, en los entornos cercanos a la “Plaza Italia-Baquedano-Dignidad” en Santiago, Chile.},
	language = {Spanish},
	number = {3},
	journal = {Sur y Tiempo: Revista de Historia de América},
	author = {Le Bert, Juan and Soto, Maximiliano},
	year = {2021},
	note = {Num Pages: 20},
	keywords = {Graffiti, Chili},
	pages = {66--85},
}

@book{leary_graffiti_1969,
	address = {Greenwich},
	title = {Graffiti: {Those} private scrawls on public walls},
	language = {English},
	publisher = {Fawcett Publications},
	author = {Leary, Bill},
	year = {1969},
	keywords = {Graffiti},
}

@book{leet_gangs_2000,
	address = {Incline Village},
	edition = {Second},
	title = {Gangs, graffiti, and violence: {A} realistic guide to the scope and nature of gangs in {America}},
	isbn = {1-928916-02-3},
	language = {English},
	publisher = {Copperhouse Publishing Company},
	author = {Leet, Duane A. and Rush, George E. and Smith, Anthony M.},
	year = {2000},
	keywords = {Graffiti, Gangs, USA},
}

@book{lefranc_guide_2019,
	address = {Villeloin Coulangé},
	series = {{GraffitiArt}},
	title = {Le {Guide} de l'art contemporain urban 2019},
	language = {French; English},
	publisher = {Financière de loisirs},
	author = {Lefranc, Jean-Martial and Cabrera, Élodie and Audibert, Laura and Delcourt, Maxime and {Aruallan}},
	translator = {Planquelle, Hélène},
	year = {2019},
	keywords = {Graffiti, Street art, Urban art},
}

@book{legrain_agyptische_1915,
	address = {Strassburg},
	title = {Ägyptische und griechische {Inschriften} und {Graffiti} aus den {Steinbrüchen} des {Gebel} {Silsile} ({Oberägypten}): {Nach} den {Zeichnungen} von {Georges} {Legrain}},
	url = {https://www.degruyter.com/isbn/9783111514383},
	language = {German},
	publisher = {Verlag Von Karl J. Trübner},
	author = {Legrain, Georges and Preisigke, Friedrich and Spiegelberg, Wilhelm},
	year = {1915},
	keywords = {Graffiti, Egypt, Greek, Ancient graffiti, Egyptian},
}

@book{lemoine_art_2021,
	address = {Paris},
	edition = {Nouvelle édition},
	series = {Découvertes {Gallimard}. {Arts}},
	title = {L'art urbain: {Du} graffiti au street art},
	isbn = {978-2-07-289908-9},
	abstract = {Vandalisme pour les uns, expression digne de figurer dans les musées pour les autres, l'art urbain a toujours été marqué par l'ambivalence. Né dans les années soixante de part et d'autre de l'Atlantique, il hérite aussi bien de la publicité que des avant-gardes politiques. Porté par une poignée d'artistes conceptuels ou frondeurs en rupture avec l'institution et le marché, il s'affirme également comme la quête de reconnaissance des laissés-pour-compte. Irrévérencieux, sulfureux voire insurrectionnel, il n'évite pas toujours le mercantilisme ni les sirènes de la commande publique. Regardé comme un délit lorsqu'il se déploie dans la rue, il est célébré dans les galeries d'art et les musées... A travers un panorama richement illustré, Stéphanie Lemoine restitue la diversité d'une forme d'expression toujours controversée malgré une histoire de près de soixante ans, où se mêlent graffitis, oeuvres conceptuelles, happenings et)(ontre-) propagandes.},
	language = {French},
	number = {584},
	publisher = {Gallimard},
	author = {Lemoine, Stéphanie},
	year = {2021},
	keywords = {Graffiti, Street art, Urban art},
}

@book{lennon_conflict_2021,
	address = {Chicago; London},
	title = {Conflict graffiti: {From} revolution to gentrification},
	isbn = {978-0-226-81569-5},
	abstract = {This study examines the waves of graffiti that occur before, during, and after a conflict—important tools of political resistance that make protest visible and material. 
Graffiti makes for messy politics. In film and television, it is often used to create a sense of danger or lawlessness. In bathroom stalls, it is the disembodied expression of gossip, lewdness, or confession. But it is also a resistive tool of protest, making visible the disparate voices and interests that come together to make a movement. 
In Conflict Graffiti, John Lennon dives into the many permutations of graffiti in conflict zones—ranging from the protest graffiti of the Black Lives Matter movement in Ferguson and the Tahrir Square demonstrations in Egypt, to the tourist-attraction murals on the Israeli Separation Wall and the street art that has rebranded Detroit and post-Katrina New Orleans. Graffiti has played a crucial role in the revolutionary movements of these locales, but as the conflict subsides a new graffiti and street art scene emerges—often one that ushers in postconflict consumerism, gentrification, militarization, and anesthetized forgetting. 
Graffiti has an unstable afterlife, fated to be added to, transformed, overlaid, photographed, reinterpreted, or painted over. But as Lennon concludes, when protest movements change and adapt, graffiti is also uniquely suited to shapeshift with them.},
	language = {English},
	publisher = {University of Chicago Press},
	author = {Lennon, John},
	year = {2021},
	keywords = {Graffiti, Revolution, Politics, Gentrification, Conflict archaeology},
}

@article{leveratto_planned_2015,
	title = {Planned {To} {Be} {Reclaimed}: {Public} {Design} {Strategies} for {Spontaneous} {Practices} of {Spatial} {Appropriation}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.11},
	abstract = {Several contemporary studies on public space focus on its loss, in relation to an increase in people’s disengagement fromthese types of spaces. Since the 1960s, a considerable part of urban culture has attempted to develop strategies for peopleto re-appropriate public space and to ‘inhabit the city again.’ This has defined a line of research that, although now consolidated,is still little known in its complexity. In the effort to create a unified framework for the different attempts through whicharchitecture has historically responded to the rise of spontaneous forms of urban creativity, this paper outlines a short historyof design strategies aimed at enabling and encouraging different forms of spatial appropriation. It also highlights a gradualshift from prescriptive and repeatable rules to site-specific approaches, prompting a new disciplinary convergence betweenurban planning and design, interior architecture, industrial design and public art.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Leveratto, Jacopo},
	year = {2015},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {6--12},
}

@article{levin_roman_2019,
	title = {Roman {Graffiti}: {A} {Study} of {Deterioration} and {Stratification} on {Subway} {Trains} (1992–2019)},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Levin, Jonathan},
	year = {2019},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art, Train, Subway, Rome, Stratification, Temporal change},
	pages = {89--97},
}

@article{levine_when_2015,
	title = {When {Art} {Is} the {Weapon}: {Culture} and {Resistance} {Confronting} {Violence} in the {Post}-{Uprisings} {Arab} {World}},
	volume = {6},
	doi = {10.3390/rel6041277},
	abstract = {This article examines the explosion of artistic production in the Arab world during the so-called Arab Spring. Focusing on music, poetry, theatre, and graffiti and related visual arts, I explore how these “do-it-yourself” scenes represent, at least potentially, a “return of the aura” to the production of culture at the edge of social and political transformation. At the same time, the struggle to retain a revolutionary grounding in the wake of successful counter-revolutionary moves highlights the essentially “religious” grounding of “committed” art at the intersection of intense creativity and conflict across the Arab world.},
	language = {English},
	number = {4},
	journal = {Religions},
	author = {Levine, Mark},
	year = {2015},
	note = {Num Pages: 37},
	keywords = {Graffiti, Egypt, Arab uprising, Tahrir Square},
	pages = {1277--1313},
}

@book{levin-richardson_brothel_2019,
	address = {Cambridge},
	title = {The brothel of {Pompeii}: {Sex}, class, and gender at the margins of {Roman} society},
	isbn = {978-1-108-49687-2},
	abstract = {In this book, Sarah Levin-Richardson offers the first authoritative examination of Pompeii's purpose-built brothel, the only verifiable brothel from Greco-Roman antiquity. Taking readers on a tour of all of the structure's evidence, including the rarely seen upper floor, she illuminates the subculture housed within its walls. Here, prostitutes could flout the norms of society and proclaim themselves sexual subjects and agents, while servile clients were allowed to act as 'real men'. Prostitutes and clients also exchanged gifts, greetings, jokes, taunts, and praise. Written in a clear, engaging style, and accompanied by an ample illustration program and translations of humorous and haunting graffiti, Levin-Richardson's book will become a new touchstone for those interested in the history of women, slavery, and prostitution in the classical world.},
	language = {English},
	publisher = {Cambridge University Press},
	author = {Levin-Richardson, Sarah},
	year = {2019},
	doi = {10.1017/9781108655040},
	keywords = {Graffiti, Pompeii, Roman archaeology, Sex, Brothel},
}

@article{levy_spray_2023,
	title = {Spray without politics? {Contrasting} street-based perceptions and computer vision framings of graffitied {Rome}},
	volume = {29},
	issn = {1354-8565},
	doi = {10.1177/13548565231155076},
	abstract = {The city of Rome has been a contested site for unauthorized graffiti since antiquity. Modern times have seen graffiti practices endure in their disruptive form and viral versions of digital street art. This paper applies critical, speculative methods to approximate distinct areas of graffiti research into a common framework of analysis. The idea was to offer insights into graffiti audiencing on digital and street-based spheres of perception while discussing the method’s limitations. After listing convergences and divergences between human-centric and algorithm-centric viewpoints, results revealed an interesting set of details uniquely brought up by computer vision metadata, but which, in turn, exposed limitations in recgonizing graffiti as a politicized practice with deep radical roots.},
	language = {English},
	number = {3},
	journal = {Convergence: The International Journal of Research into New Media Technologies},
	author = {Levy, Helton and Diamanti, Eleonora},
	year = {2023},
	note = {Num Pages: 19},
	keywords = {Graffiti, Street art, Perception, VR (Virtual Reality), Italy, Rome, AR (Augmented Reality)},
	pages = {766--784},
}

@book{lewisohn_street_2009,
	address = {London},
	title = {Street art: {The} graffiti revolution},
	isbn = {978-1-85437-875-0},
	abstract = {This is a lavishly illustrated insider's guide to street art that is both global in scope and in touch with local scenes. Featuring rare interviews with leading practitioners of the last thirty years, it includes work by artists such as Banksy, Blek le Rat, Futura 2000, Miss Van and Os Gemeos.},
	language = {English},
	publisher = {Tate Publishing},
	author = {Lewisohn, Cedar},
	year = {2009},
	keywords = {Graffiti, Banksy, Street art, Cultural heritage, City},
}

@article{ley_urban_1974,
	title = {Urban graffiti as territorial markers∗},
	volume = {64},
	doi = {10.1111/j.1467-8306.1974.tb00998.x},
	abstract = {Wall graffiti can be indicators of attitudes, behavioral dispositions, and social processes in settings where direct measurement is difficult. The autographed inscriptions of inner city “graffiti kings”in Philadelphia are analyzed in terms of their style, motivation, and preferred setting. Graffiti written by teenage gangs delineate their turf or area of control; their content may indicate contested space and gang violence. Graffiti in an ethnic neighborhood identify tension zones related to social change.},
	language = {English},
	number = {4},
	journal = {Annals of the Association of American Geographers},
	author = {Ley, David and Cybriwsky, Roman},
	year = {1974},
	note = {Num Pages: 15},
	keywords = {Graffiti, Gangs, USA, Urban space, Philadelphia},
	pages = {491--505},
}

@book{lieb_graffiti_2017,
	address = {Wien},
	series = {Stimulus: {Mitteilungen} der Österreichischen {Gesellschaft} für {Germanistik}},
	title = {Graffiti: deutschsprachige {Auf}- und {Inschriften} in sprach- und literaturwissenschaftlicher {Perspektive}},
	isbn = {978-3-7069-0942-6},
	abstract = {Der Band setzt das aktuelle philologische Interesse an der „Materialität der Kommunikation“ praktisch um. Thema sind reale und imaginierte Inschriften und deren sprachlichen Eigengesetztlichkeiten, denen in detaillierten Einzelstudien nachgegangen wird. Das Spektrum der Gegenstände reicht von mittelalterlichen Federproben über frühneuzeitliche Bauminschriften bis hin zu modernen Graffiti. Sichtbar werden dabei die impliziten und expliziten Regeln in den Traditionen inschriftlicher Kommunikation und materialer Textkulturen.},
	language = {German},
	number = {24},
	publisher = {Praesens Verlag},
	editor = {Lieb, Ludger and Müller, Stephan and Tophinke, Doris},
	year = {2017},
	keywords = {Graffiti},
}

@article{lima_pixed_2018,
	title = {The {Pixed} {City} / {Xarpi} and the {Body}-{Landscape}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.120},
	abstract = {With the theme PiXação, subject Xarpi and object racism, the article talks about the enigmatic sense of risk of life, which accompanies the “being” of the city of Rio de Janeiro. Through the piXador / Xarpi crime, the analysis focuses on judgments, somehow, on the existing capital punishment in the logic of living another city, where the landscape becomes the body of the city.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Lima, Samuel},
	year = {2018},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Racism, Pixação, Body-landscape, Xarpi},
	pages = {28--35},
}

@article{lind_keeping_2023,
	title = {Keeping the {Streets} {Wild} with {Stencibility}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Lind, Kadri and Sirla},
	year = {2023},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art, Stencil graffiti},
	pages = {85--93},
}

@book{litvin_2create_2016,
	address = {Atglen},
	title = {2create: {Art} {Collaborations} in {New} {York} {City}},
	isbn = {978-0-7643-5265-2},
	abstract = {This beautifully designed book showcases the work of nine pairs of New York City's finest graffiti and street artists, delving deep into their backgrounds, techniques, and collaborative processes. Each duo consists of artists with unique styles who come together to create a larger-than-life work of street art in a neighborhood in New York, the birthplace of modern graffiti. Witness the immense creative potential of collaborations that have produced stunning examples of classic graffiti, collage work, screen printing, and murals. Each chapter provides access to a mysterious underworld, leading readers to secretive meetings of creative minds out of which ephemeral, yet nonetheless remarkable, works are born and later transferred onto walls, rooftops, trucks, and subway platforms. The combination of revealing interviews and colorful action photography produces a narrative arc of relationships--formed between individuals from diverse backgrounds and creative upbringings--that follows the artistic process from creative spark to collaborative masterpiece.},
	language = {English},
	publisher = {Schiffer Publishing Ltd},
	author = {Litvin, Yoav},
	year = {2016},
	keywords = {Graffiti, New York, USA},
}

@article{lohberger_graffiti_2019,
	title = {Graffiti - ist das {Kunst}?},
	url = {https://www.diepresse.com/5693401/graffiti-ist-das-kunst},
	abstract = {Graffiti und Tags sind in den Galerien angekommen. Das Genre Street-Art scheint etabliert zu sein. Und doch bleibt eine Irritation: Ist das Kunst?},
	language = {German},
	journal = {Die Presse},
	author = {Lohberger, Paul},
	month = sep,
	year = {2019},
	keywords = {Graffiti, Art},
}

@book{lohmann_graffiti_2018,
	address = {Berlin; Boston},
	series = {Materiale {Textkulturen}},
	title = {Graffiti als {Interaktionsform}: {Geritzte} {Inschriften} in den {Wohnhäusern} {Pompejis}},
	isbn = {978-3-11-057036-6},
	language = {German},
	number = {16},
	publisher = {Walter de Gruyter GmbH},
	author = {Lohmann, Polly},
	year = {2018},
	keywords = {Graffiti, Italy, Pompeii, Roman archaeology},
}

@book{lohmann_historische_2018,
	address = {Stuttgart},
	title = {Historische {Graffiti} als {Quellen}: {Methoden} und {Perspektiven} eines jungen {Forschungsbereichs}},
	isbn = {978-3-515-12204-7},
	abstract = {Das Bedürfnis, ein Zeichen der eigenen Anwesenheit zu hinterlassen, ist eine Kulturkonstante, die sich durch alle Epochen der Menschheitsgeschichte zieht. Namen, Berufssymbole, Porträtzeichnungen oder Handabdrücke sind Ausdruck der eigenen Identität und kennzeichnen Plätze, die von Menschen besucht wurden oder an denen sich Menschen aufgehalten haben. Solche Erinnerungsgraffiti verbinden Schicksale mit Orten und liefern Informationen über die Menschen, die z. B. das antike Pompeji belebten, mittelalterliche Pilgerorte bereisten oder im Gestapogefängnis in Köln gefangen gehalten wurden. Mit jeglichen gerade verfügbaren Schreibmaterialien angefertigt, geben sie Einblicke in spezifische Situationen und Lebensumstände, die sich aus anderen Quellengattungen in dieser Form nicht erschließen lassen: Sie verweisen auf die Bedeutung bestimmter Orte oder geben Einblicke in das Alltagsleben. Erstmals zeigen die Autorinnen und Autoren mit dieser diachronen Zusammenstellung historischer Graffiti auf, für welche unterschiedlichen Lebensbereiche, Personen oder Gruppen die informellen Inschriften als Quellen fungieren können.},
	language = {German},
	publisher = {Franz Steiner Verlag},
	editor = {Lohmann, Polly},
	year = {2018},
	keywords = {Graffiti},
}

@article{lohmann_historical_2020,
	title = {Historical {Graffiti}: {The} {State} of the {Art}},
	volume = {9},
	doi = {10.13128/jems-2279-7149-11189},
	abstract = {The article summarises the current situation in relation to projects and approaches to the study of wall graffiti from all periods of history, referring particularly, but not exclusively, to the conference ‘Historical Graffiti as Sources, Munich, 20-22 April 2017’. It argues that graffiti act as valuable sources in a variety of ways and a multitude of contexts – e.g. recording business transactions in the Roman town of Virunum, following the trails of medieval pilgrims, offering a terminus ante quem for the construction of a building, or passing down the names of prisoners killed in the Gestapo prison in Cologne. The comparison of ancient, medieval and modern graffiti shows that the majority of such inscriptions consist of name tags often combined with specific identity markers. They could function as representatives of their authors and guaranteed a longer lasting symbolic presence in, or in connection to a place. Long neglected as supposedly products of the lower classes, graffiti seem rather to have been made by members of society who possessed at least basic literacy; and to have often been left even by the élite of a given society, including ancient Egyptian priests and medieval/early modern European nobles.},
	language = {English},
	journal = {Journal of Early Modern Studies},
	author = {Lohmann, Polly},
	year = {2020},
	note = {Num Pages: 19},
	keywords = {Graffiti, Epigraphy, Pompeii, Historical archaeology, Historical graffiti},
	pages = {37--55},
}

@article{lohmann_tagging_2020,
	title = {Tagging in {Antiquity}: {Pompeian} {Graffiti} {Between} {Individuality} and {Convention}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.216},
	abstract = {The history of leaving an individual mark behind reaches back to at least the Palaeolithic age, when early humans left negative imprints of their hands on the walls of caves. These negative handprints were produced by blowing pigment onto one hand, so that its life-sized outline would stay visible.1 In past societies with developed writing systems, such as ancient Egypt, Greece, and the Roman Empire, written name tags would appear on man-made and natural surroundings, such as the walls and floors of buildings or caves as well as on rocks or trees.2 Even if a name was not always unique, it was a person’s official identifier and therefore the personal mark left behind most frequently. In the same literate societies, however, we also find handprints left as personal traces3 – like the written tags of the same eras, these were either incised into a surface with sharp stones or metal writing implements, or drawn in colour. Apparently, these hands, as a kind of physical imprint, were understood as individual markers in the same way as name tags and portrait sketches (which sometimes bore the addition of a name), even if they occur much more rarely than their written counterparts in Roman times. 
This paper was presented at the international conference “Tag. Name Writing in Public Space” at the John-F.-Kennedy-Institut, Freie Universität Berlin in September 2017. The event centred neither on personal marks nor graffiti in general, however, but on the practice of tagging. Tagging is part of modern graffiti culture, and tags – informal, non-commissioned inscriptions of names by visitors, passers-by, and inhabitants – form a large part of historical graffiti as well. The term graffiti is, nonetheless, a problematic one when one regards the diverse practices and forms to which it is usually applied and the eras they span (from historical graffiti to modern street art). The tags therefore represent an appropriate selection to avoid or minimalise the methodological difficulties in bringing together material from different cultures and times. This essay deals with one of the few large collections of ancient graffiti we possess: those from the ancient Roman city of Pompeii, situated in the region of Campania on the southwestern coast of Italy.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Lohmann, Polly},
	year = {2020},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Epigraphy, Pompeii, Roman archaeology, Roman graffiti, Ancient graffiti, Herculaneum},
	pages = {6--12},
}

@techreport{loiq_graffitips_2017,
	title = {Graffitips},
	language = {English},
	author = {Loiq},
	year = {2017},
	note = {Num Pages: 31},
	keywords = {Graffiti, Comic},
	pages = {31},
}

@article{lopez-iglesias_banksy_2022,
	title = {Banksy in commercial communication. {Street} {Art} and appropriationism},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.611},
	abstract = {The advertising market draws on elements and aesthetics from other areas and disciplines, appropriating artistic imaginaries of Street Art, subverting them to change the user's perception of messages. The media increasingly show creative solutions that take ideas from the art world as a reference. They reuse pre-existing images to give them a new message that responds to a different discourse. In this article, we will study how the imaginary of advertising appropriates urban movements, analysing the influences of the artist Banksy on persuasive commercial activity and vice versa. The conclusions of this analysis are that the very appropriation, an inherent consequence of the art and advertising binomial, improves the creative dimension of the works in both areas. Communication tends to reuse the artistic imaginary for commercial purposes, while the artist drinks from commercial aesthetics to represent the reality in which he lives. There is also a proliferation of the number of pieces related to the actions of the author Banksy in recent years. Observing iconography and techniques of persuasive communication in the work of this anonymous author.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {López-Iglesias, Matías and Martín-Ortega, Lara and Bellido-Blanco, Santiago},
	year = {2022},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Banksy, Street art, Advertising},
	pages = {120--131},
}

@book{lossau_uses_2015,
	address = {New York; Abingdon},
	series = {Routledge {Advances} in {Art} and {Visual} {Studies}},
	title = {The uses of art in public space},
	isbn = {978-1-138-79760-4},
	abstract = {This book links two fields of interest which are too seldom considered together: the production and critique of art in public space and social behaviour in the public realm. Whilst most writing about public art has focused on the aesthetic, cultural and political intentions and processes that shape its production, this edited collection examines a variety of public artworks from the perspective of their actual everyday use. Contributors are interested in the rich diversity of peoples’ engagements with public artworks across various spatial and temporal scales, encounters which do not limit themselves to the representational aspects of the art, and which are not necessarily as the artist, curator or sponsor intended. Case studies consider a broad range of public art, including commissioned and unofficial artworks, memorials, street art, street furniture, performance art, sound art and media installations.},
	language = {English},
	publisher = {Routledge},
	editor = {Lossau, Julia and Stevens, Quentin},
	year = {2015},
	keywords = {City, Contemporary art, Visual culture, Urban geography, Urban landscape},
}

@article{lousa_street_2015,
	title = {Street {Artist}: {Urban} {Flanêurie}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.32},
	abstract = {It is the goal of this paper to aesthetically rethink Street Art’s artistic process and question its narrative in urban and public space. We intend to highlight the anonymity, ephemeral, and transitory element as a key feature of its artistic creation. To this end, we will use as a starting point the relationship between the street artist and Baudelaire’s flanêur, to reach Foucault’s point of view, which somehow finds the key to the street artist’s aesthetic features, synthesized in the understanding of Baudelaire’s modernity, understood not as a mere historical period, but rather as an “attitude.”},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Lousa, Teresa},
	year = {2015},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Street art},
	pages = {70--71},
}

@book{lovata_understanding_2015,
	address = {Abingdon; New York},
	title = {Understanding graffiti: {Multidisciplinary} studies from prehistory to the present},
	isbn = {978-1-61132-868-4},
	language = {English},
	publisher = {Routledge},
	editor = {Lovata, Troy R. and Olton, Elizabeth},
	year = {2015},
	keywords = {Graffiti},
}

@book{lowenthal_past_2015,
	address = {Cambridge},
	title = {The past is a foreign country - revisited},
	isbn = {978-0-521-61685-0},
	abstract = {The past remains essential - and inescapable. A quarter-century after the publication of his classic account of man's attitudes to his past, David Lowenthal revisits how we celebrate, expunge, contest and domesticate the past to serve present needs. He shows how nostalgia and heritage now pervade every facet of public and popular culture. History embraces nature and the cosmos as well as humanity. The past is seen and touched and tasted and smelt as well as heard and read about. Empathy, re-enactment, memory and commemoration overwhelm traditional history. A unified past once certified by experts and reliant on written texts has become a fragmented, contested history forged by us all. New insights into history and memory, bias and objectivity, artefacts and monuments, identity and authenticity, and remorse and contrition, make this book once again the essential guide to the past that we inherit, reshape and bequeath to the future.},
	language = {English},
	publisher = {Cambridge University Press},
	author = {Lowenthal, David},
	year = {2015},
	keywords = {Graffiti, Cultural heritage, History},
}

@article{luisa_castro_lisbon_2021,
	title = {Lisbon vs {Porto}: {Contrasts} in {Urban} {Art} {Public} {Management}},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i1.484},
	abstract = {Urban Art is considered one of the most important artistic movements of the 21st century and Portugal is not behind on this trend. Many of its cities are authentic open air museums and portuguese artists — like Vhils, Bordallo II and Mr. Dheo — are distinguished all over the World. The two main cities of Portugal — Lisbon and Porto — have invested a lot of their efforts, combating vandalism, legitimizing urban art, legalizing murals and supporting street artists. In Lisbon, GAU (Galeria de Arte Urbana) has sponsored dozens of legal murals and allowed for the painting of several others by private interests. Porto’s Urban Art Program started a few years later but has since funded several murals and authorized artistic events by private businesses. 
In this article two PHD students collaborate to analyze the development of urban art in both Lisbon and Porto, mainly focusing on the last decade; to understand the contrasts on the artistic management of public art; and to examine its possible impacts in Lisbon and Porto.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Luísa Castro, Ana and Gariso, Ana},
	year = {2021},
	note = {Num Pages: 14
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Portugal, Mural art, Muralism, Lisbon, Porto},
	pages = {28--41},
}

@article{luna_welcome_1987,
	title = {Welcome to my nightmare: {The} graffiti of homeless youth},
	volume = {24},
	issn = {0147-2011},
	doi = {10.1007/BF02695581},
	language = {English},
	number = {6},
	journal = {Society},
	author = {Luna, C. Cajetan},
	year = {1987},
	note = {Num Pages: 6},
	keywords = {Graffiti, South Africa},
	pages = {73--78},
}

@article{luque_rodrigo_comparative_2021,
	title = {Comparative analysis of street art cataloguing projects in the cities of {Monterrey} ({Mexico}) and {Jaen} ({Spain}): {Proposal} for the inclusion of communities},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i1.467},
	abstract = {In the last few months of 2020 and the first half of 2021, two street art cataloguing projects have been carried out in two cities in different countries that have made it possible to put methodological proposals into practice that until now have remained mainly at a theoretical level. This is the project "Painted on the wall. Study of wall painting in the province of Jaen in the XX-XXI centuries; financed by the Institute of “Giennense” Studies (Provincial Government of Jaen) and the project;The commissioned street art murals creation of the cultural-artistic Festival of Urban Expressions CALLEGENERA " in the city of Monterrey, financed by the Mexican Programme for the Promotion of Cultural Projects and Co-investments. In these projects, methodological systems for working and collecting information, cataloguing cards and models for interviewing different artists have been developed, with a common theoretical basis, such as the proposals that emerged within the GEIIC Street Art and Commissioned Street Art Murals Group, and taking into account the proposals of the CAPuS project and YOCOCU. For this reason, this paper analyses both projects in terms of their methods and results, and draws conclusions about which options have worked best from the perspective of optimising resources for future projects. A proposal is also made to improve the street art cataloguing cards by including information about the correlation between the work and the communities surrounding it, since street art only makes sense in its context, and some of this information is lost when the cards are made. Furthermore, from the perspective of taking possible action for the preservation of the artwork, a relationship with the communities in which they are integrated is fundamental.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Luque Rodrigo, Laura and Díaz Fernández, Adris and Moral Ruiz, Carmen},
	year = {2021},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Archiving, Documentation, Spain, Jaen, Mexico, Monterrey},
	pages = {80--91},
}

@article{luque_rodrigo_apropiaciones_2021,
	title = {Apropiaciones artísticas del espacio público: del graffiti, artivismo urbano y arte relacional, a la ocupación simbólica cibernética},
	volume = {25},
	issn = {1889-979X},
	doi = {10.6018/reapi.506241},
	abstract = {La configuración de las ciudades es reflejo de la sociedad que la habita y de aquellas que algún día ocuparon ese espacio, pero también el urbanismo tiene la capacidad de condicionar la vida de sus habitantes, por lo que es una preocupación connatural al ser humano desde que dejó la vida nómada. El urbanismo y la arquitectura racionalista, impuesta desde finales del siglo XIX y muy especialmente en el siglo XX, han dado lugar a serios problemas que se reflejan en movimientos intelectuales, sociales y artísticos que han reivindicado un espacio urbano más humano y habitable. Así, son fundamentales los planteamientos surgidos en el propio seno de la calle, desde la ocupación del espacio de manera hermética por parte del graffiti, a las propuestas del arte urbano y su vinculación con el Situacionismo, pasando por el artivismo y las propuestas de arte relacional que implican de forma activa a las comunidades. Sin embargo, en los últimos años y sobre todo desde los confinamientos por la pandemia de COVID 19 acaecidos en 2020, la virtualización de lo urbano está generando nuevos planteamientos conceptuales que serán abordados en el este texto, tomando como principal ejemplo la obra de la giennense Nati Rodríguez.},
	language = {Spanish},
	journal = {Arte y Políticas de Identidad},
	author = {Luque Rodrigo, Laura and Moral Ruiz, Carmen},
	year = {2021},
	note = {Num Pages: 25},
	keywords = {Graffiti, Street art, Public art},
	pages = {118--142},
}

@article{luque_rodrigo_complex_2021,
	title = {The complex task of cataloguing street and public art: {A} methodology applied in works in {Jaen} ({Spain})},
	volume = {3},
	doi = {10.48619/cap.v3i1.468},
	abstract = {The research, conservation and divulgation of scientific knowledge of artistic works, begin with cataloguing process. The importance of cataloguing urban and public art stem from their ephemeral nature and dispersion. Social networks might contribute to identify this type of work of art. However, it is still necessary to connect the work of art to its urban context since it cannot be dissociated of it. The nature of this art implies the use of diverse techniques such as photogrammetry and interviews with the artists and actions like promoting collective projects which involves the community. 
Cataloguing urban art is an emerging issue with some new theoretical advance but barely enough practical experiences. The Group of Urban and Public Art belonging to the Spanish Group of International Institute for Conservation of Historic and Artistic Works, has developed some theoretical approaches taking into consideration the differences between graffiti, self-organized urban art and public art. These approaches and principles are now implemented in a research project in Jaén (Spain) entitled ‘Painted in wall. Study of wall paintings in the province of Jaén in the 20th and 21th centuries' funded by Instituto de Estudios Giennenses. 
The advances of this research are raised on this proposal paper. The example of a cataloguing card, a thesaurus and an application procedure which might be extrapolated to other examples. As a matter of fact, synergies are being generated with other projects like the cataloguing of work of art in Callegenera Festival in Monterrey (Mexico).},
	language = {English},
	number = {1},
	journal = {Public Art Journal},
	author = {Luque Rodrigo, Laura and Moral Ruiz, Carmen},
	year = {2021},
	note = {Num Pages: 14
Publisher: CAP - Public Art Journal},
	keywords = {Graffiti, Street art, Documentation, Urban art, Spain, Jaen, Mexico, Cataloging},
	pages = {36--48},
}

@book{lynam_parallel_2008,
	address = {Tokyo},
	title = {Parallel strokes},
	isbn = {978-0-615-18307-7},
	abstract = {About the Book Parallel Strokes is a collection of interviews with twenty-plus contemporary typefce designers, graffiti writers, and lettering artists around the world. The book is introduced with a comprehensive essay charting the history of graffiti, its relation to type design, and how the two practices relate in the wider context of lettering. Interviews within include conversations with pan-European type design collecitve Underware, Japanese type designer Akira Kobayashi, American graffiti writer and fine artist Barry McGee/Twist, German graffiti writers Daim and Seak, American lettering artist, graphic designer and design eductor Ed Fella, among others. Parallel Strokes is an enquiry into the history, context, and development of lettering today, both culturally approved and illicit. The result of a six years of research in the combined arts of lettering, graffiti, and typeface design, Parallel Strokes is a collection of interviews some of the best letterform creators in the world today. Chaz Bojorquez talks about the origins of barrio graffiti in Los Angeles and the evolution of the craft. Fellow Angeleno, vernacular graphic designer Ed Fella, speaks about his history in lettering and how he earned the title "The King of Zing" in Detroit design and illustration circles. Famed Japanese type designer Akira Kobayashi discusses Roman and Japanese letterforms while showcasing a lifetime of type design work. European graffiti writers Daim, Seak, and Delta share their thoughts on dimensional graffiti lettering while American graffiti writer Mike Giant talks about vernacular lettering, typeface design, and the evolution of graffiti handstyles. Parallel Strokes is richly illustrated throughout, featuring copious previously unpublished work by the interviewed artists, as well as supplementary illustrations and photographs detailing contemporary and historical trends in graffiti and type design.},
	language = {English},
	publisher = {Wordshape},
	author = {Lynam, Ian Michael},
	year = {2008},
	keywords = {Graffiti, Graffiti writing, Fonts, Typeface},
}

@phdthesis{lynn_graffiti_1999,
	address = {Mount Saint Vincent},
	title = {Graffiti. {What} you know is what you get},
	language = {English},
	author = {Lynn, N.},
	collaborator = {Mount Saint Vincent University},
	year = {1999},
	keywords = {Graffiti},
}

@article{lynn_racist_2005,
	title = {‘{Racist}’ graffiti: text, context and social comment},
	volume = {4},
	issn = {1470-3572},
	doi = {10.1177/1470357205048935},
	abstract = {The research project, upon which this article is based, conceptualizes the act of graffiti in Bakhtinian terms as a ‘heteroglot’ tangible ‘utterance’: one that is uniquely visual, lexical, and time, place and space specific. The project set out to locate and examine ‘racist’ graffiti; specifically graffiti motivated or prompted by the presence of refugees or ‘asylum seekers’. Despite media reports suggesting that such graffiti was widespread, it proved almost impossible to find. Drawing upon a case study carried out in Sighthill Glasgow, the project was re-focused in order to explain the paucity of such graffiti. In so doing, alternate and clandestine forms of ‘racist’ graffiti became apparent. Inextricably linked to a ‘local code’ known and understood by residents, ‘asylum seekers’ and the local authority — who have responsibility for (re)defining and removing ‘racist’ graffiti — the social, ideological and institutional implications raised are particularly disturbing.},
	language = {English},
	number = {1},
	journal = {Visual Communication},
	author = {Lynn, Nick and Lea, Susan J.},
	year = {2005},
	note = {Num Pages: 25},
	keywords = {Graffiti, Racism},
	pages = {39--63},
}

@mastersthesis{mabie_deviance_2018,
	address = {Kalamazoo},
	title = {Deviance {Fluidity} on the {Urban} {Landscape}: {Graffiti} and {Street} {Art} as {Non}-{Normative} {Placemaking}},
	abstract = {Graffiti is recognized as an illegal deviant act. Sociologically, deviance is defined by the audience perceiving the act, rather than inherent in the act itself. In this context, deviance is subjective and fluid. This paper explores the spectrum of graffiti from criminal vandalism to celebrated art form in the context of its placement on the urban landscape. The fluidity of deviance is reflected in the concentration of different types of graffiti in different locations. The spatial distribution of graffiti writing, street art, and the equally illegal guerrilla marketing stickers, which mimic graffiti placement and street art styles, were collected in two gentrifying neighborhood commercial districts in the southeast quadrant of Grand Rapids, MI. Data of vandalism incidents were collected in 2014 and 2017 using a GPS device and analyzed using ArcGIS. The character of the neighborhoods was further explored through fieldwork. The analysis of neighborhood characteristics and graffiti location and type over time is used to illustrate how graffiti and deviance are delineated. Graffiti writers were interviewed to assess perspectives on urban space. Results indicate graffiti and street art to be non-normative methods of placemaking.},
	language = {English},
	school = {Western Michigan University},
	author = {Mabie, Alyson M.},
	year = {2018},
	keywords = {Graffiti, Street art, GIS (Geographic(al) Information System), Gentrification, ArcGIS, Geography},
}

@article{macchia_protection_2021,
	title = {Protection of {Urban} {Art} {Painting}: {A} {Laboratory} {Study}},
	volume = {14},
	doi = {10.3390/polym14010162},
	abstract = {Urban art is a form of artistic visual expression and communication that is created in the street and generally in the public dimension of urban spaces. Often these kinds of artworks are in outdoor environments, and they usually suffer from atmospheric weathering and anthropic vandalism. Recently, several strategies have been used to limit or remove the effects of such vandalism. Currently, the use of quartz paints is growing among artists; such paints after setting are more porous and rough on the surface with respect to regular paints. The aim of the study is to assess the performance of anti-graffiti coatings on quartz artworks paints. Two anti-graffiti products were chosen, and their behaviors were assessed in the laboratory by means of contact angle measurement, water capillary test, colorimetric analysis, and optical and electron microscopy. Results showed good water repellence efficacy of the tested products, demonstrating that they are suitable for the protection of urban art, but at least two applications on the surface are needed to achieve good performance.},
	language = {English},
	number = {1},
	journal = {Polymers},
	author = {Macchia, Andrea and Capriotti, Sara and Rivaroli, Laura and Ruffolo, Silvestro Antonio and La Russa, Mauro Francesco},
	year = {2021},
	pmid = {35012184},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Conservation, Murals, Graffiti removal},
	pages = {162},
}

@article{macchia_methods_2021,
	title = {Methods and {Products} for the {Conservation} of {Vandalized} {Urban} {Art} {Murals}},
	volume = {11},
	doi = {10.3390/coatings11111304},
	abstract = {The possibility of contemporary mural paintings to be “tagged” by vandals, with spray and/or markers, represents a serious problem for the conservation of urban art. The present study aims to define the applicability of a protective coating on murals’ surface to preserve them against vandalism. The research has been focused on anti-graffiti products currently used in the field of cultural heritage conservation. These products represent an optimum start point to preserve mural artwork from vandal actions. The commercially available anti-graffiti products have been compared with an innovative product, PRO-ART, specifically formulated by YOCOCU in collaboration with Pelicoat, for the conservation of murals. At the same time, it has tested the cleaning of contemporary murals by using different mixtures of solvents and surfactants. The experimentations have been carried out on external walls, followed by the conducting of in situ tests (application tests, empirical evaluations and colorimetric analysis), as well as laboratory investigations (contact angle and optical/electronic microscopy).},
	language = {English},
	number = {11},
	journal = {Coatings},
	author = {Macchia, Andrea and Castro, Margarida and Curbelo, Claudia and Rivaroli, Laura and Capriotti, Sara and Vieira, Eduarda and Moreira, Patrícia and Ruffolo, Silvestro Antonio and La Russa, Mauro Francesco},
	year = {2021},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Conservation, Murals, Graffiti removal},
	pages = {1304},
}

@article{macdonald_recording_2019,
	title = {Recording {Graffiti} in the {Black} {Desert}: {Past}, {Present}, and {Future}},
	volume = {7},
	issn = {2166-3548},
	doi = {10.5325/jeasmedarcherstu.7.2.0205},
	abstract = {Between the last century BC and the fourth century AD the nomads of the basalt deserts of southern Syria, Jordan, and northern Saudi Arabia learnt to read and write for the only time in their history before the present day. They covered the desert rocks with tens of thousands of graffiti, which tell us much about their way of life, their society, their relations with each other, with the Romans, Nabataeans, and others, and their personal feelings. However, there have been few systematic surveys to record them. Instead, many expeditions have moved from landmark to landmark, making hand copies or photographs of only some of the texts and no accurate record of their exact location. This has resulted in the loss of a great deal of data and this article explains the need for systematic and complete surveys of this material, which is of great importance historically, linguistically, and ethnologically.},
	language = {English},
	number = {2},
	journal = {Journal of Eastern Mediterranean Archaeology \& Heritage Studies},
	author = {Macdonald, Michael C. A. and Al-Manaser, Ali},
	year = {2019},
	note = {Num Pages: 18},
	keywords = {Graffiti, Jordan, Black Desert},
	pages = {205--222},
}

@book{macdonald_graffiti_2001,
	address = {Basingstoke; New York},
	title = {The {Graffiti} {Subculture}: {Youth}, {Masculinity} and {Identity} in {London} and {New} {York}},
	isbn = {0-333-78190-2},
	abstract = {This book is the most extensive contribution to our understanding of the graffiti subculture to date. Using insights from ethnographic research conducted in London and New York, the author explores the varying ways young men use graffiti to construct masculinity, claim power and establish independence from the institutions which define and often limit them as young people. Forging a link between subcultural practice and identity construction, this book will be essential reading for anyone interested in new understandings of youth and their subcultures.},
	language = {English},
	publisher = {Palgrave Macmillan},
	author = {Macdonald, Nancy},
	year = {2001},
	keywords = {Graffiti, New York, London},
}

@book{macdowall_instafame_2019,
	address = {Bristol; Chicago},
	title = {Instafame: {Graffiti} and street art in the {Instagram} era},
	isbn = {978-1-78320-983-5},
	abstract = {Instafame charts the impact of Instagram – one of the world’s most popular social media platforms – on visual culture in the decade since its launch. The book traces the intuitive connections between graffiti, street art and Instagram, arguing that social media’s unending battle for viewers’ attention is closely aligned with the eye-catching ethos of unsanctioned public art. Beginning with the observation that the scroll of images on a sideways phone screen resembles graffiti seen through the windows of a moving train, MacDowall moves outward to give us a wide-ranging look at how Instagram has already effected a dramatic shift in the making and viewing of both graffiti and street art. Using more than 23 million pieces of public data, Instafame is the most comprehensive study of the intertwined global fields of graffiti and street art to date, making visible its key players, institutions and patterns of taste.},
	language = {English},
	publisher = {Intellect},
	author = {MacDowall, Lachlan},
	year = {2019},
	keywords = {Graffiti, Street art, Instagram},
}

@article{macdowall_boneyard_2016,
	title = {A {Boneyard} of {Data}: {Graffiti} and {Street} {Art}’s {Temporalities}},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i2.53},
	abstract = {In the era of Instagram, graffiti and street art are increasingly produced as digital objects, shaped by the architecture of digital platforms and the aggregated responses of audiences, transmuted into data. This paper focuses on one aspect of this context: the complex temporal existence of graffiti and street art - their duration, speed and acceleration – across multiple time zones. It asks: how is the consumption of graffiti and street art as digital images affecting its production? Has digital culture accelerated the production of graffiti and street art, driving shorter, faster cycles of repainting, with a greater ephemerality matched by parallel and potentially infinite lives on digital servers and devices? Using data generated over a period of 500 days at a single suburban painting site dubbed ‘the Boneyard’, this paper attempts to track the accelerating rhythms of graffiti in digital culture. It uses a number of methods to map the duration of pieces on walls and their digital echoes, including Photographic recording, data visualisation and social network analysis. Ultimately, this research seeks to extend existing methods of longitudinal analysis and to make a broader argument about the effects of social media on graffiti’s aesthetic features.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {MacDowall, Lachlan John},
	year = {2016},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Instagram, Social media, Longitudinal study, Social network analyis, Temporality},
	pages = {48--59},
}

@article{macdowall_cultural_2017,
	title = {Cultural heritage and the ficto-critical method: {The} ballad of {Utah} and {Ether}},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.71},
	abstract = {Once dubbed “the Bonnie and Clyde of graffiti”, the globe-trotting, train-painting duo of Utah and Ether occupy a central place in contemporary graffiti folklore. Having both served jail time in the US for graffiti offenses, the couple skipped parole and embarked on a long term “probation vacation”, painting subway networks across Europe and Asia. Their exploits were carefully documented through photographs and web videos, including a collaboration with The Grifters, a ground-breaking video series. In 2016, Ether was again arrested and jailed while placing stickers on a Melbourne street. This paper considers the implications of Utah and Ether’s graffiti practice. Using ficto-critical writing techniques, it attempts to fill in the gaps of Utah and Ether’s fantasy life on the run and think through its implications for cultural heritage and graffiti research in a late capitalist world.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {MacDowall, Lachlan John},
	year = {2017},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Law, Ether, Utah},
	pages = {106--109},
}

@article{macdowall_peterhof_2018,
	title = {From {Peterhof} {Station} to {Crescenzago}: {Agit}-{Trains} and {Grifter}’s {Code}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {MacDowall, Lachlan John},
	year = {2018},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Train},
	pages = {39--42},
}

@article{macdowall_snitches_2020,
	title = {Snitches, {Glitches}, and {Untold} {Riches}: {Graffiti} and {Street} {Art} on {Instagram}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {MacDowall, Lachlan John},
	year = {2020},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Instagram, Social media},
	pages = {117--127},
}

@article{macdowall_off_2022,
	title = {Off the {Grid}: {Curating} {Flash} {Forward}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {MacDowall, Lachlan John},
	year = {2022},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art},
	pages = {82--89},
}

@article{macdowall_id_2017,
	title = {‘{I}’d {Double} {Tap} {That}!!’: street art, graffiti, and {Instagram} research},
	volume = {40},
	issn = {0163-4437},
	doi = {10.1177/0163443717703793},
	abstract = {Recent scholarship into the uses of social media has opened up productive ways of thinking about the dynamic relationship between user-generated content and new forms of sociality and social practice. However, compared with Twitter and Facebook, the photo- and video-sharing platform Instagram has received relatively little scholarly attention. Instagram is only the latest in a complex media history that has shaped a range of social practices, including graffiti and street art. This article considers the relationship between street art, graffiti, and mobile digital technologies, in particular the ways in which the production and consumption of forms of street art and graffiti are increasingly shaped by the architectures, protocols, and uses of Instagram. Beyond thinking conceptually about how Instagram is reshaping these practices, it also considers some analytic strategies for Instagram research that can illuminate this emerging and dynamic relationship. We also suggest that thinking of Instagram simply as another tool obscures both the complex issues of using Instagram metadata for research (privacy, the definition of publication, intellectual property, archiving, and conservation) and they ways in which the platform itself is in no way distinct from the cultural formations to which it promises access.},
	language = {English},
	number = {1},
	journal = {Media, Culture \& Society},
	author = {MacDowall, Lachlan John and de Souza, Poppy},
	year = {2017},
	note = {Num Pages: 20},
	keywords = {Graffiti, Instagram, Social media},
	pages = {3--22},
}

@book{macphee_realizing_2007,
	address = {Oakland; Edinburgh},
	title = {Realizing the impossible: {Art} against authority},
	isbn = {978-1-904859-32-1},
	abstract = {Protestors, rows of riot cops, tear gas lobbed into crowds—these are the images that easily flood into the mind when one thinks about a gathering to protest the IMF, the WTO, a meeting of the G8, or the war on Iraq. The movement against corporate globalization has brought anti-authoritarian politics into the forefront of world consciousness, but what do we know—and what have we seen, really—of the cultural and aesthetic sides of these and other rebellions against the status quo? To date, precious little has been written by anarchists and anti-authoritarians about the role of art and culture in society, and in revolutionary movements like these. 
Realizing the Impossible is an inclusive and sprawling collection of art and writings that addresses this gap in our understanding of revolutionary movements. Do-it--yourself printmaking, Zapatista video, street art in Argentina’s popular uprisings, radical puppetry, the monuments to Haymarket martyrs, turn-of-the-century Australian Industrial Workers of the World printmakers, illustrator Clifford Harper, and wobbly poet Carlos Cortez are just a few themes in this collection that bridges time and geographical and cultural boundaries.},
	language = {English},
	publisher = {AK Press},
	editor = {MacPhee, Josh and Reuland, Erik},
	year = {2007},
	keywords = {Graffiti},
}

@book{mai_writing_2007,
	address = {Årsta},
	title = {Writing the {Memory} of the {City}},
	isbn = {978-91-85639-03-8},
	language = {English},
	publisher = {Dokument Press},
	author = {Mai, Markus and Wiczak, Thomas},
	translator = {Axelrod, Toby},
	year = {2007},
	keywords = {Graffiti, Berlin},
}

@article{mancini_graffiti_2019,
	title = {Graffiti as {Gift}: {Street} {Art}’s {Conceptual} {Emergence}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Mancini, Lindsey},
	year = {2019},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {30--35},
}

@book{manco_stencil_2002,
	address = {London},
	title = {Stencil graffiti},
	isbn = {978-0-500-28342-4},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Manco, Tristan},
	year = {2002},
	keywords = {Graffiti, Street art, Stencil graffiti},
}

@book{manco_stencil_2020,
	address = {München},
	title = {Stencil {Graffiti}. {Das} {Handbuch}},
	isbn = {978-3-7913-8639-3},
	language = {German},
	publisher = {Prestel},
	author = {Manco, Tristan},
	year = {2020},
	keywords = {Graffiti, Street art, Stencil graffiti},
}

@book{marconot_langage_1995,
	address = {Montpellier},
	title = {Le {Langage} des murs: {Du} graffe au graffiti},
	isbn = {978-2-85998-153-2},
	language = {French},
	publisher = {Les presses du Languedoc; RIRESC},
	author = {Marconot, Jean-Marie},
	collaborator = {Soyris, Bruno},
	year = {1995},
	keywords = {Graffiti},
}

@book{marcovitz_art_2020,
	address = {San Diego},
	series = {Art {Scene}},
	title = {The art of graffiti},
	isbn = {978-1-68282-584-6},
	language = {English},
	publisher = {ReferencePoint Press},
	author = {Marcovitz, Hal},
	year = {2020},
	keywords = {Graffiti, Art},
}

@article{marek_red_2019,
	title = {Red {Army} {Graffiti}. {Reconstructing} a lieu de mémoire},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.174},
	abstract = {Without a doubt, the Reichstag Building in Berlin qualifies as a lieu de mémoire, a place vested with historical significance in popular collective memory. What is not clear, however, is how such »sites of memory« form: Does an evolutionary process slowly add layers of meaning or do sudden sparks of history ignite mass imagination? Is the development orchestrated by a central power or by spontaneous collective actions? In order to work out these questions, this article draws attention to the year 1945, when Red Army soldiers covered the interior of the Reichstag, already in ruins, with layers of graffiti. During this brief historical episode, individual acts of self-inscription merged into a collective appropriative happening where participation was more significant than leaving an attributable legible mark. Hence, the graffiti still preserved today are leftover traces of a rare performative event that endows this lieu de mémoire with new historical meaning.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Marek, Roman},
	year = {2019},
	note = {Num Pages: 1
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Red Army},
	pages = {69},
}

@book{mariduena_graffiti_2011,
	address = {Berlin},
	edition = {Third},
	series = {On {The} {Run}},
	title = {Graffiti tattoo: {Kings} on skin},
	isbn = {978-3-937946-62-7},
	abstract = {Profiles of some graffiti artists who have made the transition to doing tattoos.},
	language = {English},
	number = {7},
	publisher = {From Here To Fame Publishing},
	author = {Maridueña, Alain "KET"},
	year = {2011},
	keywords = {Graffiti, Tattoo},
}

@book{mariduena_part_2009,
	address = {Berlin},
	series = {On {The} {Run}},
	title = {Part {One}: {The} death squad},
	isbn = {978-3-937946-59-7},
	abstract = {Part One entered the subway graffiti movement in 1974 just after the foundations for piecing had been laid down. He began doing the bubble and mechanical styles of the era, and by 1975-6 he truly came into his own. From 1977 to 1980, few writers could compete with Part One and his TDS partners. Today, Part One continues to burn and is considered an original New York City style master. This book sets the record straight, giving Part One of TDS credit where credit is due. It is the first publication dealing exclusively with his impact on writing culture, with stories from the early days until now.},
	language = {English},
	number = {4},
	publisher = {From Here To Fame Publishing},
	author = {Maridueña, Alain "KET" and Rodriguez, Carlos "MARE 139"},
	year = {2009},
	keywords = {Graffiti, New York, USA},
}

@book{markwort_street_2020,
	address = {Braunschweig},
	title = {Street {Art} \& {Graffiti} im {Westlichen} {Ringgebiet}},
	language = {German},
	publisher = {plankontor},
	author = {Markwort, Martin},
	year = {2020},
	keywords = {Graffiti, Street art},
}

@article{masilamani_documenting_2008,
	title = {Documenting {Illegal} {Art}: {Collaborative} {Software}, {Online} {Environments} and {New} {York} {City}'s 1970s and 1980s {Graffiti} {Art} {Movement}},
	volume = {27},
	issn = {0730-7187},
	doi = {10.1086/adx.27.2.27949489},
	language = {English},
	number = {2},
	journal = {Art Documentation: Journal of the Art Libraries Society of North America},
	author = {Masilamani, Rachel},
	year = {2008},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Documentation, Preservation},
	pages = {4--14},
}

@book{mathieson_street_2007,
	address = {London},
	title = {Street art and the {War} on {Terror}: {How} the world's best graffiti artists said no to the {Iraq} war},
	isbn = {978-0-9553398-8-2},
	abstract = {Bringing together a stunning array of antiwar, anti-Bush, and anti-Blair graffiti from the United States, Canada, Europe, Middle East, Japan, and Australia, this gritty, controversial collection captures many unique images which have survived only a few hours between execution and clean-up. Including a chronology of opposition to the war organized by continent, and commentaries by the graffiti artists themselves, this work constitutes an essential record of political opposition since 9/11. Every major city is featured, including London, New York City, Paris, Tokyo, Milan, Baghdad, Tehran, Berlin, Munich, Marseilles, San Francisco, Los Angeles, Sydney, Melbourne, and more.},
	language = {English},
	publisher = {Rebellion Books Ltd},
	author = {Mathieson, Eleanor and Tàpies, Xavier A.},
	year = {2007},
	keywords = {Street art, War, Irak, Terrorism, War on terror},
}

@article{matijosaitiene_predicting_2019,
	title = {Predicting {Safe} {Parking} {Spaces}: {A} {Machine} {Learning} {Approach} to {Geospatial} {Urban} and {Crime} {Data}},
	volume = {11},
	issn = {2071-1050},
	doi = {10.3390/su11102848},
	abstract = {This research aims to identify spatial and time patterns of theft in Manhattan, NY, to reveal urban factors that contribute to thefts from motor vehicles and to build a prediction model for thefts. Methods include time series and hot spot analysis, linear regression, elastic-net, Support vector machines SVM with radial and linear kernels, decision tree, bagged CART, random forest, and stochastic gradient boosting. Machine learning methods reveal that linear models perform better on our data (linear regression, elastic-net), specifying that a higher number of subway entrances, graffiti, and restaurants on streets contribute to higher theft rates from motor vehicles. Although the prediction model for thefts meets almost all assumptions (five of six), its accuracy is 77\%, suggesting that there are other undiscovered factors making a contribution to the generation of thefts. As an output demonstrating final results, the application prototype for searching safer parking in Manhattan, NY based on the prediction model, has been developed.},
	language = {English},
	number = {10},
	journal = {Sustainability},
	author = {Matijosaitiene, Irina and McDowald, Anthony and Juneja, Vishal},
	year = {2019},
	note = {Num Pages: 15},
	keywords = {Graffiti, Machine learning, Crime, Parking, Predictive model, SVM (Support Vector Machine)},
	pages = {2848},
}

@article{matray_public_2016,
	title = {Public space, urban art and social inclusion: a {Street} {Art} festival in {Aix}-en-{Provence}},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i1.44},
	abstract = {The association “La rue est vers l’art” – literally translated as “The street leads to the art” – is a group created in November 2015 by six young people between 22 and 27 years old. All of us are studying cultural management in a joint master’s degree at Sciences Po and at the Institute of Public Management in Aix-en-Provence. We came from different academic backgrounds and from three different countries, but we were brought together by our shared passion for urban art. After having realized that the opportunities to discover Street Art in Aix were both rare and isolated, we decided to get involved and to set up the project “Légendes Urbaines”.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Matray, Lucas},
	year = {2016},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, France, Festival, Aix-en-Provence, Street Art festival},
	pages = {58--59},
}

@article{mcauliffe_graffiti_2012,
	title = {Graffiti or {Street} {Art}? {Negotiating} the {Moral} {Geographies} of the {Creative} {City}},
	volume = {34},
	issn = {0735-2166},
	doi = {10.1111/j.1467-9906.2012.00610.x},
	abstract = {In cities such as Sydney, a succession of wars on graffiti has produced a moral geography of artistic practice. At the same time, the rise to prominence of creative cities discourses and the subsequent revaluation of creativity as a postindustrial salve unsettles the dominance of the normative criminalization of graffiti. The profusion of cultural plans and public art policies, along with metropolitan initiatives promoting the creative city, provide opportunities to resignify graffiti as productive creative practice. Set in a discursive world of murals, street art, and “legal graffiti,” some graffiti writers are grasping these opportunities, deploying multiple subjectivities in order to negotiate the moral geographies of the creative city. This article looks at contemporary state responses to graffiti in Sydney and the ways graffiti writers and street artists work within and beyond the various attempts to capture, enclose, and engage graffiti and graffiti writers.},
	language = {English},
	number = {2},
	journal = {Journal of Urban Affairs},
	author = {Mcauliffe, Cameron},
	year = {2012},
	note = {Num Pages: 18},
	keywords = {Graffiti},
	pages = {189--206},
}

@article{mccormick_revisiting_2023,
	title = {Revisiting “{Trespass}: {A} {History} of {Uncommisioned} {Urban} {Art}”},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {McCormick, Carlo},
	year = {2023},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art},
	pages = {17--23},
}

@book{mccormick_magic_2017,
	address = {Berlin},
	title = {Magic {City}: {Die} {Kunst} der {Straße} / {The} {Art} of the {Street}},
	isbn = {978-3-937946-70-2},
	language = {German; English},
	publisher = {From Here To Fame Publishing},
	author = {McCormick, Carlo and Grünhäuser, Amber and Nocenti, Annie and Scholz, Christoph and Biancoshock},
	year = {2017},
	keywords = {Graffiti, Street art},
}

@book{mcgarry_aesthetics_2020,
	address = {Amsterdam},
	series = {Protest and social movements},
	title = {The aesthetics of global protest: {Visual} culture and communication},
	isbn = {978-94-6372-491-3},
	abstract = {Protestors across the world use aesthetics in order to communicate their ideas and ensure their voices are heard. This book looks at protest aesthetics, which we consider to be the visual and performative elements of protest, such as images, symbols, graffiti, art, as well as the choreography of protest actions in public spaces. Through the use of social media, protestors have been able to create an alternative space for people to engage with politics that is more inclusive and participatory than traditional politics. This volume focuses on the role of visual culture in a highly mediated environment and draws on case studies from Europe, Thailand, South Africa, USA, Argentina, and the Middle East in order to demonstrate how protestors use aesthetics to communicate their demands and ideas. It examines how digital media is harnessed by protestors and argues that all protest aesthetics are performative and communicative.},
	language = {English},
	publisher = {Amsterdam University Press},
	editor = {McGarry, Aidan and Erhart, Itir and Eslen-Ziya, Hande and Jenzen, Olu and Korkut, Umut},
	year = {2020},
	keywords = {Graffiti, Street art, Politics, Political graffiti, Protest},
}

@article{mcglynn_graffiti_1972,
	title = {Graffiti \& {Slogans}: {Flushing} the {Id}},
	volume = {VI},
	issn = {0022-0384},
	doi = {10.1111/j.0022-3840.1972.0602_351.x},
	language = {English},
	number = {2},
	journal = {The Journal of Popular Culture},
	author = {McGlynn, Paul D.},
	year = {1972},
	note = {Num Pages: 5},
	keywords = {Graffiti, Slogans},
	pages = {351--356},
}

@book{mega_dns_graffiti_2021,
	address = {Årsta},
	title = {Graffiti for {Beginners}: {An} easy introduction to drawing graffiti letters},
	isbn = {978-91-88369-50-5},
	abstract = {Graffiti für Anfänger ist eine leicht verständliche Einführung, die dir die Grundlagen des Graffiti-Letterings vermittelt. Die beiden funky und doch klassischen Graffiti-Alphabete des erfahrenen Graffiti-Künstlers Mega geben dir die Möglichkeit, einen Basic-Graffiti-Style sowie einen fortgeschritteneren, freieren Stil zu entwickeln. Jeder der 26 Buchstaben des Alphabets hat hier seine eigene Doppelseite, auf der die Bausteine des Buchstabens sorgfältig dargestellt sind. Daneben befinden sich Illustrationen, wie die Buchstaben in verschiedenen Wörtern und Namen verwendet werden können, und Platz für dich zum Üben. Zusätzlich zu den Buchstaben findest du Beispiele für charakteristische Elemente, die in Graffiti verwendet werden, wie 3D oder Schattierungen, um den Buchstaben Tiefe zu verleihen, oder Pfeile, Sterne, Blasen oder Unterstreichungen, um etwas zu betonen. Graffiti zu lernen war nie einfacher und hat noch nie mehr Spaß gemacht.},
	language = {English},
	publisher = {Dokument Press \& Mega DNS},
	author = {Mega DNS},
	year = {2021},
	keywords = {Graffiti},
}

@article{melia_urban_2020,
	title = {Urban {Gentrification} and ‘{Non}-{Artist}’ {Agency}: {Towards} a {Working}-{Class} {Turn} in {Anti}-{Gentrification} {Art} {Projects}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Melia, Amy},
	year = {2020},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Gentrification, Tourism},
	pages = {28--34},
}

@article{mendelson_shwartz_comparing_2017,
	title = {Comparing mural art policies and regulations ({MAPRs}): {Devising} a new conceptual framework},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.84},
	abstract = {In recent decades, public murals have become a common phenomenon in urban landscapes around the world. This has encouraged local governments to establish Mural Art Policies and Regulations (MAPRs) that employ murals as an acceptable (and even desired) element in the municipal toolkit, while balancing a variety of interests. This paper discusses why and how municipalities regulate and facilitate the creation of murals. It advocates a better understanding of mural art strategies, through comparative analysis of mural policies in different cities. To facilitate comparison, we argue that a conceptual framework is essential. Such a framework enables practitioners, policy-analysts, and decision-makers to identify, compare, and understand different features in mural art policies adopted by different cities around the globe.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Mendelson Shwartz, Eynat and Mualam, Nir},
	year = {2017},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Murals},
	pages = {90--93},
}

@article{mendelson_shwartz_how_2020,
	title = {How much control do cities want to have over their public spaces: a look into mural regulation},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i2.226},
	abstract = {In recent decades, murals have become a common phenomenon in urban landscapes, weaving artistic and cultural expressions into the city. They have become a major avenue for public expression, reflecting and influencing the social, political, cultural, and aesthetic values of the city. Some murals are created as acts of resistance while others are promoted by local governments as means of promoting urban development and social reconstruction. Because of their artistic character, location, and public exposure, murals incorporate tensions that present challenges to policymakers, owners, and those involved in their creation. For instance, murals are both a public and private phenomenon, situated in the public domain but located on specific properties and created by specific individuals. 
Through the years, the importance of the visualization and design of urban environments has grown.  Local governments are seen in many places around the world as responsible for the city's public spaces, taking on the role of regulators, mediators, and facilitators. Furthermore, they have the difficult task of balancing public and private rights and interests, such as maintaining public order and protecting individual rights and freedoms. 
But do cities want to be able to control all of their public spaces? The answer to this question is not simple and contains many considerations. Their ability to control public spaces is a double-edged sword. On the one hand, as the level of control increases, local governments are granted stronger tools to shape their murals to better suit the city’s vision, but on the other hand, this ability may collide with the freedoms of property owners and artists, weakening the city's creative forces and emasculating informal activities. 
In this paper we focus on the regulation of murals. We will look at the cities of Portland, which recently re-establish its mural policy and Tel Aviv, known for its many street art and graffiti. We will examine their approaches towards murals and who they view their role in governing public spaces, and address the amount of control they choose to have over the city's murals. By doing so, we will highlight the dilemmas local governments face when promoting mural policy and how mural policies affect the ability of property owners and initiators to promote murals. We believe this information will also aid artists and activists to better understand the framework in which they are working in and the decision-making process of municipalities.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Mendelson Shwartz, Eynat and Mualam, Nir},
	year = {2020},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, USA, Policy, Murals, Public space, Governance, Portland, Regulation},
	pages = {59--70},
}

@article{menor_graffiti_2015,
	title = {Graffiti, {Street} {Art}, and {Culture} in the era of the {Global} {City}: {The} {Ana} {Botella} {Crew} case},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.31},
	abstract = {What is the role of art in the reinforcement or rejection of current models of public space management in our cities? To answer this question, we must attend to the ties of all artwork with public institutions, and whether or not it questions the dominant order. In this article, I will focus on the works of the Ana Botella Crew, a group of artists from Madrid, as an example of “artivism” that challenges the City Council’s management of public spaces in Madrid. My aim is to explore how useful internet tools can be to articulate artistic interventions that challenge the hegemonic uses of public space, in what Sassen has called the global city.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Menor, Luis},
	year = {2015},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Culture, Ana Botella Crew, Public space},
	pages = {59--69},
}

@phdthesis{mensch_art_2013,
	address = {Besançon},
	type = {{PhD} thesis},
	title = {L'art transgressif du graffiti: pratiques et contrôle social},
	abstract = {Le graffiti hip-hop est un objet d’étude à la croisée de la sociologie urbaine, de l’art, de la jeunesse et du droit. Autour de cet objet, les représentations divergent, entre art et vandalisme. L’hypothèse ici retenue est que, sous l’angle des critères permettant d’authentifier la valeur d’un graffiti, la démarche transgressive de son auteur prime autant que ses qualités picturales. Il y aurait une relation dialogique entre pratiques « vandales » et pratiques « artistiques ». Dans un premier temps, cette thèse s’attache à retranscrire comment des jeunes intègrent le mouvement graffiti et quelles en sont les normes. Répandue au sein de divers univers sociaux, cette pratique est un palliatif à des mécanismes d’intégration défaillants et exprime un refus de l’assignation. La transgression intervient comme un moyen de conquérir une place, tant sur les murs que dans l’espace social. L’expérience de l’écart est toujours prise de risque. Hors normes, les graffiteurs sont étiquetés déviants. La seconde partie de ce travail s’attarde sur les liens du graffiti au « sentiment d’insécurité ». Visant à résoudre les problèmes posés, punir, (mé) dire et effacer sont trois verbes qui permettent de décrire la répression ordinaire du graffiti et de ses acteurs. Ces dispositifs ont pour effet de conforter ceux-ci dans leurs engagements. Enfin, la dernière partie traite des liens qui unissent les mondes de l’art au graffiti, de l’inscription de graffiteurs dans des dispositifs de médiation culturelle à leur professionnalisation. Autonomie, expérience et transgression restent invoquées comme critères d’authentification de la valeur « artistique » du graffiti.},
	language = {French},
	school = {Université de France-Comté},
	author = {Mensch, Nicolas},
	collaborator = {Ferréol, Gilles},
	year = {2013},
	keywords = {Graffiti, Hip hop},
}

@article{merrill_keeping_2015,
	title = {Keeping it real? {Subcultural} graffiti, street art, heritage and authenticity},
	volume = {21},
	issn = {1352-7258},
	doi = {10.1080/13527258.2014.934902},
	abstract = {This article considers the implications of framing subcultural graffiti and street art as heritage. Attention is paid to subcultural graffiti’s relationship to street art and the incompatibility of its traditions of illegality, illegibility, anti-commercialism and transience with the formalised structures of heritage frameworks. It is argued that the continued integration of street art and subcultural graffiti into formal heritage frameworks will undermine their authenticity and mean that traditional definitions of heritage, vandalism and the historic environment will all need to be revisited. The article contributes to the current re-theorisation of heritage’s relationship with erasure by proposing that subcultural graffiti should be perceived as an example of ‘alternative heritage’ whose authenticity might only be assured by avoiding the application of official heritage frameworks and tolerating loss in the historic environment.},
	language = {English},
	number = {4},
	journal = {International Journal of Heritage Studies},
	author = {Merrill, Samuel},
	year = {2015},
	note = {Num Pages: 21},
	keywords = {Graffiti, Banksy, Street art, Cultural heritage, Authenticity},
	pages = {369--389},
}

@article{merrill_buffing_2021,
	title = {Buffing and buffering {Blu}: the societal performance of street art, heritage erasure and digital preservation in {Berlin}},
	volume = {27},
	issn = {1352-7258},
	doi = {10.1080/13527258.2020.1843522},
	abstract = {In December 2014 two of Berlin’s most famous street art murals were painted black. Fans of the murals responded by using social media to blame the owner of the ‘Cuvrybrache’ – the vacant plot in Friedrichshain-Kreuzberg that the murals overlooked. Many assumed that a campaign to heritage-list the murals in response to the Cuvrybrache’s planned redevelopment had led the plot’s owners to take matters into their own hands. In fact, as this article details, it was more surprising who was responsible for the mural’s erasure: their creator, the street artist known as Blu. As some street art fans mourned their loss, the murals continued to be encountered by others, just as they always had, online. This article uses the case of the Cuvrybrache murals – replete with forces of ruination, processes of gentrification, and acts of iconoclasm – to explore the complexities of street art and heritage’s relationship with erasure and the manner by which this relationship is increasingly refracted through digital technologies and media. Drawing parallels between buffed urban walls and buffering digital screens, it argues that the pervasive digital preservation of street art encourages it and heritage in general to be further conceptualised as a societal performance.},
	language = {English},
	number = {6},
	journal = {International Journal of Heritage Studies},
	author = {Merrill, Samuel},
	year = {2021},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Berlin, Digital preservation},
	pages = {601--616},
}

@article{merrill_exploring_2013,
	title = {Exploring hidden narratives: {Conscript} graffiti at the former military base of {Kummersdorf}},
	volume = {13},
	doi = {10.1177/1469605312455762},
	abstract = {This article explores the cultural significance and interpretative potential of graffiti left by Soviet conscripts at Kummersdorf, a former military base in the German federal state of Brandenburg. The graffiti is framed as war art and its typology, distribution and content is studied in detail. In this way opportunities for further research are highlighted, as well as the potential for the graffiti to contribute to interpretative and conservation strategies. We demonstrate how the graffiti embodies multi-level interpretative narratives which can help to reveal hidden aspects of Soviet conscript life and cultural practices whilst alluding to global events and Soviet and Russian military policy. More generally, the article aims to promote the potential of graffiti and other forms of what is traditionally considered vandalism to contribute to the cultural significance and interpretation of heritage sites.},
	language = {English},
	number = {1},
	journal = {Journal of Social Archaeology},
	author = {Merrill, Samuel and Hack, Hans},
	year = {2013},
	note = {Num Pages: 21},
	keywords = {Graffiti, Street art, Kummersdorf, Miltary},
	pages = {101--121},
}

@article{merrill_graffiti_2011,
	title = {Graffiti at {Heritage} {Places}: {Vandalism} as {Cultural} {Significance} or {Conservation} {Sacrilege}?},
	volume = {4},
	issn = {1751-696X},
	doi = {10.2752/175169711X12893985693711},
	abstract = {urrent heritage best practice aims to avoid strategies that focus solely on single, often arbitrary periods or narratives in a site's history in favor of those that recognize all of the site's layers of significance. This situation was born from similar concerns to those that made archaeology critically self reflect and adopt positions that attempted to overcome inherent preconceptions and biases. However, the treatment of forms of vandalism at heritage sites, such as graffiti, often stands in juxtaposition to the sites' other layers of significance and reveals that heritage management is yet to address all of its own biases. This article discusses the cultural significance of graffiti vandalism at heritage sites. It argues that new ways of theorizing about heritage and its destruction are required and that heritage management should adopt perspectives akin to archaeology's post-processualism in order to ensure that the significance of contemporary graffiti vandalism is not lost by strategies that view it primarily as conservation sacrilege. To do this, the article considers the origin, definition, and types of heritage vandalism before focusing on graffiti in relation to three case studies and then examining the relevant perspectives that archaeological and heritage theory can offer. The article aims to provide a further departure point from which to discuss the significance of vandalism at heritage places and in particular graffiti and its treatment.},
	language = {English},
	number = {1},
	journal = {Time and Mind: The Journal of Archaeology, Consciousness and Culture},
	author = {Merrill, Samuel Oliver Crichton},
	year = {2011},
	note = {Num Pages: 17},
	keywords = {Graffiti, Archaeology, Cultural heritage, Rock art, Post-Processualism},
	pages = {59--75},
}

@article{meschini_temporary_2020,
	title = {Temporary or {Permanent}? {The} {Duration} of {Works} of {Street} {Art}: between {Intentions} and {Techniques}},
	volume = {13},
	issn = {1828-5961},
	doi = {10.20365/disegnarecon.24.2020.18},
	abstract = {Today, there are instances in which works of street art are erased or defaced; what is perhaps less highlighted, however, is a certain intrinsic perishability related to the techniques with which some of these works were created. Therefore, an investigation of the variety of such techniques, their evolution in terms of hybridization, and the diversity of tools and materials used may inform us about the relationship with the impermanent character of certain mural art operations. Circumscribed to works made on walls and other vertical or horizontal surfaces in urban contexts and focusing on particular graphical/representational aspects, this article proposes a suitably diversified panorama of works and artists based on the variety of methods, techniques, materials, and tools used, highlighting their relationship with the works’ durability. These studies have helped to highlight the provisional or permanent nature of different works of street art and therefore to interpret the related intentions of the artists. Many of them, in fact, in full awareness of the impermanence of their works, lay claim to their intrinsic fragility, understanding it as a quality related to being conceived as participatory events and/or surfaces only temporarily given a new meaning. With respect to this, the study invites us to ask whether the recent tendency to ‘collect and enclose’ mural works in museums in the name of their presumed preservation does not rather border on distorting their sense. If anything, better appreciation for these works can be taught by studying effective interventions to protect the works where they were installed.},
	language = {English; Italian},
	number = {24},
	journal = {Disegnarecon},
	author = {Meschini, Alessandra},
	year = {2020},
	note = {Num Pages: 22},
	keywords = {Street art, Urban, Ephemeral, Visual art},
	pages = {1--22},
}

@book{messenger_cultural_2010,
	address = {Gainesville},
	series = {Cultural {Heritage} {Studies}},
	title = {Cultural heritage management: {A} global perspective},
	isbn = {978-0-8130-3460-7},
	language = {English},
	publisher = {University Press of Florida},
	editor = {Messenger, Phyllis Mauch and Smith, George S.},
	year = {2010},
	keywords = {Archaeology, Cultural heritage},
}

@book{metze-prou_pochoir_2000,
	address = {Berlin},
	title = {Pochoir: {Die} {Kunst} des {Schablonen}-{Graffiti}},
	isbn = {3-89602-327-6},
	language = {German},
	publisher = {Schwarzkopf \& Schwarzkopf},
	author = {Metze-Prou, Sybille and van Treeck, Bernhard},
	year = {2000},
	keywords = {Graffiti, Stencil graffiti},
}

@article{michalczyk_crossing_2022,
	title = {Crossing the {Walls} in {Cairo}: {The} {Augmented} {Murals} of {Al} {Khalifa}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Michalczyk, Agnes},
	year = {2022},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Egypt, Murals, Cairo},
	pages = {55--66},
}

@book{milnor_graffiti_2014,
	address = {Oxford},
	title = {Graffiti and the literary landscape in {Roman} {Pompeii}},
	isbn = {978-0-19-968461-8},
	abstract = {In this volume, Milnor considers how the fragments of textual graffiti which survive on the walls of the Roman city of Pompeii reflect and refract the literary world from which they emerged. Focusing in particular on the writings which either refer to or quote canonical authors directly, Milnor uncovers the influence--in diction, style, or structure--of elite Latin literature as the Pompeian graffiti show significant connections with familiar authors such as Ovid, Propertius, and Virgil. 
While previous scholarship has described these fragments as popular distortions of well-known texts, Milnor argues that they are important cultural products in their own right, since they are able to give us insight into how ordinary Romans responded to and sometimes rewrote works of canonical literature. Additionally, since graffiti are at once textual and material artefacts, they give us the opportunity to see how such writings gave meaning to, and were given meaning by, the ancient urban environment. 
Ultimately, the volume looks in detail at the role and nature of "popular" literature in the early Roman Empire and the place of poetry in the Pompeian cityscape.},
	language = {English},
	publisher = {Oxford University Press},
	author = {Milnor, Kristina},
	year = {2014},
	keywords = {Graffiti, Italy, Pompeii, Roman archaeology},
}

@book{mininno_graffiti_2021,
	address = {Venezia},
	title = {Graffiti writing in {Italy} 1989-2021},
	isbn = {978-88-99058-57-9},
	abstract = {The book talks about graffiti writing, or more simply, writing. About tags, sprays, streets and letters. With the photographs and words of its protagonists, it tells the birth and evolution of this phenomenon in Italy, how a handful of kids changed the face of our cities forever. All it took was minimal resources, a lot of perseverance and a fair dose of style. Signatures appear on the ground, on lamp posts, on tall buildings, in the tunnels of the metro and on public transport. They are the triumph of overbearing individualism, a reaction to the city itself that tends to dissolve the individual.},
	language = {English; Italian},
	publisher = {Bruno},
	author = {Mininno, Alessandro},
	year = {2021},
	keywords = {Graffiti, Graffiti writing, Italy},
}

@book{miss-tic_bomb_2011,
	address = {Hamburg},
	series = {Kleine {Bücherei} für {Hand} und {Kopf}},
	title = {Bomb it, {Miss}.{Tic}!: {Mit} der {Graffiti}-{Künstlerin} in {Paris}},
	isbn = {978-3-89401-738-5},
	abstract = {»Ich gestehe nicht, ich erkläre mich. Ja, ich habe mir einen Namen gemacht: Miss.Tic. Eines Nachts habe ich offenen Auges vor einer Mauer stehend das verweigert, was andere geschlossenen Auges akzeptieren. Aus einer Provokation heraus habe ich eine literarische Fiktion aus dem Schwarz der Wimperntusche geschaffen und Frauen gemalt, um der Sprache einen Körper zurückzugeben. Aus Frauenzeitungen stammen die Frauenbilder, die von mir verfremdet werden. Ich entwerfe aus ihnen ein bestimmtes Image der Frau, nicht um es zu bewerben, sondern um es zu befragen. Ich unterziehe weibliche Positionen einer Art von Inventur. Welche Haltung wählen wir, um zu existieren? Weder male noch schreibe ich meinen persönlichen Roman. Mir geht es darum, als Künstlerin und als Frau in der Stadt und der kreativen Welt Stellung zu beziehen. Kreieren heißt Widerstand leisten.« Miss.Tic Miss.Tic ist die Grande Dame der Street Art in Paris. In ihren Schablonen-Graffiti spielt die Künstlerin mit Humor, mit dem Verlangen und stereotypisierten Bildern der Verführung. Seit 1985 sprüht sie auf Zäune und Hauswände ihre legendären Frauenbilder, kombiniert mit erotisch-poetischen Wortspielen. Jorinde Reznikoff und KP Flügel haben sie porträtiert.},
	language = {German},
	number = {62},
	publisher = {Edizion Nautilus},
	author = {Miss-Tic and Reznikoff, Jorinde and Flügel, K. P.},
	year = {2011},
	keywords = {Graffiti, Bombing},
}

@article{mitman_dead_2019,
	title = {Dead {Graffiti} {Writers} {Never} {Die}, {They} {Just} {Fade} {Away}: {Memorializing} and {Remembering} {Graffiti} {Writers}},
	volume = {2},
	issn = {2535-549X},
	abstract = {This article examines an esoteric form of memorialisation that is specific to graffiti subcultures. It is one where the friends of a deceased graffiti writer continue to write the dead writer's graffiti name in public space. This form of memorialisation can conceal the fact that the deceased graffiti writer has died to all but initiated graffiti community members, making it appear as if they were still alive and producing new work. This article will explore this form of memorialisation through some ethnographic observations on the death of Philadelphia graffiti writing legend Razz, and will discuss who has privileged access to rightfully produce these memorials. This type of memorial is a complex and compassionate act of remembrance. It functions both as memorial and as a furtherance of the deceased writer's reputation and street fame.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Mitman, Tyson},
	year = {2019},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Graffiti writing},
	pages = {32--39},
}

@book{mockridge_scrawl_1968,
	address = {Cleveland},
	title = {The scrawl of the wild; what people write on walls – and why},
	language = {English},
	publisher = {The World Publishing Company},
	author = {Mockridge, Norton},
	collaborator = {Schlamp, Jerry},
	year = {1968},
	keywords = {Graffiti},
}

@article{molaei_strategies_2023,
	title = {Strategies of {Urban} {Spaces} {Developments} {Approaching} {Urban} {Events} in {Iranian} {Cities}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.634},
	abstract = {The city is a complex and integrated reality of all social, cultural, economic, environmental, physical and other environmental factors. Designing a city that takes into account the qualitative criteria of these factors can be a creative work and creative urban spaces and the city as a work of art. In the city as an artistic phenomenon, beauty is a key feature of the city and its components. Features such as order, harmony, cohesion and consistency in the city can also be seen as works of art. Therefore, the purpose of this paper is to explain the approach of the city as a creative work of art and design as a strategy for achieving it through exploratory research and interdisciplinary research and documentary research methods and library studies. Be. The results of this research indicate that the use of urban design art is one of the most important factors in attracting tourists, investors and economic and tourism boom. Creativity in the design of public spaces, buildings and social centers can be done in a contemporary, traditional context. Public spaces, squares and streets, urban and neighborhood entrances, public places, cultural, social, pilgrimage, recreational, sports, and economic hubs in Iranian cities are among the most important areas of applying creativity to create artwork. Applying creative power and expanding it in various fields will bring to light interesting and unique phenomena in different areas and areas and will create a beautiful and artistic city. Iranian cities have many beautiful urban spaces, squares, garden alleys, museums, mosques that act as urban place brands for citizens and tourists.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Molaei, Asghar},
	year = {2023},
	note = {Num Pages: 18
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Iran, Urban development},
	pages = {131--148},
}

@phdthesis{monschein-oberreither_politische_2019,
	address = {Vienna},
	type = {Diploma thesis},
	title = {Das politische {Graffiti} im urbanen {Raum}: {Spurensuche} im {Geographie}- und {Wirtschaftskundeunterricht}},
	abstract = {Für den Geographie- und Wirtschaftskunde Unterricht bieten Graffitis ein breites Spektrum an Einsatzmöglichkeiten. Eine davon, die Spurensuche, wird in dieser Arbeit in unterschiedlichen Varianten vorgestellt. Dabei stehen zu Beginn Begriffsdefinitionen auf der einen Seite zu Zeichen und Spur sowie zum Spurenlesen, auf der anderen Seite zum Graffiti bzw. verschiedenen Ausdrucksformen der street art. Daraufhin wird die politische Komponente des Kommunikationsmediums Graffiti behandelt, ihr historischer Hintergrund, ihre gegenwärtigen thematischen Konjunkturen sowie die Akzeptanz von Seiten der Bevölkerung. Der zweite Abschnitt der Arbeit behandelt das Thema aus fachdidaktischer Perspektive. Eingangs wird der Konstruktivismus als Grundlage der Methode der Spurensuche erläutert. Darauf folgt die Vorstellung dreier unterschiedlicher Arten der Spurensuche, der gelenkten Spurensuche, der offenen Spurensuche und der Spurensuche im Trockenen, die für LehrerInnen und SchülerInnen jeweils unterschiedliche Gestaltungsmöglichkeiten und Handlungsspielräume eröffnen. Ergänzt werden die Kapitel zur Durchführung der Spurensuche um Hinweise zum fächerübergreifenden Einsatz, zur Ergebnissicherung sowie zur Beurteilung. Abschließend werden Konzepte für zwei konkrete Anwendungsfälle präsentiert – die Spurensuche im Rahmen einer Projektwoche bzw. im Zuge einer langfristiger angelegten Durchführung –, um Grundlagen für den Einsatz im Unterricht zu bieten.},
	language = {German},
	school = {Universität Wien},
	author = {Monschein-Oberreither, Katrin},
	collaborator = {Hintermann, Christiane},
	year = {2019},
	doi = {10.25365/thesis.57171},
	keywords = {Graffiti, Street art},
}

@mastersthesis{montaldo_censimento_2021,
	address = {Torino},
	title = {Censimento dell’arte urbana torinese dal 1991 al 2021},
	language = {English},
	school = {Politecnico di Torino},
	author = {Montaldo, Bruno},
	collaborator = {Davico, Luca},
	year = {2021},
	keywords = {Graffiti, Italy, Torino},
}

@article{montani_analysis_2012,
	title = {Analysis of {Roman} pottery graffiti by high resolution capture and {3D} laser profilometry},
	volume = {39},
	issn = {0305-4403},
	doi = {10.1016/j.jas.2012.06.011},
	abstract = {The graffiti on pottery discovered on the site of Aventicum (Avenches, VD/Switzerland) form the largest corpus of minor inscriptions of the Roman Empire studied until now. Indeed, a total of 1828 graffiti have been found. The reading and the recording of the inscriptions are generally dependent on the state of conservation of the graffito and its support. In numerous cases, only a pale shadow of the inscription is visible, which makes traditional observations, such as visual observations with the naked eye, unsuitable for its decipherment. Consequently, advanced techniques have been applied for enhancing the readability of such inscriptions. In our paper we show the efficiency of 3D laser profilometry as well as high resolution photography as powerful means to decipher illegible engraved inscriptions. The use of such analyses to decipher graffiti on pottery or on other materials enables a better understanding of minor inscriptions and improves the knowledge of the daily life of ancient populations substantially.},
	language = {English},
	number = {11},
	journal = {Journal of Archaeological Science},
	author = {Montani, Isabelle and Sapin, Eric and Sylvestre, Richard and Marquis, Raymond},
	year = {2012},
	note = {Num Pages: 5},
	keywords = {Graffiti, 3D, Epigraphy, Roman archaeology, Avenches, Laser prfilometry, Pottery},
	pages = {3349--3353},
}

@article{morady_moghaddam_linguistic_2023,
	title = {Linguistic {Variation} in {Iranian} {University} {Student} {Graffiti}: {Examining} the {Role} of {Gender}},
	volume = {52},
	doi = {10.1007/s10936-022-09919-y},
	abstract = {Research on the discursive features of graffiti in institutional settings is in its infancy and few studies have investigated the phenomenon and its implications in educational contexts. In this paper, we report on a study in which we employed systemic functional linguistics (Halliday in Learning how to mean, Edward Arnold, 1975). to probe communicative functions and gender differences in Iranian university student graffiti that appeared in all-male and all-female locations. The data comprised authentic instances of graffiti generated by students, analysis of which suggests that male and female university students each have their own distinctive motives for using graffiti, as realised in significant differences observed in the context-specific functions they perform. Graffiti pieces represented a distinctive and meaningful way of communicating, and its most salient features were creativity, simplicity and variation. Indications are that university students' graffiti reflects psychological and social challenges, and the thoughts, attitudes and feelings expressed through it serve students' personal and interactional purposes.},
	language = {English},
	number = {3},
	journal = {Journal of psycholinguistic research},
	author = {Morady Moghaddam, Mostafa and Murray, Neil},
	year = {2023},
	pmid = {36385391},
	note = {Num Pages: 22},
	keywords = {Graffiti, Gender, Linguistics, Iran},
	pages = {721--742},
}

@article{moreira_correa_urban_2020,
	title = {Urban {Inscriptions}: a discipline in the horizon of citizenship},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.225},
	abstract = {We take into consideration the role of São Paulo city hall's public policies to reflect on the importance of integrating urban inscriptions in Higher Education disciplines in Brazil. According to the historical summary presented, the pendulum swing of rejection and acceptance by the mayors of São Paulo generates avoidable costs and the exclusion of an institutional approach regarding urban inscriptions practices. In order to have efficient public policies, we observed that the academic inclusion of themes specifically linked to urban inscriptions might result in support of professions that directly interact with the practices (Architecture, Urbanism, Arts, etc.); it can also increase the diffusion of knowledge in Basic Education, and highlight the need to institutionally integrating the urban inscriptions into the dynamics of cities and the citizenship formation.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Moreira Correa, Thiago},
	year = {2020},
	note = {Num Pages: 3
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Brazil, Education, São Paulo.},
	pages = {13--15},
}

@article{morva_humorous_2016,
	title = {The humorous language of street dissent: {A} discourse analysis of the graffiti of the {Gezi} {Park} protests},
	volume = {4},
	doi = {10.7592/EJHR2016.4.2.morva},
	abstract = {Owing to its critical and creative potential, humour has often been used as one of the preferred means of resistance in social and political protests. In addition, the presence of humour is also increasing in the new social movements of recent history. The essential questions that this article aims to answer are how humour functions and what its purpose is amidst a time of numerous and notable social movements. During the 2013 Gezi Park protests in Turkey, the protesters made significant use of humour that specifically targeted the control of the authorities over public life, thus providing a good case with which to study humour in social movements. One form which the protesters used to disseminate humorous messages was graffiti. In this article, the graffiti from the Gezi Park protests is examined using a critical discourse analysis model. In order to achieve the intended aims, Van Dijk’s (1995) understanding of ideological discourse analysis arguing that dominated groups may have ideologies that effectively organise the social representation needed for resistance and change, is taken as a point of departure. However, this work specifically relies on Fairclough’s (1992) three dimensional discourse analysis that covers the object (the text), the process (discursive practice) and the socio-historical conditions (social practice). Research on the language of Gezi graffiti shows that the humorous language of the protesters identified and differentiated the actors of the movement, and it did not only help them to cope with the domination and oppression to which they were subjected, but also increased support for development in the desired direction.},
	language = {English},
	number = {2},
	journal = {The European Journal of Humour Research},
	author = {Morva, Oya},
	year = {2016},
	note = {Num Pages: 16},
	keywords = {Graffiti, Turkey, Gezi Park},
	pages = {19--34},
}

@phdthesis{moustaka_copyright_2015,
	type = {Master dissertation},
	title = {Copyright {Protection} and {Relevant} {Issues} for {Street} {Art} in the {US}},
	abstract = {This dissertation was written as part of the MA in Art, Law and Economy at the International Hellenic University. This paper begins by examining whether street art created without authorization on public or private property is entitled to copyright protection under the US law. The basic characteristics that distinguish street art from other forms of artistic expression are discussed and, after examining the provisions provided in the Copyright Clause and in the VARA Act, the paper concludes that no adequate protection is provided under the current regime. In chapter B, the paper moves forward in researching alternative methods of protecting street artworks from destruction or modification in the legal system of the USA, namely protection under the First Amendment or through provisions concerning cultural heritage. The relevant issues are left open for discussion.},
	language = {English},
	author = {Moustaka, Dimitra},
	year = {2015},
	keywords = {Graffiti, Street art, USA},
}

@article{mubi_brighenti_at_2010,
	title = {At the {Wall}: {Graffiti} {Writers}, {Urban} {Territoriality}, and the {Public} {Domain}},
	volume = {13},
	issn = {1206-3312},
	doi = {10.1177/1206331210365283},
	abstract = {The article is based on an ethnographic observation of a crew of graffiti writers in the northeast of Italy. Extending some considerations emerging from the case study, the article advances a reflection on the territorial dimension of graffiti writing in urban environments and the relationship between walls, social relationships and the public domain. This task entails understanding walls as artefacts that are subject to both strategic and tactical uses, as well as the relationship between walls and the public domain as a territorial configuration. In particular, graffiti writing is observed as an interstitial practice that creates its own specific way of using walls: it is a “longitudinal” rather than a “perpendicular” style, which transform the wall into a fragment of a “prolongable” series, a part of a continuing conversation.},
	language = {English},
	number = {3},
	journal = {Space and Culture},
	author = {Mubi Brighenti, Andrea},
	year = {2010},
	note = {Num Pages: 18},
	keywords = {Graffiti, Sociology, Territoriality},
	pages = {315--332},
}

@book{mubi_brighenti_urban_2019,
	address = {Abingdon; New York},
	series = {Classical and contemporary social theory},
	title = {Urban walls: {Political} and cultural meanings of vertical structures and surfaces},
	isbn = {978-1-138-30433-8},
	abstract = {In recent years, an increasing number of separation walls have been built around the world. Walls built in urban areas are particularly striking in that they have exacted a heavy toll in terms of human suffering. As territorialising devices, walls can be protective, but the protection they grant is never straightforward. This collection invites inquiry into the complexities of the social life of walls, observing urban spaces as veritable laboratories of wall-making – places where their consequences become most visible. A study of the relationship between walls and politics, the cultural meaning of walls and their visibility, whether as barriers or as legible – sometimes spectacular – surfaces, and their importance for social processes, Urban Walls shows how walls extend into media spaces, thus drawing a multidimensional geography of separation, connection, control and resistance. As such, the collection will appeal to scholars of sociology, anthropology, geography, architecture and politics with interests in urban studies and social theory.},
	language = {English},
	publisher = {Routledge},
	editor = {Mubi Brighenti, Andrea and Kärrholm, Mattias},
	year = {2019},
	keywords = {Graffiti, Urban art, Urban},
}

@article{mugridge_cataloging_2007,
	title = {Cataloging {Cultural} {Objects}: {A} {Guide} to {Describing} {Cultural} {Works} and {Their} {Images}},
	volume = {31},
	issn = {1464-9055},
	doi = {10.1080/14649055.2007.10766172},
	language = {English},
	number = {3-4},
	journal = {Library Collections, Acquisitions, \& Technical Services},
	author = {Mugridge, Rebecca L.},
	year = {2007},
	note = {Num Pages: 1},
	keywords = {Graffiti, Cultural heritage},
	pages = {230},
}

@article{muharremi_development_2019,
	title = {Development of art in {Kosovo} after {World} {War} {II}: {The} artist’s {Art} {Works} after the {Second} {War} and their similarities with the famous painters},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.166},
	abstract = {At this article we wanted to present the Art Works of kosovo famous artists after World War II and their influences with famous artists from world.This study shows the liberation of the man under the Yugoslav regime at that time.There are few notes for our artists from Kosovo,our tradition , the creativity that was very deficient and it had been touched by social topics ,workers often suffered where the epic-historical legends and folklore sprout.Schools in Albanian were also lack and for that it was difficult for people who would spread the healthy figurative-visual culture,while in Europe was cultivated in great numbers.First of all we have mentioned Albanian Social Art and then we continued with Kosovo’s artists.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Muharremi, Agnesa},
	year = {2019},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Colour, Figurative, Kosovo},
	pages = {20--27},
}

@article{muharremi_development_2020,
	title = {Development of mural art (street art) after the last war in {Kosovo}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.281},
	abstract = {This paper presents the development of graffiti art after the last war in Kosovo. From 2000 to 2020. The presented murals express emotions, contain satirical nuances, humor, ridicule of various political figures in the state of Kosovo. Except that the ugly spaces are decorated,through this art , artists have used it as a voice of revolt and disappointment by playing with humor to fix the current system. The colour of the graffiti have been analyzed with The content, the messages it contains , the forms and many other details.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Muharremi, Agnesa and Muharremi, Ilir},
	year = {2020},
	note = {Num Pages: 9
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Murals, Mural art, War, Kosovo},
	pages = {52--60},
}

@book{muller_reclaim_2017,
	address = {Norderstedt},
	title = {"{Reclaim} the {Streets}!" - {Die} {Street}-{Art}-{Bewegung} und die {Rückforderung} des öffentlichen {Raumes}: {Am} {Beispiel} von {Banksys} '{Better} {Out} {Than} {In}' und {Shepard} {Faireys} '{Obey} {Giant}'-{Kampagne}},
	isbn = {978-3-7431-8752-8},
	language = {English},
	publisher = {BoD - Books on Demand},
	author = {Müller, Monja},
	year = {2017},
	keywords = {Graffiti, Street art},
}

@article{muller_kiel_2018,
	title = {Kiel 2. {Bundesliga} und bald 1. {Liga}: {Die} {Graffiti} im {Johanna}-{Mestorf}-{Hörsaal} des {Institutes} für {Ur}- und {Frühgeschichte} der {Christian}-{Albrechts}-{Universität} zu {Kiel}},
	volume = {24},
	language = {German},
	journal = {Archäologische Nachrichten aus Schleswig-Holstein},
	author = {Müller, Ulrich},
	year = {2018},
	note = {Num Pages: 11
ISBN: 978-3-529-01440-6},
	keywords = {Graffiti, Kiel, Soccer, Auditorium},
	pages = {118--129},
}

@article{muranyi_murals_2016,
	title = {Murals of {Budapest} in the age of creative cities},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i1.42},
	abstract = {The concepts of creative city and creative economy along with the cultural city development were born in the 1970s, when traditionally industrial centers had started to decline. From the 1990s on there has been a constant discussion of Western European and North American cities’ post-fordist culture and technology based transformation. Since the appearance of Richard Florida’s book The Rise of the Creative Class, the concept of creative city has become a fashionable and often used terminology, and in this sense there is wide acceptance of a social and economic arrangement that is based on the so-called creative class, which tends to settle down in cities open to creativity. Florida’s theory was taken over by Hungarian professional and academic circles without much criticism, and creative city is still a beloved expression and approach while discussing Budapest’s strategic vision. In this writing I analyze why street art, as a thoughtful expression of creativity, artist’s freedom and reflection of urban life, is still not sufficiently emphasized and remains in the periphery of the post-socialist Hungarian capital.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Murányi, Kata},
	year = {2016},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {54--57},
}

@article{muranyi_creative_2017,
	title = {Creative city practices in the {Lusophone} space: the case of {São} {Paulo} and {Lisbon}},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.79},
	abstract = {The purpose of this paper is to discuss the creative city, and thus urban creativity in the Portuguese-speaking world, through eight in-depth interviews with leading figures of creative city practices in São Paulo and Lisbon. Both cities share a common language, similarities in history and culture, and in recent years they have been facing serious economic, political and social problems. Over the last few decades, various initiatives have been created with aims of involving and collaborating with locals in order to directly influence the quality of urban life. This research explores how changes in power and political and economic circumstances influence both the city and the lives of locals. I examine how specific bottom-up initiatives address various problems in society; I assess the best practices of urban creativity and how current problems and solutions arise in a contemporary metropolis. The research is based on study trips to São Paulo and Lisbon in 2016 where a number of interviews were conducted with representatives active in innovative creative economy organizations, routinely providing solutions to the needs of people in urban public spaces.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Murányi, Kata},
	year = {2017},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Portugal, São Paulo, Brasil, Lisbon, Lusophone},
	pages = {30--41},
}

@book{murray_broken_2002,
	address = {Corte Madera},
	title = {Broken windows graffiti {NYC}},
	isbn = {978-1-58423-078-6},
	language = {English},
	publisher = {Gingko Press},
	author = {Murray, James T. and Murray, Karla L.},
	year = {2002},
	keywords = {Graffiti, New York, USA, American graffiti},
}

@book{murray_broken_2009,
	address = {Berkeley},
	edition = {Revised},
	title = {Broken windows graffiti {NYC}},
	isbn = {978-1-58423-376-3},
	abstract = {Full of vibrant, energetic and explosive images, Broken Windows Graffiti NYC documents the flowering of the graffiti movement of the post-train era. In the 1980's graffiti was pushed out of the subways as the trains were cleaned once and for all. In the 1990's, much of the graffiti action in New York migrated to the city's walls, enabling the 'writers' to execute more refined and concept-driven large-scale pieces. By the end of decade, this new medium was being used to great effect. Photographers James \& Karla Murray took great pains to faithfully capture an unprecedented re-birth of the movement documenting the most significant murals created between 1996 2001. Broken Windows contains insightful interviews, an extensive selection of womens' graffiti, and features the work of more than 180 artists from The United States, Germany, France, Sweden, Finland, Denmark, Holland, Italy, and Norway.},
	language = {English},
	publisher = {Gingko Press},
	author = {Murray, James T. and Murray, Karla L.},
	year = {2009},
	keywords = {Graffiti, New York, USA, American graffiti},
}

@article{muttaqin_street_2023,
	title = {Street {Art} and the {Struggle} for {Public} {Space}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.567},
	abstract = {The film entitled "Coretan Seni Dibalik Vandalisme" is an Indonesian-language documentary film that offers street art from a broader perspective, beyond the values of legality and democracy. The views of artists, observers, and academics are important to capture the reorientation of street art which has been commonly called vandalism.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Muttaqin, M. Zaenul},
	year = {2023},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Indonesia, Public space},
	pages = {8--11},
}

@article{myllyla_graffiti_2018,
	title = {Graffiti as a {Palimpsest}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.141},
	abstract = {Graffiti can be viewed as stories about embodied identities of the self and others which can be shared in intersubjective discourse, visual communication of varying content and motives, and utilizing specific technology and mediums.  Graffiti’s palimpestuous nature, in its physical and symbolic forms of layering information, is present in production and perceiving graffiti. A creator and a reader of graffiti are both palimpsesting the work, acting as narrators of their own mental sheets. The concept of graffiti as a palimpsest can be exemplified for example in graffiti art where the interpretation of a work of art depends on the properties of the work, the perceiver and the social and institutional agreements. How graffiti are interpreted is informed by perceiving individuals’ characters, such as knowledge and skills, as well as the cultural and sociohistorical context where these individuals are immersed and act.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Myllylä, Mari},
	year = {2018},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Palimpsest, Narrative, Cognitive science, Embodiment},
	pages = {25--35},
}

@article{myllyla_conversation_2023,
	title = {In {Conversation}: {Graffiti} and {Street} {Art} {Research} from an {Outsider} {Perspective}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Myllylä, Mari and Tolonen, Jonna},
	year = {2023},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Interview},
	pages = {111--115},
}

@book{naar_birth_2007,
	address = {Munich},
	title = {The birth of graffiti},
	isbn = {978-3-7913-3796-8},
	language = {English},
	publisher = {Prestel},
	author = {Naar, Jon},
	year = {2007},
	keywords = {Graffiti},
}

@book{naar_faith_2009,
	address = {New York},
	edition = {New},
	title = {The faith of graffiti},
	isbn = {978-0-06-196170-0},
	abstract = {The Faith of Graffiti is the classic, definitive look at the birth of graffiti as an art form, pairing the fascinating 1974 essay by Norman Mailer—National Book Award and two-time Pulitzer Prize-winning author of The Naked and the Dead and The Executioner’s Song—with the stunning, iconic photography of internationally acclaimed photographer Jon Naar. Back in print for the first time in three decades and expanded with 32 pages of additional photos, The Faith of Graffiti is a landmark in the history of street art: an essential, contemporary, and still-relevant meditation, in words and pictures, on the meaning of identity, property, and city life.},
	language = {English},
	publisher = {Icon !t},
	author = {Naar, Jon and Mailer, Norman},
	year = {2009},
	keywords = {Graffiti, Street art},
}

@misc{naeem_graffiti_2013,
	title = {Graffiti and the {Arab} uprisings - {Culture} \& {Dialogue} {\textbar} {Heinrich}-{Böll}-{Stiftung} {\textbar} {Lebanon} - {Beirut}},
	url = {https://lb.boell.org/en/2013/03/06/graffiti-and-arab-uprisings-culture-dialogue},
	abstract = {When the graffitied slogan Ben Ali Degage (“Ben Ali, get out!”) made its first appearance in Tunisia, Ben Ali himself failed to take it seriously. How could he have known that the Arab Spring had begun and that the people of the Arab world had decided to bring down their regimes? The people rose up, and graffiti came to the public squares to help them as they tried to break apart the foundations of the regimes that ruled them.},
	language = {English},
	author = {Naeem, Hani},
	translator = {Moger, Robin},
	year = {2013},
	keywords = {Graffiti, Arab uprising},
}

@article{najjar_spatial_2022,
	title = {Spatial {Video} {Projection} as a {Digital} {DIY} {Paradigm} for {Under}-valued {Public} {Open} {Spaces} {Revitalization}},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.613},
	abstract = {This study suggests a digital model for revitalizing undervalued public open spaces (UVPOS) as one of the contemporary cities' phenomena. It discusses spatial video projection (SVP) as a digital do-it-yourself (DIY) paradigm for UVPOS revitalization. The application of tricycle SVP is suggested as a model for this paradigm. As a result, this research conceptualizes the SVP as a digital DIY paradigm for UVPOS revitalization and identifies the main components that must be achieved and integrated with the city's official planning and design systems.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Najjar, Lima and Aycim Turer Baskaya, Fatma},
	year = {2022},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Turkey, Projection, Video projection, Urbanism},
	pages = {112--119},
}

@article{nash_graffiti-art_2010,
	title = {Graffiti-{Art}: {Can} it {Hold} the {Key} to the {Placing} of {Prehistoric} {Rock}-{Art}?},
	volume = {3},
	issn = {1751-696X},
	doi = {10.2752/175169710X12549020810452},
	abstract = {Can we with a twenty-first-century mindset make meaningful statements concerning the commissioning and execution of prehistoric rock-art, and what are the mechanisms that encourage people to put their mark onto a rock surface? In a key text Taçon and Chippindale (1998) coined the term “informed methods.” This approach relied on the direct contact between artist and researcher and was successfully used in understanding some of the problems associated with narratives incorporated into indigenous art in Northern Australia. Using the informed-methods approach, the author was interested in drawing analogies between historic graffiti art from a coastal site in Morecambe Bay, northern England and prehistoric art. Bearing in mind the subversive nature of modern graffiti-art and probable positive endorsement of rock-art by status individuals in the prehistoric period, this article identifies a number of analogies between the two, such as landscape grammar and the way messages, signatures, and symbols are expressed and conveyed. By looking at the potential underlying socio-economic, political, and ritual mechanisms that allowed people to carve and paint onto rock in the modern period, can we make inferences as to why prehistoric people would want to carve and paint onto rock?},
	language = {English},
	number = {1},
	journal = {Time and Mind: The Journal of Archaeology, Consciousness and Culture},
	author = {Nash, George},
	year = {2010},
	note = {Num Pages: 22},
	keywords = {Graffiti, Rock art},
	pages = {41--62},
}

@article{natali_consolidation_2014,
	title = {Consolidation and protection by nanolime: {Recent} advances for the conservation of the graffiti, {Carceri} dello {Steri} {Palermo} and of the 18th century lunettes, {SS}. {Giuda} e {Simone} {Cloister}, {Corniola} ({Empoli})},
	volume = {15},
	issn = {1296-2074},
	doi = {10.1016/j.culher.2013.03.002},
	abstract = {Nanolime dispersed in 2-propanol was extensively used for the consolidation of wall paintings. The knowledge of the advances of this methodology dealing with all the possible effects associated with the nanolime new material in conservation is fundamental to assess and improve the technique. In this paper, four different dispersions of Ca(OH)2 nanoparticles were characterised by Small Angle X-rays Scattering technique (SAXS) and Transmission Electron Microscopy (TEM) in order to achieve information on size, shape, polydispersity, agglomeration, and crystal structure (by SAED patterns) of the particles. Once characterised, the dispersions were tested in two different case studies, the Carceri dello Steri in Palermo with their graffiti and the 18th century lunettes at the SS. Giuda e Simone Cloister, Corniola (Empoli) with their lime-based mural paintings. The treated samples were characterised in relationship to either their morphology and surface chemical composition by Scanning Electron Microscopy coupled with Energy Dispersive X-rays spectroscopy (SEM-EDX), or their water absorption and mechanical properties (resistance to material abrasion). The results obtained showed that all the dispersions were nanometrically structured and their application succeeded in recovering the mechanical properties of the painting or graffito layers, not altering their permeability to water and keeping perfectly the wall transpiration. However, the dispersions constituted of the nanoparticles obtained via a synthesis able to control size and shape of the Ca(OH)2 particles resulted in a better performance in situ, even if the differences found by SAXS and TEM were slight.},
	language = {English},
	number = {2},
	journal = {Journal of Cultural Heritage},
	author = {Natali, Irene and Saladino, Maria Luisa and Andriulo, Fabrizio and Chillura Martino, Delia and Caponetti, Eugenio and Carretti, Emiliano and Dei, Luigi},
	year = {2014},
	note = {Num Pages: 8},
	keywords = {Graffiti, Cloister, Empoli, Nanolime, SS. Giuda e Simone, TEM (Transmission Electron Microscopy)},
	pages = {151--158},
}

@book{nebel_stadt_2021,
	address = {Hamburg},
	title = {Eine {Stadt} wird bunt: {Hamburg} {Graffiti} history 1980-1999},
	isbn = {978-3-00-069133-1},
	abstract = {Diese umfangreich recherchierte Publikation widmet sich der Geschichte der Hamburger Graffiti-Szene in den 1980er und 1990er Jahren. Bis heute ist die Hamburger Graffiti-Landschaft tief in dieser Zeit verwurzelt. Ihre Protagonisten gelten nicht nur in der Szene als Wegbereiter – sie haben Hamburg als Stadt visuell verändert und weitreichend geprägt. Die Publikation enthält exklusive Fotostrecken und Originalzitate von damaligen aktiven Graffiti-Writern sowie wissenschaftliche Abhandlungen von namhaften Autoren, die Graffiti als ein weitvernetztes subkulturelles Phänomen aufzeigen und gleichzeitig Auskunft über Praktiken der Aneignung des öffentlichen Stadtraums geben.},
	language = {German},
	publisher = {Double-H Archiv},
	editor = {Nebel, Oliver "Davis" and Petering, Frank and Reisser, Mirko and Timm, Andreas "Cario"},
	translator = {van Kan, René and Lloyd, Will and Ecks, Nikola},
	year = {2021},
	note = {DAIM; Heinze, Carsten; Necker, Sylvia; Flügel, K. P.; Kraus, Dennis; Becker, Mathias; Luda, Christian; Göttsche, Kathleen; Klingenberg, Lars; Reinking, Rik; Lützen, André; Euler, Bernd; Peyer, Fritz; Stroux, Marily; Gehner, Ulrich; Plößer, Christine; Fickel, Bettina; Henning, Thomas; Horacek, Milan; Kauka, Jennifer; Trojan, Alf; Kohn, Lars; Rufenach, Alexander; Pinske, Olaf; Frahm, Klaus; Scholz, Henning; Siemokat, Tim},
	keywords = {Graffiti, Germany, Hamburg},
}

@book{neelon_caleb_2008,
	address = {Corte Madera},
	title = {Caleb {Neelon}'s book of awesome: {Murals}, gallery installations \& street paintings from all over the place},
	isbn = {978-1-58423-306-0},
	abstract = {Deliberately ignoring the obvious global centres of New York, LA and London, Caleb Neelon painted subject matter close to his heart while making a street presence in places like Kathmandu, Sao Paulo and Tegucigalpa. This book provides an overview of the work of this diverse and distinctive artist.},
	language = {English},
	publisher = {Gingko Press},
	author = {Neelon, Caleb},
	year = {2008},
	keywords = {Graffiti, Murals, Installations Art},
}

@article{neves_grupo_2018,
	title = {Grupo {OPNI} graffiti and urban violence in present-day {Brazil}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.153},
	abstract = {São Paulo is the largest city in Latin America. In addition to its metropolitan and peripheral regions, there are more than 22 million people. All kind of reality is in the 1.520 km2 that extends its territory. From super millionaires who own huge houses of 10/20 million euros with 10.000 m2 of built area, with helipads and Ferraris in the garage, to wooden houses with 20/30 m2, without connection to the light and water network, with open sewage to your door. Nothing more violent and aggressive than this veiled socioeconomic segregation. Often this is observed within a radius of 5 km away, exposing and depicting a glaring inequality. The vast majority of this poor and excluded population is black. In this context, the Brazilian Hip Hop movement emerged in the 1980’s, in the central region of São Paulo, which gave voice to the latent social problems of the metropolis. This is how the São Paulo graffiti, that spans the walls and concrete of the grey city is born, an ideal platform to express social problems and portray the colours and concepts of the new born musical movement. In this context, in 1997, in São Mateus, the far east of the city, the collective of urban art and graffiti Grupo OPNI was born, which remains alive and active, contradicting all unfavourable statistics.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Neves, Rafael},
	year = {2018},
	note = {Num Pages: 5
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, São Paulo, Braszil, Violence},
	pages = {126--130},
}

@book{nguyen_beyond_2010,
	address = {Berlin},
	title = {Beyond the street: {The} 100 leading figures in urban art},
	isbn = {978-3-89955-290-4},
	abstract = {Beyond the Street features interviews with leading artists such as Shepard Fairey, Swoon, and Os Gemeos. The book also offers the views of representatives of the most important sales outlets for street art including Deitch Projects and Jonathan LeVine Gallery. In addition, curators from auction houses such as Christies and Phillips de Pury comment on the development of street art in a classical art context. Interviews with key commentators, collectors, and enthusiasts such as Martha Cooper, Wooster Collective, and Agnes B. provide further insight. Brought together, these separate and distinct perspectives create a uniquely authentic collective portrait of street and urban art that is captivating, informative, and entertaining. Each interview in Beyond the Street is richly illustrated with photographs of an inspiring collection of work. In addition to presenting outdoor work, the book also features the pieces that the artists have created for exhibitions and other indoor spaces. The commercial aspect of the street art movement is rigorously documented for the first time. Among the photographs featured are a number of images of the artists studios or the artists themselves at work, providing a rare glimpse into their methods and environments.},
	language = {English},
	publisher = {Die Gestalten Verlag},
	author = {Nguyen, Patrick and MacKenzie, Stuart},
	year = {2010},
	keywords = {Street art, Interview},
}

@article{niaz_university_2021,
	title = {University {Spaces} as {Agents} of {National} {Belonging}: {Analysing} the {Visual} {Culture} of {Public} {Universities}’ {Campuses} in {India} and {Pakistan}},
	volume = {11},
	doi = {10.3390/educsci11110741},
	abstract = {This article discusses the role of ‘space’ in Indian and Pakistani public sector universities in fostering national pride. University spaces have been highlighted, in both countries, for being used by the governments as agents fostering the national narrative yet there is limited research on how these spaces contribute to the visual culture of educational institutions and in the inculcation of nationalistic values. This article adds to the conversations regarding the fostering of national belonging and pride in universities by exploring space as a constitutive element of the visual culture of the higher education environment in India and Pakistan. In both countries, the physical spaces of public universities have become platforms for channelling student voices. This research uses two state-funded universities, from Delhi (in India) and Lahore (in Pakistan), and Lefebvre’s conception of space to conduct a discourse analysis of bulletin boards, graffiti, statues, sculptures, and any other imagery found online pertaining to the campuses and analyse how it is a ‘conceived’ and ‘perceived’ aspect of the visual culture of the universities. It adds to current scholarly conversations on national pride and consciousness in India and Pakistan by showing how university spaces can potentially play an active role in promoting the state’s narrative in students’ or educators’ everyday educational experiences.},
	language = {English},
	number = {11},
	journal = {Education Sciences},
	author = {Niaz, Laraib and Anand, Kusha},
	year = {2021},
	keywords = {Graffiti, Street art, Visual culture, India, Nationalism, Pakistan, Pride},
	pages = {741},
}

@article{nikita_local_2019,
	title = {Local text of the city and public art: in search of {Post}-{Soviet} identity},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.169},
	abstract = {This article describes an interdisciplinary effort among scholars, street artists and curators around a public art project, “Tales of the Golden Apples” (almetpublic.art), in the industrial Russian city of Almetyevsk. The project included research, analysis and translation of the city and region’s local identity into the language of art. The project’s location determined the terms for a new methodological approach. Through survey research, a group of folklorists, religious scholars, ethnographers and urban anthropologists collected oral folklore beliefs and historical topics characteristic of the region. Anthropological study based on more than 40 in-depth interviews and ethnographic fieldwork carried out in Almetyevsk region. Street artists were then asked to create works based on the oral histories and material gathered by the scholars. Through this interdisciplinary approach, using local folklore and historical materials, an important step was made towards the formation of a post-Soviet identity for an industrial Russian city.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Nikita, Petrov and Ezh, Polina and Piskunova, Ksenia and Elagina, Valeria},
	year = {2019},
	note = {Num Pages: 14
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Russia, Post-Sovjet, Sovjey},
	pages = {28--41},
}

@article{nogueira_alves_why_2017,
	title = {Why can’t our wall paintings last forever?: {The} creation of identity symbols of street art},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.58},
	abstract = {The concept of ephemerality has been used in the last decades as the opposite of memory preservation. In this article, I seek to understand the valorization of street art as cultural heritage, as well as the strategies that have been adopted for its preservation in a non-institutional context.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Nogueira Alves, Alice},
	year = {2017},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Cultural heritage},
	pages = {12--19},
}

@article{nolasco_cardoso_maria_da_luz_graffiti_2017,
	title = {Graffiti or “getting–up”: {From} site-specific to {Web} 2.0},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.83},
	abstract = {Leitemotive - Aveiro, a Portuguese coastal city, has these marks of our contemporaneity idealized under an apex of thought and artistic graffiti gestures that cover walls, tunnels, viaducts, ceilings, arches, carriages and clusters dispersed and that carry colors and “signs” difficult to decipher, but, graffiti is also the reflection of the active life of our city. It is important to clarify the connections between public art and the artistic dimensions of graffiti in the current era of globalization. What is the discourse of public art in cyberspace and virtual territory, understood as an act resulting from digital manipulation, especially in Web 2.0. Thus, aiming to interpret urban artistic alterities, graffiti as a marginal art in relation to its forms of artistic production, even more alternating and alternative (Canclini, 2005 Cit. By Andrade, 2010: 50). It is our proposal to cross the action and the explosion of graffiti in the media and social networks. Objectively, we seek to know what has changed in graffiti with the activity generated on the Web and what the results of this kinetic visual and imaginary universe that the Web allows. This online and digital platform has made graffiti come out of its territorial isolation, moving graffiti - as an ephemeral and artistic manifestation - from a site-specific attitude, in style and painting, to a more competitive and revealing attitude towards a new statute, the dematerialization of the image, its preservation and virtual dissemination.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Nolasco Cardoso, Maria da Luz},
	year = {2017},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Web 2.0, WWW},
	pages = {84--89},
}

@article{nomeikaite_street_2017,
	title = {Street art, heritage and embodiment},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.62},
	abstract = {In recent years, street art and graffiti have been framed as items of cultural heritage. However, until now, there has been no clear agreement on the definition or conceptualization of street art as heritage. This research presents limitations of the conventional approaches to heritage and argues that street art and graffiti does not represent a dichotomy between tangible and intangible heritage or people and object, but instead represents an inseparable relationship of the two. This study calls for greater engagement with more-than-representational approaches in studying the relationship between street art and heritage. More-than-representational approaches address street art’s crucial relationships with everyday life and change, as well as its relational, performative, embodied and affective components. Based on more-than-representational approaches, this research conceptualizes street art as a heritage experience in terms of embodiment, affect and everyday performativity. Furthermore, by situating the concept of embodiment within the case of Bergen, Norway, the paper provides an example of how the reasons and meanings behind the preservation of street artworks can be captured within a local context.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Nomeikaite, Laima},
	year = {2017},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Street art, Heritage, Embodiment},
	pages = {43--53},
}

@article{nomeikaite_street_2019,
	title = {Street art and heritage conservation: {From} values to performativity},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.181},
	abstract = {The present study re-evaluates the relationship between street art and the value-based approach to heritage conservation. The research presents the limitations of the value-based approach, which relate to its conceptualisation of stakeholders, experts and tangible preservation, as well as its distinction between present and past, and tangible and intangible heritage. In response, the paper suggests a performative approach to street art heritage conservation theory and practice. First, the paper introduces the notion of performativity within non-representational theory and its temporary, affective and relational aspects. Drawing further on the performativity approach, street art and urban studies, the paper illustrates and argues that the aesthetic experience of street art does not distinguish between past and present or tangible and intangible; instead, the experience is relational, socio-spatial, temporary and affective. Finally, the research offers a performative methodology for practising relations between street art and heritage.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Nomeikaite, Laima},
	year = {2019},
	note = {Num Pages: 13
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {6--18},
}

@book{norena_document_2019,
	address = {Leiden},
	title = {From {Document} to {History}: {Epigraphic} {Insights} into the {Greco}-{Roman} {World}},
	isbn = {978-90-04-38288-6},
	abstract = {In From Document to History: Epigraphic Insights into the Greco-Roman World, editors Carlos Noreña and Nikolaos Papazarkadas gather together an exciting set of original studies on Greek and Roman epigraphy, first presented at the Second North American Congress of Greek and Latin Epigraphy (Berkeley 2016). Chapters range chronologically from the sixth century BCE to the fifth century CE, and geographically from Egypt and Asia Minor to the west European continent and British isles. 
Key themes include Greek and Roman epigraphies of time, space, and public display, with texts featuring individuals and social groups ranging from Roman emperors, imperial elites, and artists to gladiators, immigrants, laborers, and slaves. Several papers highlight the new technologies that are transforming our understanding of ancient inscriptions, and a number of major new texts are published here for the first time.},
	language = {English},
	publisher = {Brill},
	editor = {Noreña, Carlos F. and Papazarkadas, Nikolaos},
	year = {2019},
	doi = {10.1163/9789004382886},
	keywords = {Graffiti, Roman archaeology, Greek archaeology, Ancient world, Ancient graffiti},
}

@article{novack_towards_2020,
	title = {Towards {Detecting} {Building} {Facades} with {Graffiti} {Artwork} {Based} on {Street} {View} {Images}},
	volume = {9},
	issn = {2220-9964},
	doi = {10.3390/ijgi9020098},
	abstract = {As a recognized type of art, graffiti is a cultural asset and an important aspect of a city’s aesthetics. As such, graffiti is associated with social and commercial vibrancy and is known to attract tourists. However, positional uncertainty and incompleteness are current issues of open geo-datasets containing graffiti data. In this paper, we present an approach towards detecting building facades with graffiti artwork based on the automatic interpretation of images from Google Street View (GSV). It starts with the identification of geo-tagged photos of graffiti artwork posted on the photo sharing media Flickr. GSV images are then extracted from the surroundings of these photos and interpreted by a customized, i.e., transfer learned, convolutional neural network. The compass heading of the GSV images classified as containing graffiti artwork and the possible positions of their acquisition are considered for scoring building facades according to their potential of containing the artwork observable in the GSV images. More than 36,000 GSV images and 5000 facades from buildings represented in OpenStreetMap were processed and evaluated. Precision and recall rates were computed for different facade score thresholds. False-positive errors are caused mostly by advertisements and scribblings on the building facades as well as by movable objects containing graffiti artwork and obstructing the facades. However, considering higher scores as threshold for detecting facades containing graffiti leads to the perfect precision rate. Our approach can be applied for identifying previously unmapped graffiti artwork and for assisting map contributors interested in the topic. Furthermore, researchers interested on the spatial correlations between graffiti artwork and socio-economic factors can profit from our open-access code and results.},
	language = {English},
	number = {2},
	journal = {ISPRS International Journal of Geo-Information},
	author = {Novack, Tessio and Vorbeck, Leonard and Lorei, Heinrich and Zipf, Alexander},
	year = {2020},
	note = {Num Pages: 17},
	keywords = {Graffiti, Street art, Machine learning, Social media, Google street view, AI (Artificial Intelligence), ANN (Artificial Neural Network), Deep learning, CNN (Convolutional Neural Networks)},
	pages = {98},
}

@article{novak_methodology_2014,
	title = {Methodology for the measurement of graffiti art works: {Focus} on the piece},
	volume = {32},
	issn = {1818-4952},
	doi = {10.5829/idosi.wasj.2014.32.01.301},
	abstract = {Throughout its 45 year history graffiti art has been researched by various academicians from diverse disciplines. In their studies, many graffiti art researchers provided illustratory photographs of graffiti art works. However, these representations were never accompanied by captions referring to the exact sizes of the works depicted. This present study approached this problem and attempts to contribute to the creation of a methodology for the measurement of sizes of graffiti art works. This first exploratory research also reports initial results on the average sizes of graffiti art works, especially of the graffiti art form piece which is so excessive in scale.},
	language = {English},
	number = {1},
	journal = {World Applied Sciences Journal},
	author = {Novak, David},
	year = {2014},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Measurement},
	pages = {40--46},
}

@article{novak_photography_2015,
	title = {Photography and {Classification} of {Information}: {Proposed} {Framework} for {Graffiti} {Art}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.22},
	abstract = {Street and urban creativity is a global phenomenon and graffiti art is one of its manifestations. This article briefly discusses some approaches to photography as to one of the main visual research methods in the research of graffiti art works. Moreover, a framework for the classification of information contained in photographs of graffiti art works is proposed. A three level system of classification is introduced based on a provided example.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Novak, David},
	year = {2015},
	note = {Num Pages: 13},
	keywords = {Graffiti, Street art, Photography, Classification, Indexing},
	pages = {13--25},
}

@phdthesis{novak_evaluation_2016,
	address = {Kuala Lumpur},
	type = {{PhD} thesis},
	title = {Evaluation of graffiti art works in greater {Kuala} {Lumpur}},
	abstract = {Graffiti art/Writing‘ consists of four forms: tag, throw-up, piece and character. With the beginning of the 21st century, graffiti art became a constant component of global urban landscapes, including that of Greater Kuala Lumpur (GKL). However, the Malaysian public and academics do not possess a full and detailed descriptive understanding of the content of works produced by the graffiti art culture. Even on a worldwide scale, graffiti art still remains partially unexplored by scholars. Therefore, this present study provides insight into the often ‗hidden‘ content of graffiti art works. The study is using mixed methods of research to investigate the contemporary graffiti art culture‘s visual products. Primary data were collected from fieldwork. Participants are graffiti artists. Qualitative ethnographic research tools, such as interview, photo elicitation and observations form the basis of this study. Quantitative research methods are used for the determination of exact average sizes and partially for the investigation of the content of graffiti art works in GKL. Some personal interviews included a legibility research experiment. Data were also obtained through emails, surveys and distributed questionnaires. The research results show that firstly, graffiti artists evaluate other graffiti art works based on the presence of the graffiti artist‘s works in a public space and on the original ‗style‘ of such works. The aesthetical preferences of 20 graffiti artists identified 28 graffiti art works as aesthetically pleasing (with a 24–44\% consensus); the sample consisted of 1003 graffiti art works from GKL (153 tags, 150 throw-ups, 250 characters, 450 pieces). Interesting findings include the facts that graffiti artists consider tags as the building blocks of graffiti art, throw-ups as the technically and stylistically most difficult form of graffiti art, pieces as the most appreciated form of graffiti art, and characters as the most disliked and unpopular form of graffiti art, generally produced to please the public. Secondly, that the research results suggest that the skill to ‗decipher‘ iv illegible letterform-oriented graffiti art works can be acquired; especially through knowledge of graffiti art styles, through knowledge of graffiti artists‘ tag names, and through connoisseurship of individual styles. Thirdly, that the research results demonstrated that the content of themes and motifs present in Malaysian graffiti art works is not only a partial reflection of the local Malaysian culture, but also a reflection of themes and motifs globally present in graffiti art works. Fourthly, that the exact measurements of the dimensions of graffiti art works help to expand our knowledge about graffiti art works. A Major contribution to this study has been the focus on graffiti art works from GKL. The research provides to the uninitiated viewers of graffiti art, insights into the often ‗hidden‘ content of graffiti art works. It is concluded that graffiti art is a dilema manifest in contradictions. Additionally it is proposed that the ‗authenticity‘ of graffiti art works negatively affects the quality of life of people living in cities and that through a more tolerant approach towards graffiti art, as a possible form of public art, the quality of life in cities might be marginally improved.},
	language = {English},
	school = {University of Malaya},
	author = {Novak, David},
	year = {2016},
	keywords = {Graffiti, Kuala Lumpur},
}

@article{novak_historical_2017,
	title = {Historical dissemination of graffiti art},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.61},
	abstract = {Historical analysis is performed on the five decades old urban phenomenon represented in “graffiti art”. The article first traces the dissemination of graffiti art from New York City to the Western world in the 1980s. Individual dissemination channels represented in gallery exhibitions, cultural media and interpersonal contact are highlighted. Further, the dissemination of graffiti art in the 1990s to Central and Eastern Europe is demonstrated on the case of Czechoslovakia. Finally, the article summarises information on the dissemination of graffiti art to the rest of the world. It is argued that the production of graffiti art works on exteriors of trains became an orthodox tradition of the graffiti art culture in the 1970s and disseminated together with graffiti art forms average scales to other areas of the world. A diagram representing the Origins, Dissemination Channels and Other Conditions relating to the spread of graffiti art is presented.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Novak, David},
	year = {2017},
	note = {Num Pages: 14
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Train, New York, Dissemination},
	pages = {29--42},
}

@book{novy_what_2019,
	address = {Berlin},
	edition = {Second},
	series = {{MENETEKEL}},
	title = {What {Do} {One} {Million} {Ja} {Tags} {Signify}?},
	isbn = {978-3-944591-75-9},
	language = {English},
	publisher = {Possible Books},
	author = {Novy, Dumar},
	translator = {van Drown, Ramud},
	year = {2019},
	keywords = {Graffiti, Street art, Graffiti writing, Tags},
}

@article{oittinen_traces_2019,
	title = {Traces from the {Past}: {Ghost} {Buildings} in {Brussels}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Oittinen, Riitta},
	year = {2019},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, Brussels},
	pages = {76--81},
}

@book{olberg_political_2013,
	address = {Lewiston},
	title = {Political graffiti on the {West} {Bank} wall in {Israel} / {Palestine}},
	isbn = {978-0-7734-4070-8},
	abstract = {Based on field research conducted by the author in 2008, the book consists of a careful examination of graffiti written on both the Palestinian and Israeli sides of the Israel-built “separation wall”; and interviews with people about the graffiti. This shows how different sides of the conflict view the conflict itself and details the various ways that graffiti can represent political strife.},
	language = {English},
	publisher = {Edwin Mellen Press},
	author = {Olberg, Steven T.},
	collaborator = {Smith, David},
	year = {2013},
	keywords = {Politics, Political graffiti, Israel, Palestine},
}

@book{oliver_wild_2010,
	address = {Oxford},
	series = {{BAR} {International} {Series}; {Studies} in contemporary and historical archaeology;},
	title = {Wild signs: {Graffiti} in archaeology and history},
	isbn = {978-1-4073-0635-3},
	abstract = {This, the sixth volume in the series, assembles a series of innovative studies in the historical archaeology of graffiti. A rich variety of case studies that range from figures carved into the bark of aspen trees in upland Nevada made during the 1910s to stencilled rats on the streets of 21st-century Bristol, and from ships scratched into the limestone of Tewkesbury Cathedral to aircraft drawn on the walls of farm buildings by horselads in the Yorkshire Wolds during the early 20th century. Through these case studies, the editors clearly demonstrate the potential contribution of such sites to wider archaeological debates around the study of art and landscape: looking at the effects of artworks, rather than simply trying to interpret their meaning. This response to the ‘wildness’ of graffiti is contextualised in Victor Buchli’s afterword, which demonstrates the volume’s broader contribution to fields of material culture studies and the archaeology of the recent past.},
	language = {English},
	number = {2074; 6},
	publisher = {Archaeopress},
	editor = {Oliver, Jeff and Neal, Tim},
	year = {2010},
	keywords = {Graffiti},
}

@book{omodeo_sorry_2017,
	address = {Breda},
	title = {Sorry for damage done},
	isbn = {978-94-92051-26-4},
	abstract = {Het vertrekpunt voor dit project was de ontdekking van een gigantische database van foto’s gemaakt door schoonmaakbedrijven in Eindhoven, een stad die bekend staat om zijn industrieel erfgoed en Philips-fabrieken. Tussen 2007 en 2013 hebben deze bedrijven de opdracht gekregen om onwettige beeltenissen van gemeentelijke eigendommen in de publieke ruimte te verwijderen. Als bewijs voor het gedane werk moesten ze elke locatie twee keer fotograferen – voor en na het schoonmaken – wat heeft geleid tot een gigantisch archief van 50.000 beelden. Toen de auteurs, Vincent Wittenberg en Wladimir Manshanden, op deze bizarre verzameling stuitten, zagen ze er meteen de historische waarde van in. De database is een nauwkeurige zevenjarige inventarisatie van de graffiti- en stickercultuur in Eindhoven, en laat de worsteling zien tussen de strijd tegen vandalisme en het omarmen van subculturen. Het legt ook de stedelijke omgeving vast als een plek waar een verscheidenheid aan mensen hun sporen achter laten. Sorry for Damage Done bevat drie procent van de gehele database: meer dan vijftienhonderd chronologisch geordende beelden van graffiti en de bijbehorende ‘opgeschoonde’ situaties.},
	language = {English},
	publisher = {The Eriskay Connection},
	author = {Omodeo, Christian},
	editor = {Wittenberg, Vincent and Manshanden, Wladimir},
	translator = {Planquelle, Hélène},
	year = {2017},
	keywords = {Graffiti, the Netherlands, Eindhoven},
}

@article{omodeo_vandal_2019,
	title = {Vandal {Curator}?},
	volume = {1},
	issn = {2535-549X},
	abstract = {Christian Omodeo (PhD) is an art historian, art critic, book collector and director of Paris-based bookshop Le Grand Jeu. Christian was one of the curators of Street Art Banksy \& Co. The urban state of mind at the Museum of Palazzo Pepoli in Bologna, Italy. Blu’s dramatic response to the inclusion of an excised street-based piece in the show (erasing his work from the streets of Bologna) sparked an international debate on the ethics of removing work from the streets for display in museum space. To some extent, this controversy overshadowed the rest of the show, which remains one of the biggest retrospectives ever dedicated to graffiti and street art, featuring over 300 artworks, photos, videos and documents. More recently, Christian revisited the Blu story in his film The Man Who Stole Banksy, as part of a critique of the ways in which museums have coopted street art. Nuart Journal recently sat down with Omodeo for an interview.},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Omodeo, Christian},
	year = {2019},
	note = {Num Pages: 3},
	keywords = {Graffiti, Street art, Curation, Interview},
	pages = {93--95},
}

@article{oskolki_black_2019,
	title = {Black {Bombing}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Oskolki},
	year = {2019},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Bombing},
	pages = {56--63},
}

@article{ospina_gallego_regulations_2023,
	title = {Do the regulations for street music in {Spain} lead urban musicians to break the law?},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.668},
	abstract = {Do the regulations for street music in Spain lead urban musicians to break the law? 
This study focuses on street musicians who sing or play musical instruments in a public space for donations/tips. Currently most of their needs are not covered in the laws relating to of street musicians in Spain, several cities do not have this profession regulated and in the localities that do, they prohibit amplification, the sale of their own music (CDs etc.), limit free movement and the instruments that they can use. These are rules that musicians must break in order to work, leaving the buskers who perform in a legal gap or limbo, without defense against the authorities. 
This study addresses 3 parts: the first is an observational exercise from the perspective of the street musician which seeks to find out the basic needs of workers in their busking experience; the second area analyzes how the Spanish regulations behave based on the needs that these performers have; and the third element contrasts the personal view of the researcher with the opinions of other street musicians and groups found in the media.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Ospina Gallego, Crismary and Lloret Romero, Maria Nuria and Betancur Santa, Héctor Yovanny},
	year = {2023},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Law, Music, Street music},
	pages = {39--50},
}

@article{o__oskolki_he_2020,
	title = {“{HE}” / “{NO}”},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Oсколки / Oskolki},
	year = {2020},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {56--61},
}

@article{palomar-vazquez_application_2017,
	title = {Application of a combination of digital image processing and {3D} visualization of graffiti in heritage conservation},
	volume = {12},
	issn = {2352-409X},
	doi = {10.1016/j.jasrep.2017.01.021},
	abstract = {In recent years, heritage documentation processes have largely benefited from the application of both 2D imagery analysis and 3D techniques for recording and visualization of assets. In this paper, a combined 2D-3D methodological workflow, especially helpful for the documentation of graffiti on closed and narrow spaces, is presented. It is proposed, firstly, the use of structure from motion software to obtain the 3D model and texture information. Then, the use of decorrelation stretching algorithms is used to obtain enhanced textures. This study found that the performance of the algorithms usually recommended for enhancement of the different colours is sometimes suboptimal. Finally, the integration of 2D and 3D information into Blender, a powerful 3D open-source tool, allows for a detailed exploration of the areas containing graffiti. Additionally, it allows high quality rendition of the resulting model that helps to better understand and record heritage resources. This methodological approach has been applied to the military defense heritage site of Puig-Carassols trench line in Spain.},
	language = {English},
	journal = {Journal of Archaeological Science: Reports},
	author = {Palomar-Vazquez, Jesus and Baselga, Sergio and Viñals-Blasco, María-José and García-Sales, Carles and Sancho-Espinós, Ignacio},
	year = {2017},
	note = {Num Pages: 11},
	keywords = {Graffiti, Contrast enhancement, 3D, IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), Computer vision, Decorrelation stretch, Histogram stretch, Spain},
	pages = {32--42},
}

@article{pamela_graves_monastery_2013,
	title = {The monastery of {Durham} and the wider world: medieval graffiti in the prior’s chapel},
	volume = {50},
	issn = {0078-172X},
	doi = {10.1179/0078172X13Z.00000000041},
	language = {English},
	number = {2},
	journal = {Northern History},
	author = {Pamela Graves, C. and Rollason, Lynda},
	year = {2013},
	note = {Num Pages: 30},
	keywords = {Graffiti, Medieval, Medieval graffiti, Durham},
	pages = {186--215},
}

@book{pan_aestheticizing_2015,
	address = {Bristol},
	title = {Aestheticizing public space: {Street} visual politics in {East} {Asian} cities},
	isbn = {978-1-78320-453-3},
	abstract = {A photo collage of past and present street visuals in Asia, Aestheticizing Public Space explores the domestic, regional, and global nexus of East Asian cities through theirgraffiti, street art and other visual forms in public space. Attempting to unfold the complex positions of these images in the urban spatial politics of their respectiveregions, Lu Pan explores how graffiti in East Asia reflects the relationship between aesthetics and politics. The book situates itself in a contested dynamic relationshipamong human bodies, visual modernity, social or moral norms, styles, and historical expert},
	language = {English},
	publisher = {Intellect},
	author = {Pan, Lu},
	year = {2015},
	keywords = {Graffiti, Asia},
}

@article{panou_ship_2022,
	title = {Ship {Graffiti} in {Horologion} of {Andronikos} {Kyrristos}, {Greece}: {A} {Comparative} {Study} and {New} {Evidence}},
	volume = {14},
	issn = {2071-1050},
	doi = {10.3390/su142113791},
	abstract = {The paper contributes new information about the Horologion of Andronikos Kyrristos of the Roman Agora of Athens, Greece and its continuous presence in Athens from antiquity until now. The monument is of cultural, historical and astronomical importance. It has undergone conservation work and non-destructive documentation which contribute to its sustainability. The spectral imaging technique, which allows the acquisition of high-resolution images, was applied on the stone surfaces of the monument. The acquisition of images in the visible and infrared regions, combined with the digital tracing reproduction of the graffiti and image processing, is used for the first time in this particularly interesting case study of the aforementioned monument, of which a complete description is provided. New evidence with a clearer recording of the vessels already mentioned in the literature, as well as the detection of new historical data and graffiti, is discussed in comparison with the results of previous studies.},
	language = {English},
	number = {21},
	journal = {Sustainability},
	author = {Panou, Evangelia and Kaminari, Agathi Anthoula and Tsairis, Georgios and Alexopoulou, Athina Georgia},
	year = {2022},
	note = {Num Pages: 17},
	keywords = {Graffiti, Greece, Ship graffiti, Vessel, Horologion of Andronikos Kyrristos},
	pages = {13791},
}

@book{panta_italian_2019,
	address = {Milano},
	title = {Italian street art: \#90 best italian street artists},
	isbn = {978-88-9305-277-1},
	abstract = {Il libro, a colori, è completo dei profili informativi, dei contatti e delle immagini delle opere a corredo di ogni artista. 
Ecco i \#90 street artist presentati in questa opera: 108, 2501, Abbominevole, Acme 107, Agostino Iacurci, Airone, Alberonero, Ale Senso, Alice Pasquini, Andrea Casciu, Andrea Ravo Mattoni, Atomo, Biancoshock, Bifido, Blu, Bo130, Br1, Bros, Camilla Falsini, Canemorto, Cheone, Clet, Cyop \& Kaf, DEM, Dumbo, Ericailcane, Eron, Etnik, Exit Enter, Frode, G. Loois, Geometric Bang, Gio' Pistone, Giulio Vesprini, Gola Hundun, Greg Jager, Gummy Gue, Hitnes, il Baro, Ironmould, Ivan Tresoldi, Jorit Agoch, Joys, Kayone, Kenny Random, Krayon, La Fille Bertha, Laurina Paperina, Ligama, Luigi Loquarto, (Gig), Luz, Made 514, Manu Invisible, Mate, Mattia Campo Dall’Orto, Maupal, Max Gatto, Microbo, Millo, Moby Dick, Moneyless, Mork, MP5, Mr. Blob, Mr. Thoms, Mr. Wany, MrFijodor, Nemo’s, Neve, Orticanoodles, Ozmo, Pao, Peeta, PixelPancho, Rosk \& Loste, Sbagliato, Seacreative, Sonda, Sten Lex, Tellas, Tvboy, Ufocinque, Urbansolid Art, V3rbo, Vera Bugatti, Vesod, Willow, Xel, Zed1, Zibe. 
In definitiva, una guida imperdibile per tutti gli amanti della Street Art e per chiunque voglia avvicinarsi a questo sorprendente nuovo linguaggio artistico e alla sua relativa filosofia e cultura.},
	language = {Italian},
	publisher = {HOW2 Edizioni},
	author = {Panta, Peter},
	year = {2019},
	keywords = {Graffiti, Street art, Italy},
}

@article{papenbrock_wie_2019,
	title = {Wie alles anfing. {Peter} {Kreuzer} und das {Münchner} {Graffiti} der frühen {Jahre}},
	volume = {260},
	url = {https://www.kunstforum.de/artikel/wie-alles-anfing/},
	language = {German},
	journal = {Kunstforum International},
	author = {Papenbrock, Martin},
	year = {2019},
	note = {Num Pages: 12},
	keywords = {Graffiti, Graffiti writing, USA, Tags},
	pages = {98--109},
}

@article{papenbrock_graffiti_2018,
	title = {Graffiti digital. {Das} {Informationssystem} {Graffiti} in {Deutschland} ({INGRID})},
	volume = {15},
	issn = {1612-6041},
	doi = {10.14765/zzf.dok.4.1136},
	language = {German},
	number = {1},
	journal = {Zeithistorische Forschungen/Studies in Contemporary History},
	author = {Papenbrock, Martin and Tophinke, Doris},
	year = {2018},
	note = {Num Pages: 14
Publisher: ZZF - Centre for Contemporary History},
	keywords = {Graffiti, Germany, INGRID (Informationssystem Graffiti in Deutschland)},
	pages = {159--172},
}

@book{paradis_graffiti_2018,
	address = {New York},
	series = {Social issues, justice and status},
	title = {Graffiti: {Vandalism}, street art and cultural significance},
	isbn = {978-1-5361-3500-8},
	abstract = {The authors first present a study wherein a political dimension of art was analyzed using Jacques Rancière's theory, the micropolitical context in contemporary cities was analyzed using Michael Foucault's theory, and the research methodology was based on the urban ethnography of Italian author Massimo Canevacci. They present the experiences of five graffiti writers, exposing themes of resistance against societal rules. The book examine an event that happened during a graffiti workshop with youths in a city in the South of Brazil. The attempt to draw graffiti on a school’s white wall, seen by the youths as transgression towards the institution and its rules, brought about a variety of reactions. The security guard reprimanded them, and the pedagogical coordinator listened to them, but also mentioned the possibility of asking the director’s permission. After listening to the youths’ arguments and negotiating the image which would be drawn, the director ended up allowing the graffiti to be created. Next, a study on graffiti art in a skate park in Malta, with the goal of exploring some of the functions the artworks serve. The skate park authorizes graffiti in an attempt to create “safe spaces” for young people aimed at engaging them in creative, recreational activities they enjoy doing. The authors suggest that graffiti art in designated spaces could potentially reverse the association of graffiti with social unrest, fear, vandalism and crime. The book analyzes graffiti and street-art production of the extreme right-wing groups in Slovenia. The authors state that modern fascism is direct, exclusive, and aggressive, while postmodern fascism has the potential to be even more dangerous, because it looks inclusive, conciliatory, and its diction seems integrative. A concluding study explores the efficiency of the laser cleaning of graffiti spray paints on different types of stone.},
	language = {English},
	publisher = {Nova Science Publishers},
	editor = {Paradis, Xuan and Matthew, Minda},
	year = {2018},
	keywords = {Graffiti, Vandalism, Sociology, Graffiti removal},
}

@article{parisi_sex_2015,
	title = {The {Sex} of {Graffiti}. {Urban} art, women and “gender perception”: testing biases in the eye of the observer},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.17},
	abstract = {In this paper I explore the intersection between urban creativity and gender studies, through a composite methodology and with a double purpose: to examine the role and the recognition of women in the graffiti and street art milieu; and to test the existence, the extent, and the quality of gender biases in the eye of the observer. In order to accomplish these two tasks, I examined existing literature treating the subject and created a visual survey. Observations and results from each step of the present work reveal a general lack of recognition of women’s role in street art and graffiti, as well as a remarkable amount of gender preconceptions during mere aesthetic appreciation of urban works of art.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Parisi, Vittorio},
	year = {2015},
	note = {Num Pages: 10
ISBN: 9781522943389},
	keywords = {Graffiti, Street art, Gender, Sex, Women},
	pages = {53--62},
}

@article{parisi_book_2019,
	title = {Book {Review}: {Urban} {Art}: {Creating} the {Urban} with {Art}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Parisi, Vittorio},
	year = {2019},
	note = {Num Pages: 2},
	keywords = {Graffiti, Street art, Book review},
	pages = {96--97},
}

@article{parkinson_passing_2016,
	title = {Passing {Through} {Walls}: {The} transfiguration and circulation of graffiti from {East} {Timor}},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i1.40},
	abstract = {This paper outlines an assemblage of ideas developing a broader understanding of graffiti from East Timor. Addressing concerns of the center and the periphery, theory and practice as encountered in the study of graffiti in East Timor, the paper draws from James C Scott’s concept of hidden transcripts to illustrate the nuanced notions of identity and resistance in the country’s graffiti and the unique interface of its existence located across both the public and private sphere. In this way, graffiti in East Timor demonstrates, both in the face of and in the life led beyond domination, an aesthetic nexus of resistance and recuperation where the “open interaction” and the “offstage” interaction of its sites portray the contest of its post-colonial and post-conflict context. The author’s practice-led research is included in the paper to illustrate how graffiti has spawned creative, cross-cultural collaborations that have passed through and beyond the country’s walls, demonstrating characteristic features of alternative modernities; transfiguration and circulation. Capturing the resonance of research developed through the author’s publication, Peace of Wall: Street Art from East Timor and Animatism, a collective of artists and curators from Australia, East Timor and Indonesia, founded by the author, is an approach to the topic of center and the periphery, theory and practice, indebted to Henri Lefebvre’s theory of Rhythmanalysis. Here, Rhythmanalysis presents a conceptual blueprint to mediate the author’s own temporal and spatial displacement in the act of writing about a 12 year time frame. A methodological approach behind the paper’s form is drawn from intertextuality. This concept scaffolds the author’s recognition of writing about graffiti as part of a larger creative practice where the subject matter determines the form of presenting knowledge. Theoretical motifs from graffiti and street art are presented through this paper’s form; an appropriation of reference points. What is presented, then, is what N. Katherine Hayles posits is ‘Work as Assemblage’, “a cluster of related texts that quote, comment upon, amplify, and remediate one another” (Hayles, 2003, p 278).},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Parkinson, Chris},
	year = {2016},
	note = {Num Pages: 16
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, East Timor},
	pages = {27--42},
}

@article{parra-agudelo_this_2016,
	title = {This is {My} {City}},
	volume = {1},
	doi = {10.5204/jps.v1i1.16},
	abstract = {For this issue, I was asked to provide a viewpoint on the experience of public space as someone that has been involved in graffiti and street art for more than ten years. My involvement with these two forms of street interventions, that for outsiders co-exist and for insiders collide, is mostly situated in Bogota, Colombia. The living conditions of the inhabitants of the capital city of a country embedded in more than fifty years of internal violence were, and still are, precarious for many but not so much for me. I was raised in a middle class home and was well taken care of.},
	language = {English},
	number = {1},
	journal = {The Journal of Public Space},
	author = {Parra-Agudelo, Leonardo},
	year = {2016},
	note = {Num Pages: 4},
	keywords = {Graffiti, Urban space},
	pages = {147--150},
}

@book{pasha_open_i_2022,
	address = {Utrecht},
	title = {I don’t know how to call it},
	abstract = {Pasha's thoughts are with his city Lviv, which needs some extra help right now. In this zine a series of paintings and photography. Mainly made before the war. Will this ever be possible again? For every zine sold, we donate 8 euros to the cause of Pasha's choice. So buy and buy a lot.},
	language = {English},
	publisher = {Stickit},
	author = {Pasha Open},
	year = {2022},
	keywords = {Graffiti, Lviv},
}

@article{patel_writing_2007,
	title = {Writing on the {Wall}. {The} {Graffiti} {Archaeology} {Project} challenges the definition of archaeology},
	volume = {60},
	language = {English},
	number = {4},
	journal = {Archaeology},
	author = {Patel, Samir S.},
	year = {2007},
	note = {Num Pages: 4},
	keywords = {Graffiti, Archaeology},
}

@book{paulus_king_2016,
	address = {Berlin},
	title = {King {Kool} {City} {Berlin}: {Von} {Hip} {Hop} {Bis} {Graffiti}},
	isbn = {978-3-944594-57-6},
	language = {German},
	publisher = {Elsengold},
	author = {Paulus, Sarah and Wackenberg, Rolf G.},
	year = {2016},
	keywords = {Graffiti, Hip-hop},
}

@book{peden_graffiti_2001,
	address = {Leiden; Boston},
	series = {Probleme der Ägyptologie},
	title = {The graffiti of pharaonic {Egypt}: {Scope} and roles of informal writings (c. 3100-332 {B}.{C}.)},
	isbn = {978-90-04-12112-6},
	abstract = {Graffiti, being a form of written communication invariably free of social restraints, are a far more accurate reflection of the character of the Egyptian era of the pharaohs than the far more polished artistic or literary works. This work is an overall attempt to offer insight into more than 2800 years of Egyptian and Nubian hieroglyphic and hieratic graffiti. Graffiti have long been neglected when compared to larger and more formal texts and inscriptions, and it is only in recent years that many important graffiti texts written in these scripts have been published and made available to wider scrutiny. For this work, extensive use has also been made of materials as yet unpublished.},
	language = {English},
	number = {17},
	publisher = {Brill},
	author = {Peden, Alexander J.},
	year = {2001},
	keywords = {Graffiti, Egypt, Ancient graffiti},
}

@article{pedersen_subversive_2018,
	title = {Subversive weeds: {Bio}-activist strategies in urban interventions},
	volume = {1},
	issn = {2535-549X},
	abstract = {This paper examines the activist instrumentalisation of plants in a selection of recent art works and artistic interventions realised within urban contexts. A common denominator for these is that they seem to play with or imitate the unsanctioned approaches of subcultures or activist groupings with their various critical addresses to established structures and hierarchies. But while these other types of engagement within urban space often have a political or social scope, the works dealt with in this paper exceed the confines of anthropocentric issues and relations. Instead, they redirect attention towards some of most overlooked and devalued co-inhabitants in cities: plants – and most notably those perceived by many to be less worthy of a place in the urban ecosystem: weeds. This paper is part of the rising field of studies (e.g., Bengtsen, 2018) that examines urban and street art's potential to affect our consciousness of environmental concerns and our own agency within our biotic community.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Pedersen, Christel},
	year = {2018},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art},
	pages = {9--15},
}

@article{pena_carvalho_dos_anjos_craveiro_rodrigo_influence_2017,
	title = {The influence of graffiti writing in contemporary typography},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.82},
	abstract = {With the entry into the so-called postmodern era we see significant changes in the paradigm of visual communication in general and design in particular, promoted by new ideas and principles that emerge as, what some call, a reaction to Modernism.It is in this environment that graffiti writing arises, controversial, irreverent and creative, becoming a reference for many graphic designers who adopt its characteristics. The development of graphic editing software has facilitated not only the creation of these new works with a hybrid character, but also the practice of graphic design. Consequently, typography, sharing with graffiti its passionate dedication to letters, also explores new forms and variations by the hands of professional designers and enthusiasts. This research aimed to identify the influence of graffiti on contemporary typography. To this end, we analyzed the work of graphic designers where marks of this influence have been found. These provided us with clues to the understanding of the changes that have occurred in the type design practice and their relationship with graffiti.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Pena Carvalho dos Anjos Craveiro, Rodrigo},
	year = {2017},
	note = {Num Pages: 19
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Calligraphy, Typography},
	pages = {65--83},
}

@book{pereira_graffiti_2005,
	address = {San Francisco},
	title = {Graffiti},
	isbn = {978-2-7528-0181-4},
	language = {English},
	publisher = {Silverback Books},
	author = {Pereira, Sandrine},
	year = {2005},
	keywords = {Graffiti, Street art},
}

@article{perez-izaguirre_what_2023,
	title = {What {Can} {Graffiti} {Tell} {Us} {About} {Emotions} and {Motivation}? {Some} {Key} {Points} for {Learning}},
	doi = {10.1007/s43076-023-00304-9},
	abstract = {This paper presents an ethnographic study on the Pamplona graffiti community and analyzes the emotions and motivation necessary for successful learning. The research methods are interviews and observations of graffiti-writing practice in the community. According to the writers, although the technical elements of graffiti can be learned, there is also an innate element that makes a person become a graffiti writer. The belief in that innate element generates a series of emotions that motivate the writer to continue painting. The article concludes that belief in one’s potential is of key importance for motivating learning, and that this insight can be used to create better conditions for teaching and learning.},
	language = {English},
	journal = {Trends in Psychology},
	author = {Pérez-Izaguirre, Elizabeth and Reglero, Ana María Liñero},
	year = {2023},
	keywords = {Graffiti, Learning},
}

@article{perroncel_documenting_2018,
	title = {Documenting graffiti culture: an evolution of content},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.132},
	abstract = {Since its early years, graffiti has been documented with photographs and videos, showing legal and illegal activities in the streets. The most famous photographer of this time will always remain Martha Cooper, who still runs her photographer activities and is invited to the most important events of the graffiti culture in the world. In the mid-seventies, the first digital camera was coming out leading towards a real revolution in filming and photography. Technology has then developed extensively and cameras with higher resolution allowed graffiti writers and audio-visual artists to produce work of higher quality and with new visual perspectives. This progression in time has changed the way of documenting graffiti culture and has expanded its possibilities in terms of visual content, thanks to the democratization of technologies and its improvements. I have photographed and filmed a few groups of graffiti writers, which gave me insight into this culture. This essay wishes to introduce some thoughts on this subject and open a longer discussion concerning the importance of audio-visual material for graffiti as an ephemeral art form.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Perroncel, Tristana},
	year = {2018},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Graffiti, Photography},
	pages = {128--129},
}

@article{peteranderl_corona-graffitis_2020,
	title = {Corona-{Graffitis} weltweit: {Wie} {Street}-{Art}-{Künstler} ihre {Nachbarn} aufklären},
	url = {https://www.spiegel.de/ausland/corona-graffiti-weltweit-wie-street-art-kuenstler-ihre-nachbarn-aufklaeren-a-cacb3a60-6e9e-4eb7-ac40-ea07db9f3b40},
	abstract = {Graffiti-Künstler auf der ganzen Welt lassen sich von der Krise inspirieren - und setzen ihre Kunst gegen das Coronavirus ein. Manche nutzen die Straße zudem, um die Pandemie-Politik ihrer Regierung zu kritisieren.},
	language = {German},
	journal = {Der Spiegel},
	author = {Peteranderl, Sonja},
	month = aug,
	year = {2020},
	keywords = {Graffiti, Street art},
}

@article{petrossiants_before_2019,
	title = {Before and {After}: {The} {Liveable} {City}},
	volume = {2},
	issn = {2535-549X},
	abstract = {While graffiti was once a prominent justification for broken-windows policing, it now serves as a key marker for neighbourhoods that may generate astronomical profits from the processes of gentrification and human displacement. In the context of urban planning that privileges the exchange value of the built environment over its use value, this article compares two fundamentally different examples: 1) a direct action undertaken via tagging in 2019, and 2) a two-channel projection of film stills by New York-based artist Peter Scott exhibited in 2016. This comparison serves to negotiate how nostalgia may be understood in relation to the continuous struggle for dignified housing. The examples cited here are discussed to consider whether nostalgia can function as a tool for reading the past, and to develop strategies for the present. Within the realm of cultural production, there is still much to be said about how one may appropriate from the past without fetishizing losses, especially while the larger culture industry works in tandem with state and corporate powers to make such losses palatable. How do forms of resistance or cultural production operate long after they have been recuperated? How do such strategies work when they reappear, or are reused, as part of a collective cultural language?},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Petrossiants, Andreas},
	year = {2019},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art},
	pages = {22--31},
}

@phdthesis{pfeiffenberger_style_2018,
	address = {Karlsruhe},
	type = {{PhD} thesis},
	title = {Style {Writing}. {Skripturale} Ästhetik zwischen {Text} und {Bild} am {Beispiel} von {Karlsruhe} und {Mannheim}},
	language = {German},
	school = {Karlsruher Institut für Technologie},
	author = {Pfeiffenberger, Heidi},
	collaborator = {Papenbrock, Martin},
	year = {2018},
	doi = {10.5445/IR/1000079409},
	keywords = {Graffiti, Graffiti writing, Language},
}

@article{philipps_defining_2015,
	title = {Defining {Visual} {Street} {Art}: {In} {Contrast} to {Political} {Stencils}},
	volume = {28},
	issn = {0894-9468},
	doi = {10.1080/08949468.2014.880034},
	abstract = {Street art has a variety of expressive forms and themes. This article presents findings about a particular medium of street art, stencil graffiti, and its makers in Leipzig. In three analytical procedures, stencil-makers' orientations and practices are investigated in order to explore visual street art. Based on interviews with street artists, actual stencil graffiti, and a cross-table analysis, my documentary interpretation reveals distinctive formative principles for street art-related and political stencils. The first group is created based on extensions: street artists transgress ordered meanings and produce new connotations. Political stencils, in contrast, are coined through reduction and have a typical rough-and-ready appearance.},
	language = {English},
	number = {1},
	journal = {Visual Anthropology},
	author = {Philipps, Axel},
	year = {2015},
	note = {Num Pages: 16},
	keywords = {Street art, Germany, Stencil graffiti, Leipzig},
	pages = {51--66},
}

@article{philipps_representation_2017,
	title = {The representation of street art on {Flickr}. {Studying} reception with visual content analysis},
	volume = {32},
	issn = {1472-586X},
	doi = {10.1080/1472586X.2017.1396193},
	abstract = {Street art is public art; it’s accessible; it’s of the people; it’s an urban voice; it’s on public view; it’s on-the-street. Nonetheless, the World Wide Web has been party responsible for street art becoming both recognised and popular. As a result, this study is investigating how street art is represented on the open photo-sharing platform, Flickr. It is a social network site offering a large portfolio of photographs showing a wide range of images, which have been categorised and classified using ‘tags’. By using a visual content analysis based on theoretically determined categories to examine the uploaded photographs, this investigation will shed light on what a selection of Flickr users recognise as street art and how they record and index it.},
	language = {English},
	number = {4},
	journal = {Visual Studies},
	author = {Philipps, Axel and Zerr, Sergej and Herder, Eelco},
	year = {2017},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Social media, Flickr},
	pages = {382--393},
}

@book{phillips_wallbangin_1999,
	address = {Chicago},
	title = {Wallbangin': {Graffiti} and gangs in {L}.{A}.},
	isbn = {978-0-226-66772-0},
	abstract = {Graffiti is as ubiquitous as telephone poles in America's cities; it is as old as the earliest civilizations. The most public medium in the country today, graffiti can signal territory, love, or liberation. Ironically, graffiti is understood by only a fraction of those who encounter it. Usually read as a sign of urban decay and as a loss of control over the physical environment, graffiti has become one of the most potent cultural languages of our age. Wallbangin' is an unprecedented, in-depth look at this phenomenon as it is embodied in the neighborhoods of one of its epicenters, Los Angeles. 
Anthropologist Susan Phillips enters the lives of the African-American and Chicano gang members to write a comprehensive guide to their symbolic and visual expression. She not only decodes the graffiti--explaining how, for instance, gang boundaries are visually delimited and how "memorial" graffiti functions--but she also places it in the context of the changing urban landscapes within the city. Graffiti, she argues, is inextricably linked to political change, to race, and to art, and she demonstrates how those connections are played out in contemporary L.A. Wallbangin' is, on this level, an iconography of street imagery. But it is also a very personal narrative about entering the world of L.A. street gangs--a world of pride, enemies, affirmation, and humanity where gang members use graffiti to redefine their social and political position in society. 
To many outsiders, graffiti is cryptic, senseless scribbling. But Phillips explains it as an ingenious and creative solution to the disenfranchisement felt by those who produce it. With personal narratives, provocative photography, and contemporary voices, Wallbangin' unlocks the mysteries behind street-level ideologies and their visual manifestations.},
	language = {English},
	publisher = {University of Chicago Press},
	author = {Phillips, Susan A.},
	year = {1999},
	keywords = {Graffiti, Gangs, USA, Los Angeles},
}

@article{pinto_mapping_2015,
	title = {Mapping {Creativity} through {Socially} {Engaged} {Visual} {Arts}: {Art} {Projects} in two {Amadora} {Neighborhoods}},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.26},
	abstract = {This article addresses the notion of the socially engaged visual arts. The first part explores some fundamental historical periods to help understand this practice, from the Greek concept of teknè until the present time. Then, the idea of a machine for the emancipation of creativity is explained, as well as its operation in two neighborhoods of the Portuguese city of Amadora. Finally, as a result of this immaterial machine, the focus turns to a detailed description of an archive of audiovisual elements that represents each activity undertaken within the project.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Pinto, António Gorgel},
	year = {2015},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Mapping},
	pages = {31--41},
}

@article{pinto_wall_2017,
	title = {The wall is dead, short live graffiti and street art!: {Graffiti}, street art and the {Berlin} {Wall}´s heritage},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.64},
	abstract = {This article addresses some of the challenges faced by heritagization related to graffiti and street art, namely the changes in context and temporality that this process entails. In order to discuss these issues, I will frame the Berlin Wall as a paradigmatic case that presents a trajectory in time: I will follow the transition of the Wall from a deadly frontier to an obsolete structure and, finally, to a historic monument. I will argue that graffiti and street art are context-specific, and deeply affected by the symbolism and/or functions of the surface on which they are inscribed. Moreover, I will recognize graffiti and street art as practices situated in between tangible and intangible heritage. Particularly with the Berlin Wall, and in regard to the preservation of memory and heritage, I will suggest that graffiti and street art do not always enter the institutional circuit, especially when illegal and anonymous.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Pinto, Sofia},
	year = {2017},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Berlin, Germany, Berlin Wall, Temporality, Context},
	pages = {62--72},
}

@article{pinto_why_2020,
	title = {Why {Can}´t {Banksy} {Be} a {Woman}?: {The} {Gendering} of {Graffiti} and {Street} {Art} {Studies}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i2.234},
	abstract = {In this article, the question ‘Why Can´t Banksy Be a Woman’ is a point of departure to approach some of the pressing challenges regarding sex and gender in graffiti and street art studies, in order to contribute on the matter of the presence/absence of women graffiti and street artists in this epistemological field. To this aim, I summon feminist contributions on the invisibility of women in the established art world, namely from art historians Linda Nochlin and Griselda Pollock. I map important contributions on the question of women in graffiti, by referring to graffiti scholars Nancy MacDonald and Jessica Pábon-Cólon. As street art has been considered more gender inclusive in regards to conditions of production, I locate restrictions mainly in terms of reception. Finally, I suggest that the question of women in graffiti and street art studies is larger than sex and gender.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Pinto, Sofia},
	year = {2020},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Perception, Gender, Feminism, Woman},
	pages = {6--11},
}

@article{piriankov_strategies_2018,
	title = {Strategies for creating village identity symbols using street art tactics: {Staro} {Zhelezare}, {Bulgaria}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.144},
	abstract = {Over the last few years, various projects in the village of Staro Zhelezare have been undertaken aiming to involve and collaborate with the residents in order to directly improve the quality of social life and the image of the depressed neighbourhood. The purpose of the paper is to examine how different strategies of specific bottom-up activities in a public space address various problems in such a small community. Following the Fourth Street Art Festival in Staro Zhelezare, it is clear that the project has proved to be a considerable success in developing a strong visual identity that has helped to shape the image of the village and introduced resilience features. This paper addresses the problem of how to increase awareness of the inexpensive yet relatively accessible possibilities and potential of public spaces in small, economically depressed localities.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Piriankov, Katarzyna},
	year = {2018},
	note = {Num Pages: 19
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Identity, Bulgaria, Avant-garde, Staro Zhelezare},
	pages = {66--84},
}

@techreport{plattner_zwischen_2021,
	address = {Wien},
	title = {Zwischen {Kunst} und {Vandalismus}. {Graffiti} in medialer {Debatte} und öffentlicher {Wahrnehmung}},
	language = {German},
	author = {Plattner, Georg and Wetzstein, Irmgard and Plattner, Georg},
	collaborator = {Jeßner, Patricia and Kaltenegger, Armin and Kuratorium für Verkehrssicherheit},
	month = feb,
	year = {2021},
	note = {Num Pages: 17},
	keywords = {Graffiti, Vandalism},
}

@article{political_stencil_crew_5_2020,
	title = {5 {Years} of {Action}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Political Stencil Crew},
	year = {2020},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Stencil graffiti, Athens, Greece, Political graffiti},
	pages = {128--132},
}

@article{pollerhof_dosenkavaliere_2021,
	title = {Dosenkavaliere: {Wenn} die {Graffitis} legal sind},
	url = {https://www.derstandard.at/story/2000129888602/dosenkavaliere-wenn-die-graffitis-legal-sind?ref=article},
	abstract = {Graffitis sind mehr als Schmiererei und Vandalismus. Street-Art-Büros wollen versuchen, die Kunstform auch in Österreich voranzutreiben. Und das mit teils atemberaubenden Arbeiten},
	language = {German},
	journal = {Der Standard},
	author = {Pollerhof, Thorben},
	month = sep,
	year = {2021},
	keywords = {Graffiti, Street art},
}

@article{polsky_specifics_2018,
	title = {Specifics of {Periodization} in {Russian} {Street} {Art}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.151},
	abstract = {Although Street Art as a consistent global movement existed from approximately 1998 to 2008, this periodization needs to be updated for the peripheral scenes. As street art is site specific and peripheral by its nature, it needs to be perceived as follows. Not everywhere, especially in comparison to the cities or regions with less developed art institutions and art market, the processes of instrumentalization and co-opting of Street Art by the Creative Сity discourse happens with the same dynamic.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Polsky, Anton},
	year = {2018},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Terminology, Russia},
	pages = {122--123},
}

@article{polsky_conceptual_2020,
	title = {Conceptual {Post}-{Street} {Art} in {Russia}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i2.223},
	abstract = {Global street art turned into a neo-pop(ulist) post-street art (inter)muralist movement operating with simple visual messages easily accessible for people via Instagram. Artists’ anti-capitalist pseudo-critical statements—what I call ‘protest for sale’— circulating in social media are easily co-opted by creative city discourse, the capitalist neoliberal system, discipline society, and the art market. Artists’ voices from peripheral scenes and regions dealing with local contexts, languages, and communities, and those who work in a more nuanced and sophisticated way are overshadowed by street art celebrities and their domesticated rebel aesthetics. Taking as an example Russian conceptual and dialogical post-street art I want to show other perspectives on the development of street art.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Polsky, Anton},
	year = {2020},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Russia, Conceptual art, Periodisation},
	pages = {103--109},
}

@book{polymenopoulou_artistic_2023,
	address = {Cambridge},
	title = {Artistic freedom in international law},
	isbn = {978-1-108-84420-8},
	abstract = {The book examines in detail the essence, nature and scope of artistic freedom as a human right. It explains the legal problems associated with the lack of a precise definition of the term 'art' and discusses the emergence of a distinct 'right' to artistic freedom under international law. Drawing on a variety of case-studies primarily from the field of visual arts, but also performance, street art and graffiti, it examines potentially applicable 'defences' for those types of artistic expression that are perceived as inappropriate, ugly, offensive, disturbing, or even obscene and transgressive. The book also offers a view on global controversies such as Charlie Hebdo and the Danish Cartoons, attempting to explain the subtleties of offenses related to religious sensibilities and beliefs. It also examines the legitimacy of restrictions on extremist expressions in the case of arts involving criminal arts, such as child pornography.},
	language = {English},
	publisher = {Cambridge University Press},
	author = {Polymenopoulou, Eleni},
	year = {2023},
	doi = {10.1017/9781108933667},
	keywords = {Graffiti, Law, Artists},
}

@book{posters_street_2020,
	address = {London},
	title = {The street art manual},
	isbn = {978-1-78627-523-3},
	abstract = {The Street Art Manual is the world's first book to combine practical advice and tactical guidance for creating 11 forms of street art in public space around the world. 
Every type of street art is covered, including graffiti, stencilling, subvertising, large scale murals, wheat pasting, urban projections, aerial art, yarn bombing, guerrilla theatre, banner drops and projectiles. Each technique is illustrated with step-by-step drawings and straight forward advice about what you need and how to do it. 
Written by award-winning artist, author and agitator Bill Posters, The Street Art Manual covers a diverse range of works by artists and collectives from across five continents, as well as legal information on Freedom of Expression, criminal damage and trespassing. 
Arm yourself with the tips and knowledge that no other guide will give you and go out and reclaim the streets in the name of urban creativity.},
	language = {English},
	publisher = {Laurence King Publishing},
	author = {Posters, Bill},
	year = {2020},
	keywords = {Graffiti, Street art},
}

@book{posters_street_2021,
	address = {Zürich},
	title = {Street {Art} {Manual}: {Die} besten {Techniken}, {Taktiken} und {Tools}},
	isbn = {978-3-03876-183-9},
	abstract = {Das ultimative Handbuch zum Thema Street Art Dieses freche Handbuch zeigt, wie man Kunst im öffentlichen Raum anbringt und seine Botschaften in die Welt setzt. Mit den Beispielen, Tipps und Hinweisen aus diesem Buch lassen sich alle Formen der Street Art konkret in die Tat umsetzen: - von Graffitis und Plakaten bis hin zu Wandmalereien, Schablonen, Lichtprojekten und verfremdeter Werbung. - Jede Technik wird hier mit Schritt-für-Schritt-Zeichnungen illustriert und mit eindrücklichen Beispielen bebildert . Bewaffnen Sie sich mit den Tipps und Kenntnissen, die nur hier zu finden sind, gehen Sie hinaus und erobern Sie die Straßen im Namen der Kreativität! Aus dem Vorwort: »Straßen gestalten unseren Lebensraum. Wir leben in einem Zeitalter großer politischer, wirtschaftlicher, sozialer und ökologischer Umbrüche. Auf der ganzen Welt ist eine rechtslastige Politik auf dem Vormarsch, die von entsprechenden Medienplattformen gefördert wird. Street Art ist - in all ihren Ausprägungen - eine Waffe im Kampf gegen Unterdrückung, gegen soziale und ökologische Ungerechtigkeit und Konformität. Als höchst einflussreiche, nicht kommerzielle Kunstrichtung enthüllt sie die Risse im System des Kapitalismus, um uns neue Perspektiven aufeinander, auf den städtischen Raum und die Welt, in der wir gemeinsam leben, zu geben. Wie bereits die Gründer der modernen Street-Art-Bewegung müssen auch die heutigen Street-Art-Künstler gegen den Status quo der Konsumgesellschaft rebellieren und mehr vom Leben einfordern, um nicht klein beizugeben." Dieses Buch rüstet dich mit allen kreativen und theoretischen Informationen aus, die du brauchst, wenn du dieser Haltung in den Straßen auf der ganzen Welt Ausdruck verleihen möchtest, um sie bekannt zu machen.},
	language = {German},
	publisher = {Midas Collection},
	author = {Posters, Bill},
	year = {2021},
	keywords = {Graffiti, Street art},
}

@article{posters_street_2021-1,
	title = {The {Street} {Art} {Manual}: {A} {Step}-by-{Step} {Guide} to {Hacking} the {Streets}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Posters, Bill},
	year = {2021},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Interview, Guidelines, Manual},
	pages = {134--141},
}

@book{powers_art_1999,
	address = {New York},
	title = {The art of getting over: {Graffiti} at the millennium},
	isbn = {978-0-312-20630-7},
	abstract = {What started as simple street movement, a way to assert individuality and pride, has blossomed into much more: Graffiti is everywhere. From Sprite commercials to The Source magazine to Soho art galleries, the elements and vernacular of the graffiti aesthetic are apparent in today's society. This book examines graffiti's influence from its earliest days to its undeniable ubiquity now. Written by an insider, it includes a general history, in-depth interviews with both the progenitors of the form and current artists, and full-color illustrations of the most important works over the last 30 years. Unlike other subcultures that have been corrupted by the media and the mainstream, graffiti has maintained its sense of the underground and its clandestine feel. The purity and integrity that have defined the graffiti writer's mission have never faltered. The Art of Getting Over offers an unprecedented glimpse into this deeply affecting urban art form.},
	language = {English},
	publisher = {St. Martin's Press},
	author = {Powers, Stephen John},
	year = {1999},
	keywords = {Graffiti},
}

@article{pozo-antonio_deterioration_2022,
	title = {Deterioration of graffiti spray paints applied on granite after a decade of natural environment},
	volume = {826},
	issn = {0048-9697},
	doi = {10.1016/j.scitotenv.2022.154169},
	abstract = {Graffiti spray paints are commonly used in contemporaneous mural paintings in public spaces, contributing to the transformation of sites and urban life. These outdoor artworks are now beginning to show different deterioration forms, such as physical-mechanical alteration (loss of material and cohesion, etc.) and chromatic changes. However, the deterioration has not been formally characterized, and the influence of the paint composition and underlying substrate are not known. In this study, three non-metallic (red, blue and black) alkyd graffiti spray paints and one metallic (silver) polyethylene graffiti spray paint were applied to two granite stones with different mineralogy and texture and exposed to a natural urban-marine environment near Vigo (NW Spain) for one decade (2010-2020). Physical changes were evaluated by stereomicroscopy, colour spectrophotometry, measurements of gloss, surface roughness and static contact angle, and peeling test. Mineralogical changes were determined by x-ray diffraction and molecular changes by Fourier transform infrared spectroscopy. Moreover, micromorphological and chemical characterization of the surfaces was conducted by scanning electron microscopy. Physical-mechanical changes, such as craquelure and paint loss, depended on the texture of the granite. More specifically, paint on the granite with the finest grain size showed most intense cracking and loss of material. Chemical changes, which were not related to the granite substrate, were most intense in the red and silver paint coatings. In the red paint, loss of binder was accompanied by an intense fading of the colour (due to titanium dioxide relative enrichment), while in the silver paint coating, chemical changes occurred in both the organic binder and aluminium particles, thus darkening the colour. Fewer chemical changes were observed in the blue and black paints. Physical and chemical changes detected in these paints were not correlated.},
	language = {English},
	journal = {The Science of the total environment},
	author = {Pozo-Antonio, J. S. and Rivas, T. and González, N. and Alonso-Villar, E. M.},
	year = {2022},
	pmid = {35231519},
	note = {Num Pages: 15},
	keywords = {Graffiti, Spray paint, Conservation, Biodeterioration, Granite, Silver paint},
	pages = {154169},
}

@book{pressac_sur_2018,
	address = {Paris},
	title = {Sur les murs: {Histoire}(s) de graffitis},
	isbn = {978-2-7577-0582-7},
	abstract = {Les graffitis – ces marques, dessins ou simples signatures qui parcourent les murs de nos monuments depuis des siècles – intriguent, fascinent et parfois choquent. Le livre interroge la définition des graffitis, leurs différents sens et leur héritage. 
Les graffitis – ces marques, dessins ou simples signatures qui parcourent les murs de nos monuments historiques depuis des siècles – intriguent et fascinent, mais ne sont devenus que récemment l'objet d'un intérêt patrimonial, au-delà de la curiosité qu'ils ont toujours suscitée. Ils forment un ensemble hétéroclite, abordant la religion, l'amour, le sexe, la guerre, la politique... 
Témoignages d'une période, écho d'un événement, description du quotidien des prisonniers ou expression d'une résistance, d'un engagement politique, voire œuvres artistiques : les graffitis peuvent endosser ces différents rôles. Abondamment illustré, cet ouvrage embrasse leurs multiples facettes, devenues dans notre regard contemporain des traces, ultimes témoins d'un instant révolu. À travers un ensemble de textes de chercheurs, anthropologues, historiens ou sociologues réunis pour la première fois, et grâce à des entretiens avec des artistes, le livre interroge leurs définitions et leurs sens multiples. 
Le graffiti explore plusieurs dimensions : à la fois témoignage, acte de révolte et geste créatif. Grâce à cette définition, il est possible de saisir les multiples sens et enjeux induits par les graffitis : ils constituent un sujet sans fin ! 
Cette publication accompagne une saison consacrée aux graffitis organisée par le Centre des monuments nationaux dans plusieurs de ses sites et monuments.},
	language = {French},
	publisher = {Éditions du Patrimoine; Centre des monuments nationaux},
	editor = {Pressac, Laure},
	year = {2018},
	keywords = {Graffiti},
}

@book{preusler_death_2017,
	address = {Berlin},
	title = {The {Death} of {Graffiti}},
	isbn = {978-3-944591-78-0},
	language = {German},
	publisher = {Possible Books},
	editor = {Preußler, Jo and Kuhnert, Oliver},
	year = {2017},
	keywords = {Graffiti},
}

@article{pricco_juxtapoz_2019,
	title = {Juxtapoz {Magazine}: 25 years of {Art} \& {Culture}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Pricco, Evan},
	year = {2019},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Interview, Juxtapoz},
	pages = {100--103},
}

@article{prigoff_today_2020,
	title = {Today in {San} {Francisco} (27 {May} 2020)},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i2.341},
	abstract = {After two and a half months of staying at home, I ventured to SF to make an important pick-up. I never got out of my car. I documented a few aspects of the trip which I thought I would share.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Prigoff, Jim},
	year = {2020},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, USA, San Francisco},
	pages = {114--119},
}

@article{pritchard_more_2019,
	title = {More {Today} {Than} {Yesterday} ({But} {Less} {Than} {There}’ll {Be} {Tomorrow})},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Pritchard, Stephen},
	year = {2019},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art},
	pages = {10--20},
}

@book{pudel_graffiti_2015,
	address = {Halle},
	title = {Graffiti ist {Jazz} mit {Buchstaben}: {Street}-{Art}: die bunte {Stadt} als {Utopie}},
	isbn = {978-3-95462-521-5},
	language = {German},
	publisher = {Mitteldeutscher Verlag},
	author = {Pudel, Frank and Ullrich, Sabine},
	year = {2015},
	keywords = {Graffiti, Street art},
}

@article{radisich_covid19_2020,
	title = {{COVID19} \& the {Public} {Sphere}: {Physical} responses in {Hong} {Kong} and digital responses globally},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.221},
	abstract = {This essay examines the multiplicity of graffiti-based reactions to COVID-19 and its resulting lockdown laws. It utilises Jill Bennett’s work, Practical Aesthetics, to examine the continuation of vigilante graffiti in Hong Kong, as well as the rise of digital street-art globally. I argue that the artform’s many responses indicate the elasticity of graffiti in times of crisis. I also discuss the willingness for communities to either adapt or continue their respective practices of ‘mark-making’ in the public place.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Radisich, Emerson},
	year = {2020},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Hong Kong, COVID-19, Public space},
	pages = {76--87},
}

@book{radtke_sich_2020,
	address = {Tübingen},
	series = {Tübinger {Beiträge} zur {Linguistik}},
	title = {Sich einen {Namen} machen: {Onymische} {Formen} im {Szenegraffiti}},
	isbn = {978-3-8233-8330-7},
	abstract = {Die Arbeit widmet sich einer bisher übersehenen, im öffentlichen Raum gleichwohl hochpräsenten Namenart: Sie untersucht die Namen im Szenegraffiti. Namen sind für die Graffitiszene von zentraler Bedeutung, weil es im Szenegraffiti darum geht, ein Pseudonym zu wählen und dieses möglichst oft und auf individuelle, qualitativ hochwertige Weise im öffentlichen Raum anzubringen. Die Mitglieder der Graffitiszene, die Writer, müssen sich daher im wörtlichen und im übertragenen Sinne „einen Namen machen“. 
Mit ihrer empirisch basierten Arbeit, deren Datengrundlage 11.000 Aufnahmen von Graffitis aus Mannheim bilden, legt die Autorin die erste umfassende wissenschaftliche Beschreibung dieser Namenart vor. Da die Graffitinamen im Fokus stehen, ist die Arbeit in erster Linie der Onomastik zuzuordnen. Um die Pseudonyme angemessen beschreiben zu können, werden in der Untersuchung aber auch Ansätze der Multimodalitäts- und Schriftbildlichkeitsforschung sowie der Linguistic-Landscape-Forschung verarbeitet.},
	language = {German},
	number = {568},
	publisher = {Gunter Narr Verlag},
	author = {Radtke, Julia Moira},
	year = {2020},
	keywords = {Graffiti},
}

@article{raes_photography_2018,
	title = {Photography in {Public} {Space}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.154},
	abstract = {How can photography be a profession in today’s world when everybody instantly shoots whatever they see?},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Raes, Evy},
	year = {2018},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Photography},
	pages = {131--141},
}

@book{ragazzoli_scribbling_2018,
	address = {London; New York},
	title = {Scribbling through history: {Graffiti}, places and people from antiquity to modernity},
	isbn = {978-1-4742-8881-1},
	abstract = {For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks. 
This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.},
	language = {English},
	publisher = {Bloomsbury Academic},
	editor = {Ragazzoli, Chloé and Harmanşah, Ömür and Salvador, Chiara and Frood, Elizabeth},
	year = {2018},
	keywords = {Graffiti, Anthropology},
}

@book{rahn_painting_2002,
	address = {Westport},
	title = {Painting without permission: {Hip}-hop graffiti subculture},
	isbn = {978-0-89789-810-2},
	language = {English},
	publisher = {Bergin \& Garvey},
	author = {Rahn, Janice},
	year = {2002},
	keywords = {Graffiti, Graffiti writing, Hip-hop},
}

@article{reed_space_2018,
	title = {Space is the place},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Reed, Martyn},
	year = {2018},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Place},
	pages = {3--6},
}

@article{reed_brand_2019,
	title = {Brand {New} — {You}’re {Retro}! {Memory} and the {City}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Reed, Martyn},
	year = {2019},
	note = {Num Pages: 3},
	keywords = {Graffiti, Street art, Memory},
	pages = {4--6},
}

@article{reed_eloquent_2019,
	title = {Eloquent {Vandals}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Reed, Martyn},
	year = {2019},
	note = {Num Pages: 2},
	keywords = {Graffiti, Street art},
	pages = {5--6},
}

@article{reed_freedom_2020,
	title = {Freedom},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Reed, Martyn and Hansen, Susan},
	year = {2020},
	note = {Num Pages: 2},
	keywords = {Graffiti, Street art, Freedom},
	pages = {4--5},
}

@article{reed_unsanctioned_2021,
	title = {Unsanctioned {Art} in {Times} of {Pandemic} {Anxiety}, {Rampant} {Inequality}, and {Anti}-{Colonial} {Iconoclasm}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Reed, Martyn and Hansen, Susan},
	year = {2021},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, COVID-19},
	pages = {4--7},
}

@article{reed_forging_2022,
	title = {Forging {Renewed} {Connections} through {Unsanctioned} {Urban} {Art}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Reed, Martyn and Hansen, Susan},
	year = {2022},
	note = {Num Pages: 2},
	keywords = {Graffiti, Street art},
	pages = {4--5},
}

@article{reed_trespass_2023,
	title = {Trespass},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Reed, Martyn and Hansen, Susan},
	year = {2023},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art},
	pages = {4--7},
}

@book{rees_graffiti_1984,
	address = {London},
	title = {Graffiti 2},
	isbn = {0-04-827023-7},
	language = {English},
	publisher = {Unwin Paperbacks},
	author = {Rees, Nigel},
	year = {1984},
	keywords = {Graffiti},
}

@book{reinecke_street-art_2012,
	address = {Bielefeld},
	edition = {Second},
	series = {Urban {Studies}},
	title = {Street-{Art}: {Eine} {Subkultur} zwischen {Kunst} und {Kommerz}},
	isbn = {978-3-89942-759-2},
	abstract = {Dieses Buch ist die erste wissenschaftliche Analyse von Street-Art. Es gewährt einen tiefen Einblick in die Subkultur und fragt, inwiefern Street-Art zwischen Graffiti, Bildender Kunst und Werbung zu verorten ist. 
Die Ergebnisse der Studie basieren auf einer vier Jahre langen qualitativen Recherche, während der die Autorin mit internationalen, namhaften Akteuren wie Blek Le Rat, D*Face, Invader, Jeroen Jongeleen und Stefan Marx sprach. Die Arbeit anderer Akteure – wie Banksy und Shepard Fairey (OBEY) – wird vorgestellt. Den theoretischen Unterbau liefern die Feldtheorie von Pierre Bourdieu und Subkulturtheorien von Sarah Thornton und David Muggleton. 
Für die zweite Auflage 2012 hat die Autorin erneut Kontakt mit den Akteuren aufgenommen und ihren Werdegang der letzten Jahre verfolgt.},
	language = {German},
	publisher = {Transcript Verlag},
	author = {Reinecke, Julia},
	year = {2012},
	keywords = {Graffiti, Street art},
}

@book{reisner_encyclopedia_1980,
	address = {New York},
	title = {Encyclopedia of {Graffiti}},
	isbn = {0-88365-443-1},
	language = {English},
	publisher = {Galahad Books},
	author = {Reisner, Robert and Wechsler, Lorraine},
	year = {1980},
	keywords = {Graffiti, Encyclopedia},
}

@book{reisner_graffiti_1971,
	address = {New York},
	title = {Graffiti: {Two} thousand years of wall writing},
	isbn = {978-0-402-12044-5},
	language = {English},
	publisher = {Cowles Book Company},
	author = {Reisner, Robert George},
	year = {1971},
	keywords = {Graffiti, Street art},
}

@phdthesis{resl_zur_2020,
	address = {Vienna},
	type = {Diploma thesis},
	title = {Zur {Interaktionsästhetik} der {Katalogisierung} von {Graffiti} \& {Street} {Art}},
	abstract = {The idea to create a mobile application for storing Street Art and Graffiti was born during the courses Explorative Design 1 \& 2. The application TAG was developend and designed within the context of this Master’s thesis. One can store and tag interesting findings on the streets, subscribe to user’s posting streams and discover other artists’ works. The focus while creating the app was not exclusively on functionality, the aesthetics of interaction played a major part, too. This thesis presents the application in its entirety — from early prototypes up to the current build. While Aesthetics is a fairly broad term, it will be explored from a interaction design point of view as interaction aesthetics —a fairly new phrase, that includes an understanding for beauty going beyond visual appearance. Furthermore the topics of Graffiti and Street Art are investigated and its origins chronologically looked at. Additionally I’ll have a glimpse at the different disciplines, occurring topics and the importance of locations within the context. With the use of Expert Reviews fundamental feedback was gathered to evaluate the current build of the application and direct possible future updates.},
	language = {German},
	school = {TU Wien},
	author = {Resl, Moritz},
	collaborator = {Purgathofer, Peter},
	year = {2020},
	keywords = {Graffiti, Street art, Vienna, Austria},
}

@book{reynolds_magic_1975,
	address = {Portland},
	title = {Magic symbols: {A} photographic study on graffiti},
	isbn = {978-0-912856-19-3},
	language = {English},
	publisher = {Graphic Arts Center Publishing Co.},
	author = {Reynolds, Robert},
	year = {1975},
	keywords = {Graffiti},
}

@article{ridge_tagging_2013,
	title = {From {Tagging} to {Theorizing}: {Deepening} {Engagement} with {Cultural} {Heritage} through {Crowdsourcing}},
	volume = {56},
	issn = {00113069},
	doi = {10.1111/cura.12046},
	abstract = {Crowdsourcing, or “obtaining information or services by soliciting input from a large number of people,” is becoming known for the impressive productivity of projects that ask the public to help transcribe, describe, locate, or categorize cultural heritage resources. This essay argues that crowdsourcing projects can also be a powerful platform for audience engagement with museums, offering truly deep and valuable connection with cultural heritage through online collaboration around shared goals or resources. It includes examples of well-designed crowdsourcing projects that provide platforms for deepening involvement with citizen history and citizen science; useful definitions of “engagement”; and evidence for why some activities help audiences interact with heritage and scientific material. It discusses projects with committed participants and considers the role of communities of participants in engaging participants more deeply.},
	language = {English},
	number = {4},
	journal = {Curator: The Museum Journal},
	author = {Ridge, Mia},
	year = {2013},
	note = {Num Pages: 16},
	keywords = {Graffiti, Cultural heritage},
	pages = {435--450},
}

@article{riggle_street_2010,
	title = {Street {Art}: {The} {Transfiguration} of the {Commonplaces}},
	volume = {68},
	issn = {00218529},
	doi = {10.1111/j.1540-6245.2010.01416.x},
	language = {English},
	number = {3},
	journal = {The Journal of Aesthetics and Art Criticism},
	author = {Riggle, Nicholas Alden},
	year = {2010},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, Terminology},
	pages = {243--257},
}

@article{ringhofer_kunst_2018,
	title = {Die {Kunst} der {Straße} – {Graffiti} in {Wien}},
	volume = {428},
	url = {https://wiener-online.at/2018/05/02/die-kunst-der-strasse-graffiti-in-wien/},
	language = {German},
	journal = {Wiener},
	author = {Ringhofer, Anneliese and Wogrin, Stefan},
	year = {2018},
	note = {Num Pages: 8},
	keywords = {Graffiti},
	pages = {46--53},
}

@book{rivasi_bridges_2015,
	title = {The bridges of graffiti},
	language = {English},
	publisher = {GDM \& Associati},
	editor = {Rivasi, Pietro},
	year = {2015},
	keywords = {Graffiti},
}

@article{rivasi_turning_2018,
	title = {Turning the white cube inside out},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Rivasi, Pietro and Baldini, Andrea},
	year = {2018},
	note = {Num Pages: 5},
	keywords = {Graffiti},
	pages = {104--108},
}

@book{rivasi_authorizedcommissioned_2018,
	address = {Rome},
	title = {Un({Authorized})//{Commissioned}},
	isbn = {978-88-97640-05-9},
	abstract = {Can Unauthorized paintings realized in the public space, commonly considered as acts of vandalism, be recognized by a public institution and enter a collection of contemporary art, without being de-contextualized? Is it possible for writers and street artists who want to deal with galleries, to use the documentation of what has been done in the urban space without permission, rather than embarking on a course of study and working on classic supports such as canvases and papers? 
Unauthorized // Commissioned, through essays by Pietro Rivasi and Andrea Baldini, as well as with the images of Zelle Asphaltkultur, Fra32 and Egs among others, investigates the complex relationship between urban art and institutions, taking as an example the experiences of “Icone” and “1984. Evoluzione e rigenerazione del writing”.},
	language = {Italian; English},
	publisher = {Whole Train Press},
	editor = {Rivasi, Pietro and Baldini, Andrea},
	year = {2018},
	keywords = {Graffiti},
}

@book{robinson_soho_1990,
	address = {London},
	title = {Soho walls: {Beyond} graffiti},
	isbn = {978-0-500-27602-0},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Robinson, David},
	year = {1990},
	keywords = {Graffiti, Street art},
}

@article{rodriguez_graffiti_1999,
	title = {Graffiti as communication: {Exploring} the discursive tensions of anonymous texts},
	volume = {65},
	issn = {1041-794X},
	doi = {10.1080/10417949909373152},
	abstract = {This study views graffiti as a communicative opportunity to gather insights into the discursive tensions associated with how marginalized groups treat each other through anonymous text. Graffiti are considered anonymous texts that enact identity, resistance, and oppression. Specifically, this study explores graffiti at a predominantly Black university in order to explore how marginalized members of society enact or react to hegemonic conditions. The graffiti revealed a pervasive focus on sex, sexual orientation, and racial identity. This study clearly demonstrates a propensity for marginalized members of society to perpetuate the status quo in a number of issues (e.g., sex, sexual orientation, racial identities/stereotypes).},
	language = {English},
	number = {1},
	journal = {Southern Communication Journal},
	author = {Rodriguez, Amardo and Clair, Robin Patric},
	year = {1999},
	note = {Num Pages: 15},
	keywords = {Graffiti, Communication},
	pages = {1--15},
}

@article{rodriguez-navarro_photographic_2020,
	title = {Photographic techniques for urban art documentation},
	volume = {13},
	issn = {1828-5961},
	doi = {10.20365/disegnarecon.24.2020.23},
	abstract = {Urban art or street art, known worldwide as grafﬁti , has become a form of expression, which often has a great visual impact, and now is being part of the image of almost all cities. The majority of these manifestations are carried out illegally, and they consist of a combination of seemingly disjointed texts, whose main aim is to achieve a sensory distraction, a revolutionary or an anti-system act, instead of having an artistic purpose itself. However, there are other graﬃti works that can be considered as masterpieces, since they have an artistic value that is comparable to any piece of art. 
Another distinctive aspect of graﬃti works is its temporary character, so they are ephemeral and non-conservable pieces, since they are exposed to the climate elements. On the one hand, this fact is not necessarily a problem for the vast majority of graﬃti, but, in the case of a graﬃti masterpiece, it is undeniable that this distinctive feature of mutability, which is an intrinsic part of its artistic objective, should not avoid its correct documentation as a work of art. As its material transience has to be respected, at least, we should document them to preserve its memory and to create a graphic database of urban art masterpieces for future diﬀusion on other media. The main aim of this contribution is to show different photographic methodologies for the doc-umentation of graﬃti on architectural supports. These methodologies have been tested, analysed and evaluated, establishing a suitability criteria according to the conditions in which the works are placed. 
Finally, some conclusions will be drawn on the diﬀerent documentation methodologies for these urban artworks, which are often photographed both in their sequence and in their ﬁnal art, without having an adequate architectural graphic record.},
	language = {English},
	number = {24},
	journal = {Disegnarecon},
	author = {Rodriguez-Navarro, Pablo and Cabezos-Bernal, Pedro Manuel and Gil-Piqueras, Teresa},
	year = {2020},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art, Photography, IBM (Image-Based Modelling), Colour accuracy, SfM (Structure from Motion), Urban art, ColorChecker},
}

@article{rogers_digital_1994,
	title = {Digital {Graffiti}},
	volume = {124},
	abstract = {A new Web site called Art Crimes gives Guerilla art a place on the Internet. Run by Susan Farrell, an artist and graduate student in Georgia Tech's Information Design and Technology program, Art Crimes displays elaborate graffiti from Prague, Atlanta, Los Angeles and Fresno. "These graffiti paintings often appear and disappear in a single day, and I feel a strong need to capture them," Farrell wrote in an e-mail message. "Imagine loosely knit bands of rugged individuals sneaking through back alleys of cities at night, conspiring to commit art. It's so romantic!" Contrary to those who think graffiti is mere vandalism, Farrell sees it as a kind of urban beautification, with its roots in the elaborate illuminations of medieval texts. Her collaborator, Brett Webb, works out of USC; they have never met face to face, but communicate with each other and the artists they work with over the Net. And Farrell says she's looking for more recruits. Eventually she hopes to interview some of the artists and compile the work into a book--and a CD-ROM, of course. Art Crimes resides at http://www.gatech.edu/desoto/graf/Index.ArtCrimes.html.},
	language = {English},
	number = {17},
	journal = {Newsweek},
	author = {Rogers, Adam},
	year = {1994},
	note = {Num Pages: 1},
	keywords = {Graffiti, Art Crimes, Brett Webb, Susan Farrell, Website},
	pages = {4},
}

@article{rojo_words_2019,
	title = {Words {Matter}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Rojo, Jaime},
	year = {2019},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {81--86},
}

@article{ronconi_representation_2020,
	title = {Representation and {Reconstruction} of {Memories} and {Visual} {Subculture}: {A} {Documentary} {Strategy} about {Graffiti} {Writing}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.238},
	abstract = {Graffiti Writing, a visual movement engaged in the Hip Hop subculture, spread globally over the past decades as creative manifestation and public statement for its urban artists, and with controversy about the public domain value of this artistic visual language. Despite the large amount of material documenting it, such as films, documentaries, magazines and books, it remains a marginal subculture, little known by large audiences, in its less-known characteristics. The following communication presents a work-in-progress practice-based research, whose objective is to investigate and connect the contribution of animation to the documentation and communication of this subculture of graffiti Writing, deciphering its interpretation for uninformed audiences about it. This is accomplished by a documentary fieldwork, with testimonies and memories emerged in interviews to artists and activists from the graffiti Writing movement that are active in different approaches, surfaces and styles. This fieldwork is conducted as a mediation interface, focused in this stage of the research in the province of Ferrara, in Northern Italy. The documentary work is developed with representation strategies and narrative reconstruction for the disclosure of this graphic subculture in a specific geographical context. This is accomplished with the development of an animated documentary short film. With it, a documentary strategy for the representation and reconstruction of graffiti Writing memories is devised. This option allows the exploration of new concepts with the encounter of two distinct visual arts and mediatic approaches, namely urban art and animation, simultaneously allowing the definition of an authorial language appropriate to the project and its theme.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Ronconi, Mattia},
	year = {2020},
	note = {Num Pages: 18
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Documenting},
	pages = {16--33},
}

@book{rosenstein_tattooed_2006,
	address = {Jackson},
	title = {Tattooed walls},
	isbn = {1-57806-869-X},
	language = {English},
	publisher = {University Press of Mississippi},
	author = {Rosenstein, Peter and Madden, Isabel Bau},
	year = {2006},
	keywords = {Graffiti, Tattoo},
}

@book{rosillo-lopez_public_2017,
	address = {Cambridge},
	title = {Public opinion and politics in the late {Roman} {Republic}},
	isbn = {978-1-107-14507-8},
	abstract = {This book investigates the working mechanisms of public opinion in Late Republican Rome as a part of informal politics. It explores the political interaction (and sometimes opposition) between the elite and the people through various means, such as rumours, gossip, political literature, popular verses and graffiti. It also proposes the existence of a public sphere in Late Republican Rome and analyses public opinion in that time as a system of control. By applying the spatial turn to politics, it becomes possible to study sociability and informal meetings where public opinion circulated. What emerges is a wider concept of the political participation of the people, not just restricted to voting or participating in the assemblies.},
	language = {English},
	publisher = {Cambridge University Press},
	author = {Rosillo-López, Cristina},
	year = {2017},
	keywords = {Graffiti, Late republic, Late Roman, Roman},
}

@book{ross_routledge_2016,
	address = {Abingdon; New York},
	series = {Routledge international handbooks},
	title = {Routledge handbook of graffiti and street art},
	isbn = {978-1-315-76166-4},
	abstract = {The Routledge Handbook of Graffiti and Street Art integrates and reviews current scholarship in the field of graffiti and street art. Thirty-seven original contributions are organized around four sections: 
• History, Types, and Writers/Artists of Graffiti and Street Art; 
• Theoretical Explanations of Graffiti and Street Art/Causes of Graffiti and Street Art; 
• Regional/Municipal Variations/Differences of Graffiti and Street Art; and, 
• Effects of Graffiti and Street Art. 
Chapters are written by experts from different countries throughout the world and their expertise spans the fields of American Studies, Art Theory, Criminology, Criminal justice, Ethnography, Photography, Political Science, Psychology, Sociology, and Visual Communication. 
The Handbook will be of interest to researchers, instructors, advanced students, libraries, and art gallery and museum curators. 
This book is also accessible to practitioners and policy makers in the fields of criminal justice, law enforcement, art history, museum studies, tourism studies, and urban studies as well as members of the news media. The Handbook includes 70 images, a glossary, a chronology, and the electronic edition will be widely hyperlinked.},
	language = {English},
	publisher = {Routledge},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	doi = {10.4324/9781315761664},
	keywords = {Graffiti, Street art, Cultural heritage, City},
}

@book{ross_routledge_2021,
	address = {Abingdon},
	series = {Routledge international handbooks},
	title = {Routledge {Handbook} of {Street} {Culture}},
	isbn = {978-0-429-28481-6},
	abstract = {Discussions of street culture exist in a variety of academic disciplines, yet a handbook that brings together the diversity of scholarship on this subject has yet to be produced. The Routledge Handbook of Street Culture integrates and reviews current scholarship regarding the history, types, and contexts of the concept of street culture. It is comprehensive and international in its treatment of the subject of street culture. Street culture includes many subtypes, situations, locations, and participants, and these are explored in the various chapters included in this book. Street culture varies based on numerous factors including capitalism, market societies, policing, ethnicity, and race but also advances in technology. The book is divided into four major sections: Actors and street culture, Activities connected to street culture, The centrality of crime to street culture, and Representations of street culture. Contributors are well respected and recognized international scholars in their fields. They draw upon contemporary scholarship produced in the social sciences, arts, and humanities in order to communicate their understanding of street culture. The book provides a comprehensive and accessible approach to the subject of street culture through the lens of an inter- and/or multidisciplinary perspective. It is also intersectional in its approach and consideration of the subject and phenomenon of street culture.},
	language = {English},
	publisher = {Routledge},
	editor = {Ross, Jeffrey Ian},
	year = {2021},
	keywords = {Graffiti, Street art},
}

@article{ross_search_2017,
	title = {In search of academic legitimacy: {The} current state of scholarship on graffiti and street art},
	volume = {54},
	issn = {0362-3319},
	doi = {10.1016/j.soscij.2017.08.004},
	abstract = {Much has changed since the 1960s when the first scholarship on contemporary graffiti appeared. The current paper is an attempt to outline and contextualize a number of recurrent challenges facing researchers of graffiti and street art, as well as developments that have taken place in this scholarly field. The aim of creating this outline is to assist in increasing the amount, and improving the quality, of future scholarship on graffiti and street art. We recognize, however, that although many of the challenges have at one time seemed insurmountable, over time they have lessened as graffiti and street art have grown as art movements, and because a small cadre of tenacious scholars focusing on graffiti and street art has published and taught in this area. An increasing, though limited, number of academic venues focused on graffiti and street art scholarship has slowly emerged. We also recognize that with increased scholarship that has laid the foundation, new avenues to explore graffiti and street art have become apparent.},
	language = {English},
	number = {4},
	journal = {The Social Science Journal},
	author = {Ross, Jeffrey Ian and Bengtsen, Peter and Lennon, John F. and Phillips, Susan and Wilson, Jacqueline Z.},
	year = {2017},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art},
	pages = {411--419},
}

@article{ross_whats_2018,
	title = {What’s {Up} {Doc}: {A} {Review} and {Analysis} of {English} {Language} {Documentaries} {On} {Contemporary} {Graffiti} {And} {Street} {Art}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.147},
	abstract = {Over the past four decades, most large urban settings around the world have experienced an increase in graffiti and street art. One of the consequences of this activity is an attempt to interpret this phenomenon. Not only have popular and scholarly articles and books catalogued, examined, and analyzed graffiti and street art, and the people who engage in and respond to this activity, but so too have documentary movies. In order to better understand this latter method of capturing and explaining graffiti and street art, this paper reviews and analyzes seventeen English language documentary films (produced between 1980-2014) drawing generalizations about the dominant themes that have been expressed in this body of work. This analysis includes a review of the settings, individuals interviewed, and provides a critical commentary on this body of work.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Ross, Jeffrey Ian and Kramer, Ronald},
	year = {2018},
	note = {Num Pages: 9
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Film, Terminology, Movie, Documentary},
	pages = {99--107},
}

@phdthesis{ross_towards_2006,
	type = {Master therm paper},
	title = {Towards an {Anthropology} of 'the {Wall}': {The} {Cases} of {Berlin}, and {Israel} and {Palestine}},
	url = {https://www.sussex.ac.uk/anthropology/documents/ross-anthropology-of-the-wall},
	abstract = {Through the case studies of the Berlin Wall and the Wall in Israel and Palestine, theories regarding the origin, role, and effect of state-built separationist Walls are reached. These find that, most particularly, Walls are sites of manifestations of power, that seek to control the 
movement of populations to protect the position of the powerful under threat. Through concretising policy and discourse in this manner, Walls also however open spaces and potential for resistance to domination. Analysis of the forces that support and contest Walls deconstruct the opposition between ‘local’ and ‘global’, and undermine concepts of homogenous, bounded communities.},
	language = {English},
	school = {University of Sussex},
	author = {Ross, Tabitha D.},
	year = {2006},
	keywords = {Graffiti, Berlin, Israel, Palestine},
}

@article{ruiz_lopez_tool_2019,
	title = {Tool mark analyses for the identification of palaeolithic art and modern graffiti. {The} case of {Grottes} d’{Agneux} in {Rully} ({Saône}-et-{Loire}, {France})},
	volume = {14},
	issn = {22120548},
	doi = {10.1016/j.daach.2019.e00107},
	abstract = {The identification of technical traits derived from the analyses of photogrammetric 3D models can be used for archaeological objectives. In this paper, we are proposing a methodology for discrimination of parietal engravings based on 3D models build with photogrammetry software. Our case study are the caves of Agneux, two small caverns with an astonishing number of graffiti on their walls. Most of these graffiti were made since 19th century, but with some examples of depictions that are compatible with the technical features of Palaeolithic art. 
The analyses of the marks in some lines in Agneux I have demonstrated the use of different tools. Virtual illumination has been applied to identify and read words and dates which can be discarded as prehistoric. These results will be compared with replicative experiments. This methodology could be useful for the discrimination of prehistoric graphic expressions in panels with a biography of long-term human interventions.},
	language = {English},
	journal = {Digital Applications in Archaeology and Cultural Heritage},
	author = {Ruiz López, Juan F. and Hoyer, Christian T. and Rebentisch, Annika and Roesch, Anna Maria and Herkert, Klaus and Huber, Nadine and Floss, Harald},
	year = {2019},
	note = {Num Pages: 11},
	keywords = {Graffiti, 3D, IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), PCV (Photogrammetric Computer Vision), Rock art, Cave, France, Grottes d’Agneux, Rully, Saône-et-Loire},
	pages = {00107},
}

@book{ryan_political_2017,
	address = {Abingdon; New York},
	series = {Routledge research in place, space and politics},
	title = {Political street art: {Communication}, culture and resistance in {Latin} {America}},
	isbn = {978-1-138-85288-4},
	abstract = {Recent global events, including the ‘Arab Spring’ uprisings, Occupy movements and anti-austerity protests across Europe have renewed scholarly and public interest in collective action, protest strategies and activist subcultures. We know that social movements do not just contest and politicise culture, they create it too. However, scholars working within international politics and social movement studies have been relatively inattentive to the manifold political mediations of graffiti, muralism, street performance and other street art forms. 
Against this backdrop, this book explores the evolving political role of street art in Latin America during the twentieth and early twenty-first centuries. It examines the use, appropriation and reconfiguration of public spaces and political opportunities through street art forms, drawing on empirical work undertaken in Brazil, Bolivia and Argentina. Bringing together a range of insights from social movement studies, aesthetics and anthropology, the book highlights some of the difficulties in theorising and understanding the complex interplay between art and political practice. It seeks to explore 'what art can do' in protest, and in so doing, aims to provide a useful point of reference for students and scholars interested in political communication, culture and resistance. 
It will be of interest to students and scholars working in politics, international relations, political and cultural geography, Latin American studies, art, sociology and anthropology.},
	language = {English},
	publisher = {Routledge},
	author = {Ryan, Holly Eva},
	year = {2017},
	keywords = {Graffiti, Street art, Political graffiti},
}

@book{s_n_street_2023,
	title = {Street {Art}: {The} {Walls} {Can} {Speak}},
	isbn = {979-8-8523-9074-5},
	abstract = {Here you will find beauty painted on the walls between the alleys, in the streets and on the sidewalks. In every picture in this book there is a silent story.},
	language = {English},
	publisher = {Independently published},
	author = {S. n.},
	year = {2023},
	keywords = {Street art},
}

@article{sn_graffiti_1859,
	title = {The {Graffiti} of {Pompeii}},
	volume = {110},
	language = {English},
	journal = {The Edinburgh Review},
	author = {S.n.},
	year = {1859},
	note = {Num Pages: 27},
	keywords = {Graffiti, Pompeii, Roman archaeology},
	pages = {411--437},
}

@article{sn_taki_1971,
	address = {New York},
	edition = {CXX (No. 41451)},
	title = {'{Taki} 183' {Spawns} {Pen} {Pals}},
	abstract = {Taki is a Manhattan teenager who writes his name and his street number everywhere he goes. He says it is something he just has to do.
His TAKI 183 appears in subway stations and inside subway cars all over the city, on walls along Broadway, at Kennedy International Airport, in New Jersey, Connecticut, upstate New York and other places.
He has spawned hundreds of imitators, including Joe 136, BARBARA 62, EEL 159, YANK 135 and LEO 136.
To remove such words, plus the obscenities and other graffiti in subway stations, it cost 80,000 manhours, or about \$300,000, in the last year, the Transit Authority estimates.
“I work, I pay taxes too and it doesn't harm anybody,” Taki said in an interview, when told of the cost of removing the graffiti.
And he asked: “Why do they go after the little guy? Why not the campaign organizations that put stickers all over the subways at election time?”
Withholds Last Name
The 17‐year‐old recent high school graduate lives on 183d Street between Audubon and Amsterdam Avenues. He asked that his last name not be disclosed. Taki, he said, is a traditional Greek diminutive for Demetrius, his real first name.
“I don't feel like a celebrity normally,” he said. “But the guys make me feel like one when they introduce me to someone. ‘This is him,’ they say. The guys knows who the first one was.”
Taki said that when he began sneaking his name and street number onto ice cream trucks in the neighborhood early last summer, nobody else was writing similar graffiti.
“I didn't have a job then,” he said, “and you pass the time, you know. I took the form from JULIO 204, but he was doing it for a couple of years then and he was busted and stopped.
This ‘Ghost’ Fish Seemed Extinct, Until It Turned Up in Unexpected Places
Take the ‘Death Stairs’ if You Dare
Why the Messy Cardinals of ‘Conclave’ Make for Great Memes
‘He's the King’
“I just did it everywhere I went. I still do, though not as much. You don't do it for girls; they don't seem to care. You do it for yourself. You don't go after it to be elected President.”
He said he had no idea how many times he had written his name.
Other teen‐agers who live on his block are proud of him. “He's the king,” a youth lounging on a doorstoop said.
“It's got everybody doing it,” added Raymond Vargas a 16‐year‐old with Afro‐style hair. “I like to write my name every once in a while, but not in places where people can get to it and alter it.” He said he writes RAY A.O.—for All Over.
Graffiti have had a long history in the city's subways: Kilroy, who was everywhere in World War II, left his mark along with the mustaches drawn on advertising posters and various obscenities.
Officials said, however, that the problem had mushroomed during the last two years.
It is also harder to deal with. The Magic Marker and other felt‐tip markers are considered indelible on concrete and other rough surfaces in subway stations. Those surfaces are painted over to remove graffiti. Inside subway cars, new high‐powered cleaners can remove almost anything from the polished metal surfaces except India ink.
Floyd Holoway, Transit Authority patrolman who is second vice president of the Transit Patrolmen's Benevolent Association, said that most graffiti appeared just before and just after school hours.
“It's not a major crime,” he said. “Most of the time they don't try to talk their way out if they're caught.”
He said he had caught teen‐agers form all parts of the city, all races and religions and all economic classes.
The actual offense, the Transit Authority police said, is classed as a violation because it is barred only by Transit Authority rules, not by law. Anyone older than 16 who is caught would get a summons, a spokesman said.
Was Suspended Once
Taki said he had never been caught in the subways. He was once suspended from Harran High School for a day for writing on walls, though, and a Secret Service agent once gave him a stern lecture for writing on a Secret Service car during a parade.
The youth, who said he would enter a local university in September, conceded that his passion for graffiti was not normal: “Since there are no more student deferments, maybe I'll go to a psychiatrist and tell him I'm TAKI 183. I'm sure that will be enough to get me a psychological deferment.”
But he added: “I could never retire. I still carry a small Magic Marker around with me.”},
	language = {English},
	journal = {The New York Times},
	author = {{S.n.}},
	year = {1971},
	note = {Num Pages: 1},
	keywords = {Graffiti, New York, TAKI 183},
	pages = {37},
}

@article{sn_bilder_1982,
	title = {Bilder und {Bücher} / {Bibliographie}},
	volume = {50},
	url = {https://www.kunstforum.de/artikel/bilder-und-bucher-bibliographie/},
	language = {German},
	number = {4},
	journal = {Kunstforum International},
	author = {{S.n.}},
	year = {1982},
	note = {Num Pages: 3},
	keywords = {Graffiti},
}

@book{sn_graffiti_2023,
	title = {Graffiti {Lettering} {Workbook} for {Beginners}: {Blockletters}, {Throw}-ups, {Tagging}, {Calligraffiti}, {Old} {School}, {Wildstyle}},
	isbn = {978-831793755},
	abstract = {Are you interested in mastering the art of graffiti art lettering? Look no further than this Graffiti Lettering Workbook for Beginners! This book is an all-in-one guide to learning the basics of the alphabet, as well as advanced techniques like graffiti piecing. It even includes ample space for practice and plenty of step-by-step instructions to help you along the way. 
What sets this book apart is its emphasis on different lettering styles. You'll learn how to create Blackletters, Throw-ups, Tagging, Calligraffiti, Old School, and Wildstyle lettering, which will help you create unique and stunning designs. Plus, the book also covers more advanced techniques so you can take your skills to the next level.},
	language = {English},
	publisher = {Minelli Press},
	author = {S.n.},
	year = {2023},
	keywords = {Graffiti, Calligraphy, Letters, Writing, Drawing, Manual, Throw-up, Blockletters, Old school, Wildstyle},
}

@article{sabourin_pursuit_2019,
	title = {In the {Pursuit} of {Permanence}, {Is} {There} {Only} {Persistence}?: {Contemporary} {Graffiti} {Practices} in {Toronto}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.202},
	abstract = {Art as it occurs in the streets is an “other” history. Inherently anti-institutional, it has never fit well within the academy or the museum; basically free, it has consistently had a problematic relationship with the art market; iconoclastic, it is often hard for many to read; and stemming from the countercultural or underground tendencies of youth, it is by and large all too easy for those who “know better” to dismiss it without regard to its content or its intent.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Sabourin, Rachelle},
	year = {2019},
	note = {Num Pages: 16
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Canada, Toronto},
	pages = {40--55},
}

@article{sadi_ardaturk_anonymous_2022,
	title = {Anonymous {Reflections} of {Art} in {Public} {Spaces}; {Examples} {From} the {World}},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.614},
	abstract = {As identical and comparable with humanity's existence, art has existed in its own sphere or created a space for itself throughout history. These spaces represent oneness in private and individual spheres from time to time, while they sometimes mean oneness in a public space. Art is also precious and effective in public spaces as a reflection of culture and human discourse and action. 
This study tries to reveal this value based on examples from different cities and different countries and aims to examine drawing-based street art and graffiti existing in the public space with some concepts like culture, space, and experience. In line with this purpose, knowledge is produced basically from observation techniques and experience. The existence of the said works has been examined and photographed on site, some examples expressing the discourse have been selected from dozens of photographs, and then phenomenological information has been analyzed with literature information. Then knowledge has been sought to be produced. 
In this context, the uniting, experience-creating, space-creating, and life-forming effects of the work of art have been observed, and its relations with culture and practice have been examined. Then the meaning has been explored as independent of the criteria like identity and brand. As a different discourse, it is stated in this study that what constitutes the reality of drawing-based works of art and graffiti in the public space is neither the name written under each piece nor the capitalist economies and dominant political views but the social acceptance of the work, the relationship it establishes with culture and its meaning.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Sadi Ardatürk, Ahmet},
	year = {2022},
	note = {Num Pages: 18
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {17--34},
}

@misc{saenz_gordon_mural_2021,
	title = {{MURAL} {MAST}-{ER}: {From} painting in the streets to the {Graffiti} {Museum} in {Miami}, how muralist {MAST} managed to translate a teenage hobby into a career},
	url = {https://www.redbull.com/us-en/theredbulletin/graffiti-artist-mast},
	abstract = {From painting in the streets to the Graffiti Museum in Miami, how muralist MAST managed to translate a teenage hobby into a career.},
	language = {English},
	author = {Saenz Gordon, Melissa},
	year = {2021},
	keywords = {Graffiti, Street art, Muralism},
}

@book{san_francisco_museum_of_moden_art_aesthetics_1978,
	address = {San Francisco},
	title = {Aesthetics of {Graffiti}: {Exhibition} {April} 28 - {July} 2, 1978},
	language = {English},
	publisher = {San Francisco Museum of Modern Art},
	author = {San Francisco Museum of Moden Art and Castellón, Rolando and Pearlstein, Howard J.},
	year = {1978},
	keywords = {Graffiti},
}

@book{sanada_graffiti_2010,
	address = {London},
	title = {Graffiti {Asia}},
	isbn = {978-1-85669-649-4},
	abstract = {GRAFFITI ASIA is the first book to examine the spread of graffiti in Asia, concentrating mainly on Indonesia, Hong Kong, Thailand, Malaysia, South Korea and Taiwan, as well including the Philippines, China and Singapore. 
Interviews with local artists provide an insight into the life of the graffiti artist in countries far removed from graffiti's origins in the US. They discuss the most popular graffiti locations, the attitudes of each country to the idea of graffiti art, and the network of established and emerging artists across the region. 
All material in the book was collected at first hand by the authors, who travelled around Asia photographing pieces, throw-ups, drip tags, and more, as well as interviewing the featured artists. 
GRAFFITI ASIA comes packaged with a DVD that includes a 28minute documentary by the authors SURIDH HASSAN and RYO SANADA.},
	language = {English},
	publisher = {Laurence King Publishing},
	author = {Sanada, Ryo and Hassan, Suridh},
	year = {2010},
	keywords = {Graffiti, Asia},
}

@article{sanders_pizza_2022,
	title = {Pizza and {Poop}: {Using} {Playful} {Probes} to {Investigate} {Community} in {Semi}-{Public} {Restrooms} on a {University} {Campus}},
	volume = {2},
	doi = {10.3390/architecture2010006},
	abstract = {This exploratory paper aims to discuss how community is fostered in semi-public restrooms on a college campus. While previous research has been undertaken in similar semi-private environments, this paper differs by simultaneously offering the researchers’ reflective insights in tandem with participants’ input on the research question. We begin by unpacking the challenges around Participatory Design (PD) activities that are undertaken in sensitive and private interior environments. Gathering perceptions of these sensitive spaces required methods that allowed for both anonymity and a communal approach through the use of provocative and evocative probes such as comment boxes and graffiti wall posters. This paper not only catalogues the findings of this research but also documents the difficulties in utilizing a participant-led approach, gaining access to sites and participants, and countering our own biases throughout the study’s construction. Through researcher accounts and participatory data analysis, the researchers offer a focused reflection on a possible new frontier for advancing PD methods in sensitive environments through playful probes. The contribution of this paper offers six lessons on the efficacy of using probes in semi-private environments, with playfulness as a primary driver of engaging participants.},
	language = {English},
	number = {1},
	journal = {Architecture},
	author = {Sanders, Elizabeth B.-N. and Murteza, Noor Danielle and Sabatelli, Madison},
	year = {2022},
	note = {Num Pages: 19},
	keywords = {Toilet, Toilet graffiti},
	pages = {95--113},
}

@article{santabarbara_street_2018,
	title = {Street art conservation: beyond mural restoration},
	volume = {2},
	abstract = {Malgrado le polemiche, la street art ha assunto ormai il ruolo di una forma artistica rilevante nella società moderna. Apparsa negli Stati Uniti nel corso degli anni Sessanta, l’arte dei “graffiti” si è diffusa in Europa come un fenomeno underground, ma in tempi recenti i suoi protagonisti hanno assunto notorietà internazionale come Shepard Fairey, Swoon, Invader o Banksy. All’interno di un fenomeno multiforme e discusso, le manifestazioni della street art si possono dividere in due filoni principali. Negli interventi che manifestano una identificazione creativa con il loro autore, come nel caso di Bansky e Blu, è difficile pensare alla loro conservazione per il carattere eversivo e illegale che presentano, ma spesso queste composizioni sono state accettate e di fatto incorporate nel paesaggio urbano. Diverso è il caso di interventi commissionati in occasioni di festival o progetti istituzionali, in cui la street art è usata come strumento di rigenerazione urbana. In questi casi, si possono raggiungere anche alte quotazioni di mercato, con riflessi speculativi che hanno motivato interventi di strappo, come nei graffiti di Bansky in alcune città della Germania e dell’Inghilterra. La questione della conservazione della street art continua ad essere controversa. Si va dalle pitture murali rimosse tra le proteste degli abitanti in Messico e in Perù, all’azione positiva svolta dalle istituzioni. Un caso è quello del più antico graffito datato, La Madonna a Lipsia, ripulito, ridipinto dall’artista e protetto da metacrilato. Esistono casi di replica, come un graffito di Keith Haring del 1989, ridipinto su un nuovo muro a Barcellona, mentre a Madrid si è proposto di vincolare una pittura murale di Muelle degli anni Ottanta. La conservazione dei murali non è compito facile: la questione del senso dell’operazione e soprattutto dell’autenticità dell’opera che si conserva restano fondamentali. Inoltre, va messa in conto la riluttanza degli artisti nel considerare la loro opera come artistica e lo stesso Kunstwollen che presiede ogni graffito. Le risposte a tali questioni sono molteplici. Il trasferimento dei dipinti in contesti museali è inappropriato, sia per ragioni di contesto, sia perché spesso operato contro la volontà dell’autore, che ricerca piuttosto la deperibilità dell’opera: come reazione alla musealizzazione di un suo dipinto, ad esempio, Blu ha cancellato tutte le sue opere a Bologna. La novità più consistenti vengono forse da associazioni di ricercatori che, in vari paesi, cercano di conservare l’opera nel proprio contesto, secondo l’intendimento dell’autore.},
	language = {English},
	journal = {Opus n.s.},
	author = {Santabárbara, Carlota},
	year = {2018},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Conservation},
	pages = {149--164},
}

@book{santamarina-campos_cultural_2021,
	address = {Cham},
	title = {Cultural and {Creative} {Mural} {Spaces}: {Community}, {Culture} and {Tourism} of {Uruguayan} {Contemporary} {Muralism} and {Other} {International} {Mural} {Spaces}},
	isbn = {978-3-030-53105-8},
	abstract = {This book puts into context the evolution of mural art in recent years, particularly the case of the contemporary muralism in Uruguay. While the focus of this volume, revolves around Uruguay, the editors demonstrate that circumstances found in Uruguay are also reflected widely in a large number of cases worldwide. 
Mural art has evolved from an elite audience to a more popular objective. At the same time, it does not lose the necessity of high value artists that, not only technically but also conceptually, will be able to connect to the audience and provide a sense of identity and necessity of preservation of this art. 
This leads to a down-top approach, where different actors take part in the process, from the conceptualization to the conservation. Moreover, mural art has been studied as a driver of local economic development, attracting visitors and tourists can access these open-air museums easily. This book is of interest to students and researchers working in fine art, heritage and museum studies.},
	language = {English},
	publisher = {Springer International Publishing},
	author = {Santamarina-Campos, Virginia and Martínez-Carazo, Eva-María and de Miguel Molina, María},
	year = {2021},
	doi = {10.1007/978-3-030-53106-5},
	keywords = {Graffiti, Murals, Uruguay},
}

@book{saren_marketing_2006,
	address = {Burlington},
	title = {Marketing graffiti: {The} view from the street},
	isbn = {978-0-7506-5697-9},
	abstract = {Rejecting the managerially-driven structures normally imposed on the subject, Saren explains marketing from the perspective of the pivotal figure in the process: the consumer. He addresses readers as active consumers and producers of marketing, and therefore already well-equipped to appreciate the rationale and practice behind the process. Critically examining the wide range of products, businesses, technologies, information, services, ads, packaging and branding, Saren utilizes everyday images and phenomena to draw out the conceptual foundations of marketing in its social and cultural context that we all experience. By taking this alternative approach - linking the abstract concepts to the everyday world the reader already knows -Marketing Graffiti explains marketing as consumers experience it, as active participants in it reflecting the variety in the bricollage subject that is marketing. * Outlines the essence of marketing by drawing on our everyday experiences to explain and illuminate key concepts. * Offers an alternative to the concept-heavy, managerially-focused approaches of most marketing texts. * Functions as a powerful introduction to marketing for students or newcomers, or a thought-provoking and challenging guide for experienced marketers.},
	language = {English},
	publisher = {Butterworth-Heinemann},
	author = {Saren, Michael},
	year = {2006},
	keywords = {Graffiti, Street art},
}

@article{sarmento_methodological_2020,
	title = {Methodological {Proposals} and {Critical} {Responses} for the {Study} of {Graffiti} and {Street} {Art}: {The} project {StreetArtCEI}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i2.240},
	abstract = {This article describes a on-going research project that blurs the frontiers between dominant and marginal cultures, their social practices, visual symbologies, and aesthetic manifestations, in the unstable space of the city, by discovering, collecting and preserving graffiti and street art works in middle range cities of Northern Portugal. Using the conceptual tools of intercultural studies, StreetArtCEI awakens tourist and inhabitants alike to the symbolic power of self- and hetero-marginalized aesthetical stances, organized by routes that reflect the social-cultural geography of the city. The methodology of the project includes the collection and study of both illegal art works in marginal sites; and of art works ratified and commissioned by private and public institutions, in tourist spots and high-end streets. The article analyses critically the feedback obtained from local authorities, the media and the community, and proposes several topics for further consideration. 
StreetartCEI thrives inside of a paradox built by itself, as a public institution led project that, at same time, collects, preserves and legitimizes cultural products which damage public and private property. We highlight the media’s interest for the economic potential of the project, as well as for the aesthetic appeal of the writers’ techniques, readily transformed into recognized canonical authors. Concerning the reception by local powers, we emphasise their swift investment in the creation of tailor-made local routes of graffiti and street art, that is, in artworks whose deletion those authorities are sponsoring at the same time. This apparent paradox by local institutions reproduces the common need for domestication of irreverence and commodification of the illegal, a paradox that all intervenient actors are aware of. StreetArtCEI’s intercultural action takes place in a borderzone between the legal and the illegal, where researchers play the role of mediating agents, creating new discursive fields in permanent intersection.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Sarmento, Clara},
	year = {2020},
	note = {Num Pages: 24
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Portugal, StreetArtCEI},
	pages = {24--47},
}

@article{sartorti_conflicts_2019,
	title = {Conflicts of {Memory}: {Red} {Army} {Graffiti} in the {Reichstag} 1945-2015},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.173},
	abstract = {The inscriptions left on the walls of the Reichstag by Red Army soldiers in May 1945 have played a pivotal role in the development of a deeply divided cultural memory, not only between the Soviet Union and post-war Germany (West and East), but also in post-Soviet times and in a reunited Germany. 
This article follows the changing attitudes towards those graffiti as part of a painful and traumatic past: they serve as a means to revive a heroic part of history on the Soviet side (if only through publication of photographic images in the 1960s); they have suffered from a strong tendency toward social amnesia in post-war West Berlin (cleansing the walls of Red Army graffiti and covering them with panelling); they have triggered a highly contested debate in the Bundestag about their conservation or elimination that was caused by their unexpected resurfacing during the 1990’s reconstruction of the Reichstag; and finally, they form the center of a debate about transforming the leftover graffiti from a site of memory into a site of reconciliation. 
The recent construction of a replica of the Reichstag in Moscow, in 2015 – including the graffiti – shows yet another aspect of memory politics – this time in support of a rise in patriotism.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Sartorti, Rosalinde},
	year = {2019},
	note = {Num Pages: 1
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Berlin, Germany, Red Army, Reichstag},
	pages = {68},
}

@article{scardapane_ex_2022,
	title = {The ex post analysis and perspectives of an {Urban} {Creativity} program between artistic requalification and social regeneration},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.565},
	abstract = {In 2015 INWARD - National Observatory on Urban Creativity started the project “Parco dei Murales”, a process of artistic requalification and social regeneration in the Ponticelli district, the eastern part of the great city of Naples. Four years after the completion of the pictorial works, questions regarding the influence of the creative program on the urban area arise: how did these interventions generate a change in the neighborhood? What impact did they have had on the community? 
Many inhabitants perceive the eastern outskirts of Naples as a marginal space of the metropolis of Southern Italy, a “liminal” area not only geographically but also socially if we think about the exposure of some segments of the population to situations of the uncertainty of the social and economic condition.   It is noted that this area manifests an evident lack of services that can allow a transformation towards a condition of certainty. The artistic and social experience in the “Parco dei Murales”, was born to subvert all this and allow the external public to enter an inhabited space previously considered repulsive. 
In relation to three macro-categories as Art, Social, and Promotion, we will try to answer the initial questions to investigate the positive and negative aspects of a collective program. 
Through data related to the work experience collected from 2015 to 2021, to the elaboration of surveys, outputs submitted to the community, and comparisons with similar realities in Italy, we have reached a liminal moment of the work that is a moment of waiting between what has been achieved and the transformation in progress.  What are future evolutions? How to envisage the extension of an urban creativity program for the social in a creative territorial system?},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Scardapane, Silvia and Mongelli, Monica},
	year = {2022},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Italy, Naples, Napoli, Promotion},
	pages = {156--167},
}

@book{schaal_streetart_2017,
	address = {München},
	title = {Streetart in {Germany}},
	isbn = {978-3-7423-0402-5},
	abstract = {Wer mit wachen Augen durch die Stadt streift, kann allerorten Kunst entdecken. Hier wurde ein Hydrant, ein Mülleimer oder ein Baum mit einfachen Mitteln in eine skurrile Figur verwandelt, dort prangt ein großes Graffiti an einem Brückenpfeiler, da hat einer ein Werbeplakat ironisch »uminterpretiert«. Streetart-Künstler nutzen die urbane Infrastruktur als Leinwand und beweisen oft enormen Einfallsreichtum und großes künstlerisches Talent. Die Facebook-Seite »StreetArt in Germany« präsentiert seit 2011 Bilder der beeindruckendsten, schönsten und verrücktesten Kunstwerke im öffentlichen Raum und begeistert damit rund eine Million Fans weltweit – es werden immer mehr. Auch die Streetart-Szene wird rasend schnell größer, viele Künstler sind bereits landesweit und international bekannt. Dieses ungewöhnliche, zweisprachige (deutsch / englisch) Bilderbuch versammelt die besten Bilder der Facebook-Seite sowie weiteres, exklusives Bildmaterial von Straßenkunst: manchmal lustig, manchmal schräg, oft gesellschaftskritisch und immer überraschend.},
	language = {German},
	publisher = {riva Verlag},
	author = {Schaal, Timo},
	year = {2017},
	keywords = {Graffiti, Street art, Germany},
}

@book{schacter_world_2013,
	address = {Sydney},
	title = {The world atlas of street art and graffiti},
	isbn = {978-1-74223-377-2},
	abstract = {Painted murals first appeared in Latin America in the early 20th century; in the 1950s, spray-can graffiti associated with Latino gangs followed, notably the "cholo" graffiti of Los Angeles. Today, street art has traveled to nearly every corner of the globe, evolving into a highly complex and ornate art form. The World Atlas of Street Art and Graffiti is the definitive survey of international street art, focusing on the world's most influential urban artists and artworks. Since the lives and works of urban artists are inextricably linked to specific streets and places, this beautifully illustrated volume features specially commissioned "city artworks" that provide an intimate understanding of these metropolitan landscapes. Organized geographically by country and city, more than 100 of today's most important street artists - including Espo in New York, Shepard Fairey in Los Angeles, Os Gêmeos in Brazil, and Anthony Lister in Australia - are profiled alongside key examples of their work. The evolution of street art and graffiti within each region is also chronicled, providing essential historical context. With contributions by the foremost authorities on street art and graffiti, this landmark publication provides a nuanced understanding of a widespread contemporary art practice. The World Atlas of Street Art and Graffiti emphasizes urban art's powerful commitment to a spontaneous creativity that is inherently connected to the architecture of the metropolis.},
	language = {English},
	publisher = {NewSouth Publishing},
	author = {Schacter, Rafael},
	year = {2013},
	keywords = {Graffiti, Street art, Latin America, Murals},
}

@book{schacter_ornament_2014,
	address = {Farnham; Burlington},
	series = {Architecture},
	title = {Ornament and order: {Graffiti}, street art and the parergon},
	isbn = {978-1-4724-0998-0},
	abstract = {The fact that practices often termed 'graffiti' or 'street-art' have been a popular global phenomenon and have increasingly been taken seriously by the art establishment has changed the widespread perception of them and led to debates which argue over whether these acts are vandalism or fine art, and which examine the role of graffiti in gang culture and in terms of visual pollution. Based on an in-depth ethnographic study working with some of the world's most influential Independent Public Artists, this book takes a completely new approach. Placing 'graffiti' within a broader historical, political, and aesthetic context, it argues that these practices are in fact both intrinsically ornamental (working within a classic architectonic framework), as well as innately ordered (within a highly ritualized, performative structure). Rather than disharmonic, destructive forms, rather than ones solely working within the dynamics of the market, these images are seen to reface rather than deface the city, operating within a modality of contemporary civic ritual. The book is divided into two main sections, Ornament and Order. Ornament focuses upon the physical artifacts themselves, the various meanings the public artists ascribe to their images as well as the tensions and communicative schemata emerging out of their material form. Using two very different understandings of political action, it places these illicit icons within the wider theoretical debate over the public sphere that they materially re-present. Order is focused more closely on the ephemeral trace of these spatial acts, the explicitly performative, practice-based elements of their aesthetic production. Exploring thematics such as carnival and play, risk and creativity, it tracks how the very residue of this cultural production structures and shapes the socio-ethico guidelines of my informants' lifeworlds.},
	language = {English},
	publisher = {Ashgate},
	author = {Schacter, Rafael},
	year = {2014},
	keywords = {Graffiti, Street art},
}

@book{schacter_world_2017,
	address = {London},
	edition = {Revised and updated},
	title = {The world atlas of street art and graffiti},
	isbn = {978-1-78131-721-1},
	abstract = {From Steve Powers (Espo) in New York to Kid Zoom in Australia, taking in Banksy’s London, Paris as transfigured by Honet and OX, and the gargantuan murals of the Brazilian twins ‘Os Gêmeos’, this geographical survey of urban art includes  the latest works some of the most prolific and interesting artists from around the world. 
Since its genesis on the East Coast of the United States in the late 1960s, street art has travelled to nearly every corner of the globe, morphing into highly ornate and vibrant new styles.  This unqiue atlas is the first truly geographical survey of urban art. Featuring specially commissioned works from major graffiti and street art practitioners, it offers you an insider’s view of the urban landscape as the artists themselves experience it. 
Organized geographically, by continent and by city – from New York,Los Angeles and Montreal in North America, through Mexico City and Buenos Aires in Latin America, to London, Berlin and Madrid in Europe, as well as Sydney and Tokyo in the Pacific – it profiles more than 100 of today’s most important artists and features over 700 astonishing artworks.},
	language = {English},
	publisher = {Aurum Press},
	author = {Schacter, Rafael and Fekner, John},
	year = {2017},
	keywords = {Graffiti, Street art, Latin America, Murals},
}

@book{schaefer-wiery_graffiti-reader_2009,
	address = {Wien},
	series = {Graffiti-{News}},
	title = {Der {Graffiti}-{Reader}: {Essays} internationaler {Experten} zum {Kulturphänomen} {Graffiti}},
	isbn = {978-3-901927-19-5},
	language = {German},
	number = {20},
	publisher = {Graffiti Edition},
	editor = {Schaefer-Wiery, Susanne and Siegl, Norbert},
	year = {2009},
	keywords = {Graffiti},
}

@book{schallenkammer_graffiti_2022,
	address = {Årsta},
	title = {Graffiti characters for beginners: {An} easy introduction to drawing graffiti figures},
	isbn = {978-91-88369-73-4},
	language = {English},
	publisher = {Dokument Press},
	author = {Schallenkammer, Arnd and Gess One},
	year = {2022},
	keywords = {Graffiti, Characters, Drawing},
}

@article{schiavottiello_heritales_2017,
	title = {Heritales: the {Film} {Festival} that {Brings} {Heritage} to the {Urban} {Environment}},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.68},
	abstract = {The International Heritage Film Festival “Heritales” took place in the city of Évora, during the 30th anniversary of its declaration of World Heritage site by UNESCO. It was developed especially for this symbolic event, during the months of its commemoration: between September and October 2016. The festival was born with the purpose of disseminating narratives of filmic, digital and graphic nature that deal with Cultural Heritage. Its objectives were to project cinema in public spaces, as well as within the cultural facilities of the city such as churches and cultural associations. This aspect, framed in a community outreach strategy, have brought a stage of exchange and sharing between the academia, the local community and the international visitors to the city of Evora. The program had different forms of action: screening sessions with subsequent debates with the presence of the directors, parallel activities such as workshops, conferences, and other type of narrative forms through exhibitions and historical table games.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Schiavottiello, Nicola and Montes, Zozaya},
	year = {2017},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, UNESCO, Heritales},
	pages = {89--94},
}

@misc{schiller_wooster_2003,
	title = {Wooster {Collective}},
	url = {http://www.woostercollective.com},
	language = {English},
	author = {Schiller, M. and Schiller, S.},
	year = {2003},
	keywords = {Graffiti},
}

@book{schmdlapp_style_1996,
	title = {Style: {Writing} from the {Underground}: ({R})evolutions of {Aerosol} {Lingutstics}},
	isbn = {978-88-7226-318-1},
	abstract = {“First of its kind. A different look at the technical aspects of Writing, its primary causes, the various effects, and after effects. In forcing on its beginnings in NYC, the book examines the blueprint and links that has provided the extensive traditional chain upheld and regarded as “STYLE”. A history and analysis from those who have lived and made this movement what it is today. The book’s photo documentation spans three decades (70’s, 80’s, 90’s) and consists of rare gems, mostly by writers themselves. Together they reveal a living archive that makes for an unprecedented incredible pictorial of the writers’ as well as the culture’s growth.” 
No other book explains the evolution or thinking processes behind the graffiti art form the way “Style: Writing From the Underground” does. 
This book was published in 1996 by Stampa Alternativa Italy in association with IGTimes NYC and co-created by the legendary PHASE2. What make this book so special (compared to the countless other book out there) is that this book reflects on the History of Writing dating back to the late 1960’s and documents the timeline of the evolution of style. 
This book makes it very clear that the most important element of graffiti art is Style. Many writers are quoted extensively, giving their own take on what they believe style is all about. Here’s an example: “Style has always been each writers finger print. Some writers have styles that are so complex that they are ‘irreadable”, but at this point it doesn’t matter what the name is because the style of the piece links you to it’s creator” – DAZE 
Throughout the book, Phase 2, the author, interjects his own ideas and philosophies on graffiti, style, writers and writing. His comments are very thought-provoking and elevate the discussion intellectually in a way we haven’t seen in any other book. If you really want to understand this art form from the inside out, you have to read and re-read this book.},
	language = {English; Italian},
	publisher = {Stampa Alternativa in Association with IGTimes},
	editor = {Schmdlapp and Phase 2},
	year = {1996},
	keywords = {Graffiti},
}

@article{schorr_no_2018,
	title = {No {Tags}. {No} {Masterpieces}. {Graffiti} as a catalyst of individual creativity},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.131},
	abstract = {Graffiti often receives attention as a social problem. Its potentials and positive influence on the individual or the society are often left aside in the public discourse. This article shows how graffiti, as a catalyst of creativity, shapes one’s personal career. Graffiti enables a unique combination of motoric and psycho-social abilities, which opens up many perspectives and careers for the so-called writer. The paper aims to show and complete with suggestion the value added through graffiti, especially in the areas of education, participation and urban development, both for the individual and for the whole society.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Schorr, Björn},
	year = {2018},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Education},
	pages = {122--127},
}

@book{schwartzman_street_1985,
	address = {Garden City},
	title = {Street art},
	isbn = {0-385-19950-3},
	language = {English},
	publisher = {The Dial Press},
	author = {Schwartzman, Allan},
	year = {1985},
	keywords = {Street art},
}

@book{sears_written_2013,
	address = {London},
	series = {Classical studies \& archaeology},
	title = {Written space in the {Latin} {West}, 200 {BC} to {AD} 300},
	isbn = {978-1-4411-8876-2},
	abstract = {This volume explores the creation of 'written spaces' through the accretion of monumental inscriptions and non-official graffiti in the Latin-speaking West between c.200 BC and AD 300. The shift to an epigraphic culture demonstrates new mentalities regarding the use of language, the relationship between local elites and the population, and between local elites and the imperial power. The creation of both official and non-official inscriptions is one of the most recognisable facets of the Roman city. The chapters of this book consider why urban populations created these written spaces and how these spaces in turn affected those urban civilisations. They also examine how these inscriptions interacted to create written spaces that could inculcate a sense of 'Roman-ness' into urban populations whilst also acting as a means of differentiating communities from each other. The volume includes new approaches to the study of political entities, social institutions, graffiti and painting, and the differing trajectories of written spaces in the cities of Roman Africa, Italy, Spain and Gaul.},
	language = {English},
	publisher = {Bloomsbury},
	editor = {Sears, Gareth and Keegan, Peter and Laurence, Ray},
	year = {2013},
	keywords = {Graffiti, Writing, Ancient graffiti, Roman world},
}

@book{seno_trespass_2010,
	address = {Köln},
	title = {Trespass: {A} history of uncommissioned urban art},
	isbn = {978-3-8365-0964-0},
	abstract = {In Zusammenarbeit mit den im Buch vorgestellten Künstlern, zeichnet Trespass nach, wie Graffitikunst und Urban Art die Welt eroberten. Dabei wird Street Art nicht nur als Randerscheinung der bildenden Kunst gesehen, sondern als soziales Phänomen und zentrales Ausdrucksmittel der Jugend. 
Der Band mit einem exklusiven Vorwort von Banksy, der nun auch in der beliebten Reader’s Edition erhältlich ist, dokumentiert ausführlich die Geschichte, internationale Ausweitung und technische Entwicklung der Street-Art-Bewegung. Anhand maßgeblicher Werke von 150 Künstlern verbindet das Buch vier Generationen von Street Artists, zu denen sowohl nur Insidern bekannte Künstler wie Miss Van als auch weltberühmte Namen wie Jean Tinguely, Keith Haring, Barbara Kruger, Jenny Holzer, Gordon Matta-Clark, Billboard Liberation Front, Guerilla Girls und Banksy gehören. 
Das Buch ist thematisch geordnet, im Kern geht es jedoch stets um den unbefugten Zutritt, trespassing. Die abgebildeten Werke sprechen für sich, doch jedes Kapitel wird durch einen kurzen Essay eingeleitet, der zur Diskussion anregende Hintergrundinformationen über die Geschichte, politische Dimension, Protesthaltung und Illegalität von Formen künstlerischer Selbstdarstellung im öffentlichen Raum liefert. Zu den Autoren dieser Essays gehören u. a. Anne Pasternak (Leiterin von Creative Time, einem Fundingprojekt für öffentliche Kunst) und der Bürgerrechtsanwalt Tony Serra.},
	language = {English},
	publisher = {Taschen},
	editor = {Seno, Ethel},
	year = {2010},
	keywords = {Graffiti, Street art},
}

@article{senserrich_espunes_papel_2016,
	title = {El papel del conservador-restaurador en el {Arte} {Urbano} comisionado: reflexiones a partir de los datos recogidos en la {Open} {Walls} {Conference} 2015 de {Barcelona}},
	volume = {10},
	issn = {1989-8568},
	doi = {10.37558/gec.v10i0.403},
	abstract = {La participación del grupo de Arte Urbano del GEIIC en la Open Walls Conference (OWC), celebrada en octubre del 2015 en Barcelona, con una serie de actividades abiertas al público asistente dirigidas a obtener material para valorar la posibilidad de conservación de algunas obras de arte urbano comisionado, ha ampliado nuestras expectativas iniciales al analizar los datos recabados. Se abren nuevas posibilidades en el rol a desarrollar por el profesional de la conservación-restauración en relación al arte urbano, sobre todo en lo que se refiere a la actuación sobre el entorno. En este artículo se analizarán los resultados obtenidos en la OWC, se propondrán herramientas para completar estos datos en el contexto donde se encuentran los murales y, finalmente, se presentará una propuesta de actuación con los organizadores de festivales antes de que los artistas realicen sus obras.},
	language = {Spanish},
	journal = {Ge-conservacion},
	author = {Senserrich Espuñes, Rosa and Gasol Fargas, Rosa M.},
	year = {2016},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Museum, Urban art},
	pages = {109--116},
}

@article{senserrich_espunes_museos_2019,
	title = {Museos de arte urbano. {Estado} de la cuestión},
	volume = {16},
	issn = {1989-8568},
	doi = {10.37558/gec.v16i0.713},
	abstract = {El concepto de “museo de arte urbano” se está utilizando en la actualidad para denominar una múltiple variedad de espacios de naturaleza muy diversa sin demasiados lazos en común. Así pues, existen museos de arte urbano creados desde una perspectiva más tradicional, es decir, espacios-contenedores cerrados, con la obra concentrada dentro de sus paredes, en contraposición a otros, más innovadores, ubicados en espacios abiertos o con la obra dispersa por la ciudad. También existen museos desligados de toda materialidad, que se desarrollan exclusivamente en el espacio virtual. La voluntad inicial de los creadores de estos espacios es también muy variada, y persigue objetivos que van desde el querer ser considerados como anti-museos a integrarse en la red existente de museos de arte contemporáneo. 
Esta recopilación pretende ser un catálogo de iniciativas que sirva de complemento a los artículos del presente monográfico, que facilite un estudio ordenado y pormenorizado de las iniciativas existentes. Para lograr entender cómo llegan a fundirse dos propuestas tan divergentes, museo y arte urbano, es necesario analizar los motivos que llevan a los gestores de estos espacios a identificarlos así.},
	language = {Spanish},
	journal = {Ge-conservacion},
	author = {Senserrich Espuñes, Rosa and Gayo, Elena},
	year = {2019},
	note = {Num Pages: 11},
	keywords = {Street art, Museum},
	pages = {244--254},
}

@article{seok_analysis_2020,
	title = {An {Analysis} of the {Sustainable} {Tourism} {Value} of {Graffiti} {Tours} through {Social} {Media}: {Focusing} on {TripAdvisor} {Reviews} of {Graffiti} {Tours} in {Bogota}, {Colombia}},
	volume = {12},
	issn = {2071-1050},
	doi = {10.3390/su12114426},
	abstract = {This study attempts to analyze the value of graffiti tours from the perspective of sustainable tourism by examining actual reviews by social media users using text mining and social network analysis. The text mining technique indicates that “artist,” “history,” “political,” “culture,” “social,” “city,” “background,” “great,” “recommend,” “excellent”, and “worth,” are frequently used keywords for the reviews. When comparing word frequencies per review between 2013–2016 and 2017–2019, the results show that the words, “history,” “political,” “culture,” and “social,” have been more frequently used over time. Furthermore, the network visualization shows that those words connoting socio-cultural sustainability are mutually connected. Therefore, the study suggests that graffiti tours can have potential for assuming the role of sustainable tourism, since the keywords from reviews are associated with the perspective of socio-cultural sustainability.},
	language = {English},
	number = {11},
	journal = {Sustainability},
	author = {Seok, Hwayoon and Joo, Yeajin and Nam, Yoonjae},
	year = {2020},
	note = {Num Pages: 19},
	keywords = {Graffiti, Social media, Bogotá, Tours, Colombia, Graffiti tours, TripAdvisor},
	pages = {4426},
}

@article{sequeira_letting_2015,
	title = {Letting the walls of the city speak: {The} route of a sociological research project on {Lisbon}’s street art},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i2.34},
	abstract = {This article sets out to show how a sociological research project on the production of street art in Lisbon was built, from the construction of an object of research to the development of a methodological approach that enabled the collection of a diverse set of expressive data. The notion of ‘route’ serves not only as a valuable instrument of research in the first stages of an investigation in urban sociology, but also as a powerful visual depiction of the development of a specific methodology and the set of techniques adopted. The diverse set of interrogations about the object that stem from these incursions, as well as the specific urban context at hand, allowed the researcher to conceptualize street art as a component of contemporary urban space and as a visual means to reveal social dynamics between the several actors involved in its production, and the city itself. Therefore, in this paper it is briefly shown how this object is theoretically framed, namely in what concerns the street artists and the way they build an artistic path and attribute meaning to the act of intervening artistically in the streets of the city, and how this connects with the worlds of contemporary art and the several contexts of production of street art; the contexts in which street art is currently created in Lisbon, from individual initiatives to the actions of associations or collectives, and the municipality; and the way in which the city, through its institutional powers, can instrumentalize street art as a way of creating ‘images of the city’, and how this can be explored in terms of tourism and the marketing of cities, and the conflict or opportunities that these processes reveal for the actors involved.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Sequeira, Ágata Dourado},
	year = {2015},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Sociology, Portugal},
	pages = {82--88},
}

@book{shaw_oxford_2020,
	address = {Oxford},
	series = {Oxford handbooks},
	title = {The {Oxford} handbook of {Egyptology}},
	isbn = {978-0-19-927187-0},
	abstract = {The Oxford Handbook of Egyptology presents a series of articles by colleagues working across the many archaeological, philological and cultural subdisciplines within the study of ancient Egypt from prehistory through to the end of the Roman Period. The volume seeks to place Egyptology within its theoretical, methodological, and historical contexts, both indicating how the subject has evolved and discussing its distinctive contemporary problems, issues and potential. Transcending conventional boundaries between archaeological and ancient textual analysis, it stresses the need for Egyptology to seek multidisciplinary methods and broader collaborations if it is to remain contemporary and relevant. It therefore serves as a reference work not only for those working within the discipline, but also as a gateway into Egyptology for archaeologists, anthropologists, sociologists and linguists. The book is organized into ten parts, the first of which examines the many different historical and geographical perspectives that have influenced the development and current characteristics of the discipline. Part II addresses the various environmental aspects of the subject: landscapes, climate, flora, fauna and the mineral world. Part III considers a variety of practical aspects of the ways in which Egyptologists survey, characterize and manage landscapes. Part IV discusses materials and technology, from domestic architecture and artefacts through to religious and funerary items. Part V deals with Egypt’s relations with neighbouring regions and peoples, while Part VI explores the sources and interpretive frameworks that characterize different phases of ancient Egyptian history. Part VII is concerned with textual and iconographic approaches to Egyptian culture, and Part VIII comprises discussions of the key aspects of ancient Egyptian scripts and philology. Part IX presents summaries of the current state of the subject in relation to a variety of textual genres, from letters and autobiographies to socio-economic, magical and mathematical texts. The final section covers different aspects of museology and conservation.},
	language = {English},
	publisher = {Oxford University Press},
	editor = {Shaw, Ian and Bloxam, Elizabeth Gambier},
	year = {2020},
	keywords = {Rock art, Egyptology},
}

@article{shirey_creating_2021,
	title = {Creating a {Global} {Archive} of {COVID}-19 {Street} {Art}: {Notes} on {Research} in {Progress}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Shirey, Heather and Todd Lawrence, David},
	year = {2021},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, COVID-19},
	pages = {10--15},
}

@book{shohamy_linguistic_2010,
	address = {Bristol},
	title = {Linguistic landscape in the city},
	isbn = {978-1-84769-297-9},
	abstract = {This book focuses on linguistic landscapes in present-day urban settings. In a wide-ranging collection of studies of major world cities, the authors investigate both the forces that shape linguistic landscape and the impact of the linguistic landscape on the wider social and cultural reality. Not only does the book offer a wealth of case studies and comparisons to complement existing publications on linguistic landscape, but the editors aim to investigate the nature of a field of study which is characterised by its interest in ‘ordered disorder’. The editors aspire to delve into linguistic landscape beyond its appearance as a jungle of jumbled and irregular items by focusing on the variations in linguistic landscape configurations and recognising that it is but one more field of the shaping of social reality under diverse, uncoordinated and possibly incongruent structuration principles.},
	language = {English},
	publisher = {Multilingual Matters},
	author = {Shohamy, Elana Goldberg and Ben-Rafael, Eliezer and Barni, Monica},
	year = {2010},
	keywords = {Graffiti, Language},
}

@book{siegl_kommunikation_1993,
	address = {Wien},
	title = {Kommunikation am {Klo}: {Graffiti} von {Frauen} und {Männern}},
	isbn = {3-85115-178-X},
	language = {German},
	publisher = {Verlag für Gesellschaftskritik},
	author = {Siegl, Norbert},
	year = {1993},
	keywords = {Graffiti, Graffiti writing, Vienna, Austria, Toilet},
}

@book{siegl_graffiti-enzyklopa_2001,
	address = {Vienna},
	title = {Graffiti-{Enzyklopädie}: {Von} {Kyselak} bis {HipHop}-{Jam}},
	isbn = {978-3-85437-199-1},
	abstract = {Von Vandalismus bis Kunst, von Faschismus bis Anarchie, von Volkskunst bis Jugendkultur - Graffiti sind ein Spiegel der Gesellschaft, in dem aktuelle Fragen wie in einem Vergrößerungsglas sichtbar werden. 
Der Psychologe und Fotograph Norbert Siegl deutet in seiner Graffiti-Enzyklopädie überblicksartig eine bereits seit langem bestehende Vielfalt von Themen an die, beginnend mit Politik, Justiz, Umwelt, Tierschutz über Geschlechterbeziehungen von Sehnsucht, Liebe, Sex bis hin zu gesellschaftlichen Gesamtphänomenen sowie Identifikationspunkten - man denke hier an Musik, Sport, Religion aber auch Drogen - reichen. 
Ein wichtiger Beitrag zur Zeit- und Kulturgeschichte Österreichs und Deutschlands. Siegl beschäftigt sich seit 1976 mit Graffiti und gründete mit dem "Wiener Graffiti-Archiv" das erste internationale Dokumentationszentrum für diese oft verkannte Kulturform.},
	language = {German},
	publisher = {Österreichischer Kunst- und Kulturverlag},
	author = {Siegl, Norbert},
	year = {2001},
	keywords = {Graffiti, Encyclopedia},
}

@article{simmons_urban_2021,
	title = {The {Urban} {Art} {Mapping} {Project}: {A} {Discussion} of {Street} {Art} {Preservation} and {Antiracism}},
	volume = {8},
	abstract = {As a multidisciplinary, multigenerational, and multiracial research team, the Urban Art Mapping Project collaborates with and in support of community voices through vernacular art in the streets. While street art may be ephemeral and fleeting, it can reveal immediate responses to events and make externally visible what people think, believe, or feel, individually and collectively. In the context of crisis, street art can reach a global audience, transform and activate urban space, and foster a sustained critical dialogue.},
	language = {English},
	journal = {Journal of Folklore and Education},
	author = {Simmons, Frederica and Delgado, Amber and Weiher, Rachel and Wasylik, Eve and Ojulu, Adem and Tjokrosetio, Olivia and Nangwala, Shukrani and Shirey, Heather and Lorah, Paul and Todd Lawrence, David},
	year = {2021},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, George Floyd, Racism, Urban Mapping Project},
	pages = {156--173},
}

@article{simopoulos_sache_2022,
	title = {Sache {Que} {Je} {T}’{Aime}: {A} {Tag} {Turned} {Mural}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Simopoulos, Alexandros},
	year = {2022},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {48--53},
}

@book{sjostrand_subway_2009,
	address = {Årsta},
	title = {Subway world: {Graffiti} on trains},
	isbn = {978-91-85639-19-9},
	abstract = {Subway World is a book about graffiti on subway trains all over the world. What started in New York in the seventies has become an worldwide artform with thousands of artists. The tradition of using subway cars as canvases has been preserved and has become an integrated part of the graffiti movement. Subway World takes you through more than 70 cities and four different continents. Everywhere where there are subway trains there is graffiti. From Russia and Georgia through Japan, the USA, Canada and Argentina to Europe. Subway World gives you hard facts on all the subway systems aswell as short stories and trivia. European cities featured are, among others: Athens, Amsterdam, Barcelona, Berlin, Copenhagen, Helsinki, London, Madrid, Manchester, Moscow, Oslo, Paris, Prague, Rome and Stockholm.},
	language = {English},
	publisher = {Dokument Press},
	author = {Sjöstrand, Torkel},
	year = {2009},
	keywords = {Graffiti, Train, Subway},
}

@book{skinner_murals_2017,
	address = {Abingdon; New York},
	series = {Heritage, culture and identity},
	title = {Murals and tourism: {Heritage}, politics and identity},
	isbn = {978-1-315-54797-8},
	abstract = {Around the world, tourists are drawn to visit murals painted on walls. Whether heritage asset, legacy leftover, or contested art space, the mural is more than a simple tourist attraction or accidental aspect of tourism material culture. They express something about the politics, heritage and identity of the locations being visited, whether a medieval fresco in an Italian church, or modern political art found in Belfast or Tehran. 
This interdisciplinary and highly international book explores tourism around murals that are either evolving or have transitioned as instruments of politics, heritage and identity. It explores the diverse messaging of these murals: their production, interpretation, marketing and – in some cases – destruction. It argues that the mural is more than a simple tourist attraction or accidental aspect of tourism material culture. 
Murals and Tourism will be valuable reading for those interested in cultural geography, tourism, heritage studies and the visual arts.},
	language = {English},
	publisher = {Routledge},
	editor = {Skinner, Jonathan and Jolliffe, Lee},
	year = {2017},
	keywords = {Graffiti, Street art, Tourism, Murals, Mural painting},
}

@book{smallman_stencil_2005,
	address = {West New York},
	title = {Stencil graffiti capital: {Melbourne}},
	isbn = {978-0-9762245-3-2},
	abstract = {Stencil Graffiti Capital: Melbourne, MBP's first street-art book, stands as a contemporary classic of the genre. During the first few years of this century, Melbourne, Australia, was the global epicenter of stencil graffiti, with artists like MEEK, SIXTEN, VEXTA, and MEGGS cutting amazing stencils and getting them up all over the city. The variety and abundance of the city's scene attracted international attention, especially after BANKSY paid a visit. This was the first graffiti book to be published that focused on stencil graffiti, and while many stencil-centric books have followed, it remains the only one that documents a once prolific scene that will stand the test of time.},
	language = {English},
	publisher = {Mark Batty Publisher},
	author = {Smallman, Jake and Nyman, Carl},
	collaborator = {Poole, Buzz},
	year = {2005},
	keywords = {Graffiti, Australia, Stencil graffiti, Melbourne},
}

@book{smith_free_2022,
	address = {Cambridge},
	title = {Free {Berlin}: {Art}, urban politics, and everyday life},
	isbn = {978-0-262-04719-7},
	abstract = {An alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to collective creativity and social solidarity. 
In pre- and post-reunification Berlin, socially engaged artists championed collective art making and creativity over individual advancement, transforming urban space and civic life in the process. During the Cold War, the city’s state of exception invited artists on both sides of the Wall to detour from artistic tradition; post-Wall, art became a tool of resistance against the orthodoxy of economic growth. In Free Berlin, Briana Smith explores the everyday peculiarities, collective joys, and grassroots provocations of experimental artists in late Cold War Berlin and their legacy in today’s city. 
These artists worked intentionally outside the art market, believing that art should be everywhere, freed from its confinement in museums and galleries. They used art as a way to imagine new forms of social and creative life. Smith introduces little-known artists including West Berlin feminist collective Black Chocolate, the artist duo paint the town red (p.t.t.r), and the Office for Unusual Events, creators of satirical urban political theater, as well as East Berlin action art and urban interventionists Erhard Monden, Kurt Buchwald, and others. Artists and artist-led urban coalitions in 1990s Berlin carried on the participatory spirit of the late Cold War, with more overt forms of protest and collaboration at the neighborhood level. The temperament lives on in twenty-first century Berlin, animating artists’ resolve to work outside the market and citizens’ spirited defenses of green spaces, affordable housing, and collectivist projects. 
With Free Berlin, Smith offers an alternative history of art in Berlin, detaching artistic innovation from art world narratives and connecting it instead to Berliners’ historic embrace of care, solidarity, and cooperation.},
	language = {English},
	publisher = {The MIT Press},
	author = {Smith, Briana J.},
	year = {2022},
	keywords = {Street art, Berlin, Urban art},
}

@article{snyder_graffiti_2006,
	title = {Graffiti media and the perpetuation of an illegal subculture},
	volume = {2},
	issn = {1741-6590},
	doi = {10.1177/1741659006061716},
	language = {English},
	number = {1},
	journal = {Crime, Media, Culture: An International Journal},
	author = {Snyder, Gregory J.},
	year = {2006},
	note = {Num Pages: 9},
	keywords = {Graffiti, Criminology, Sociology},
	pages = {93--101},
}

@book{snyder_graffiti_2009,
	address = {New York; London},
	series = {Alternative {Criminology} {Series}},
	title = {Graffiti {Lives}: {Beyond} the {Tag} in {New} {York}'s {Urban} {Underground}},
	isbn = {978-0-8147-4046-0},
	language = {English},
	publisher = {New York University Press},
	author = {Snyder, Gregory J.},
	year = {2009},
	keywords = {Graffiti, Graffiti writing, New York, Tags, Underground},
}

@article{soares_neves_routledge_2016,
	title = {Routledge {Handbook} of {Graffiti} and {Street} {Art} – {Book} {Review}},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i2.56},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Soares Neves, Pedro},
	year = {2016},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {68--77},
}

@article{soares_neves_book_2017,
	title = {Book review: {Graffiti} and street art: {Reading}, writing and representing the city},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.85},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Soares Neves, Pedro},
	year = {2017},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Book review, Review},
	pages = {94--100},
}

@book{soares_neves_lisbon_2015,
	address = {Lisbon},
	title = {Lisbon {Street} {Art} \& {Urban} {Creativity}: 2014 {International} {Conference}},
	isbn = {978-989-20-5138-3},
	abstract = {This book more than merely being the Lisbon Street Art \& Urban Creativity International Conference full proceedings is in itself a convergence node for research. In the last years, several thematic researches have invaded the most diverse disciplinary fields – as this book demonstrate starting off from four distinctive coordinates: On the scale of the City On the artist and other groups On the actions and works On the side effects This oeuvre gathers now the articles of the delegates according to the thirteen panels henceforth mapping out the urban topographies that constitute the richness of the authorial territories.},
	language = {English},
	publisher = {UrbanCreativity},
	editor = {Soares Neves, Pedro and de Freitas Simões, Daniela V.},
	year = {2015},
	keywords = {Graffiti, Street art},
}

@article{sohrabi_city-wide_2018,
	title = {A {City}-wide {Art} {Gallery}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.119},
	abstract = {In Tehran, the capital of Iran, billboards bear two parallel responsibilities with, of course, di erent directions. Some of them have commercial functions, while others transmit moral messages and religious and political slogans. In the spring of 2015, billboards in Tehran suddenly transmitted a new message. A new urban project, called “A City-wide Art Gallery”, converted Tehran into a gallery using billboards. For many people, this was “a city-wide coincidence”. This was the rst time that the municipality of Tehran allocated billboards to a topic that followed neither a commercial nor an ideological purpose. The change that the project brought about in the city’s landscape has sparked debates among citizens and experts. The present study investigates the relationship of citizens with the images displayed in this project and compares this urban-scaled movement to people’s reference to art galleries and museums. Data for this study are collected using questionnaires and interviews. According to the results, the respondents were generally satis ed with the selection of artworks and their layouts. However, the size of the artworks and the size of the subtitle letters of the images were criticized. Data analysis also shows that this program has been able to partially create a discursive space among citizens and encourage people to visit museums and art galleries.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Sohrabi, Narciss and Zojaji, Negar},
	year = {2018},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Billboards, Iran, Tehran},
	pages = {17--27},
}

@article{soifer_blunting_2018,
	title = {Blunting broken windows: {Rio} de {Janeiro}’s {Olympic} dreams},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Soifer, Raphael},
	year = {2018},
	note = {Num Pages: 14},
	keywords = {Graffiti, Street art, Brasil, Rio de Janeiro},
	pages = {43--56},
}

@book{sommer_street_1975,
	address = {New York},
	title = {Street art},
	isbn = {0-8256-3044-4},
	language = {English},
	publisher = {Links Books},
	author = {Sommer, Robert},
	year = {1975},
	keywords = {Street art},
}

@book{sorensen_war_2015,
	address = {New York},
	title = {War and cultural heritage: {Biographies} of place},
	isbn = {978-1-107-05933-7},
	abstract = {"The reconstruction of society after conflict is complex and multifaceted. This book investigates this theme as it relates to cultural heritage through a number of case studies relating to European wars since 1864. The case studies show in detail how buildings, landscapes, and monuments become important agents in postconflict reconstruction, as well as how their meanings change and how they become sites of competition over historical narratives and claims. Looking at iconic and lesser-known sites, this book connects broad theoretical discussions of reconstruction and memorialization to specific physical places, and in the process it traces shifts in their meanings over time. This book identifies common threads and investigates their wider implications. It explores the relationship between cultural heritage and international conflict, paying close attention to the long aftermaths of acts of destruction and reconstruction and making important contributions through the use of new empirical evidence and critical theory. Marie Louise Stig Sorensen is a Reader in Archaeology at the University of Cambridge and Professor of Bronze Age Studies at Leiden University. She coordinates the University of Cambridge's postgraduate degree program in archaeological heritage and museums, one of the first degree courses in this field"--Provided by publisher.},
	language = {English},
	publisher = {Cambridge University Press},
	editor = {Sørensen, Marie Louise Stig and Viejo-Rose, Dacia},
	year = {2015},
	keywords = {Graffiti, Cultural heritage, War},
}

@techreport{sou_carlisle_2016,
	title = {Carlisle {Castle}, {Cumbria} {A} {Geospatial} {Survey} of {Historic} {Carvings} and {Graffiti}},
	abstract = {Carlisle Castle situated in Carlisle, in the county of Cumbria, originated in the 12th century and was in use as a military base for 900 years. Many renovations and additions to the castle complex were made over time, and as such, a palimpsest of modifications can be found throughout many of the castle's structures. Reflecting these changes through time are the carvings and graffiti that are scattered over the site. Prior to this project, many have never been officially recorded, and none of them have been surveyed using modern laser scanning and Structure from Motion (SFM) photogrammetric techniques. A programme of recording was undertaken by Li Sou, CIfA Specialist Placement in Geospatial Investigation Techniques, and Paul Bryan, Geospatial Imaging Manager. Within the castle keep a series of reliefs, known as the Prisoners' Carvings, and a medieval door covered in etchings, were laser scanned, photographed and filmed. The datasets were then compared to examine the detail and quality of their outputs, to determine each technique's suitability for recording such historic carvings. Additionally, photographic recording for SFM photogrammetry was undertaken for a Roman altar stone, medieval and postmedieval graffiti and carvings across the castle complex, to produce 3D models as a record of their current condition.},
	language = {English},
	author = {Sou, Li},
	collaborator = {Historic England},
	year = {2016},
	doi = {10.5284/1046204},
	note = {Issue: 53-2016
Num Pages: 47
Series: Historic England Research Reports},
	keywords = {Graffiti, IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), PCV (Photogrammetric Computer Vision), England, Carlisle Castle, Castle, Cumbria},
}

@article{souza_paint_2019,
	title = {Paint \& {Pedal}: {From} street art to public art},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.204},
	abstract = {This paper aims to contribute to the topic of urban creativity from the perspective of placemaking and participatory leadership. In this empirical paper, we will be presenting the Paint \& Pedal project while discussing urban creativity and Placemaking. 
The author will explore the participatory process and collective creativity as methodologies to achieve the project goal: to use public art to create awareness for UN Sustainable Development Goals. 
Furthermore, the author discusses the impact that the project could have on local communities in smaller towns. This paper finishes with a testimonial about how misunderstanding a community’s culture led to this project being archived.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Souza, Anglea},
	year = {2019},
	note = {Num Pages: 8
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Public art, Leadership},
	pages = {66--73},
}

@article{souza_street_2019,
	title = {Street {Art} in {Lisbon}},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.185},
	abstract = {Lisbon has a wide collection of artworks (paintings, en- gravings, monuments etc) scattered throughout its ter- ritory. These artworks range from the great golden Por- tuguese years to contemporary works and, among the exhibition places, there are not only museums, but also can be found in squares, commercial and residential buil- dings, streets and even metro and train stations. 
In the city there is a meeting between the recent and the antique, the new and the old, the traditional and the con- temporary.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Souza, Natan},
	year = {2019},
	note = {Num Pages: 4
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Portugal, Lisbon},
	pages = {70--73},
}

@misc{spraycity_spraycityat_2023,
	title = {{SprayCity}.at - {Graffiti}-{Writing} {Archive} {Wien} - {Vienna} - {Austria}},
	url = {https://spraycity.at/},
	abstract = {Graffiti-Writing \& Street Art Archive since 2001 – Online Shop – Workshops - Dokumentation Wien / Vienna - Österreich / Austria - Street Art - Murals},
	language = {English},
	author = {SprayCity},
	year = {2023},
	keywords = {Graffiti, Spraycity},
}

@book{stahl_wand_1989,
	address = {Köln},
	edition = {Erstveröffentlichung},
	series = {{DuMont} {Taschenbücher}},
	title = {An der {Wand}: {Graffiti} zwischen {Anarchie} und {Galerie}},
	isbn = {3-7701-2363-8},
	language = {German},
	number = {221},
	publisher = {DuMont},
	editor = {Stahl, Johannes},
	year = {1989},
	keywords = {Graffiti, Graffiti writing, U-bahn},
}

@book{stahl_graffiti_1990,
	address = {München},
	series = {Beiträge zur {Kunstwissenschaft}},
	title = {Graffiti: {Zwischen} {Alltag} und Ästhetik},
	isbn = {978-3-89235-036-1},
	abstract = {Spätestens seit den Tagen von Pompei gehören Wandbeschriftungen und Wandzeichnungen zu den verbreiteten Ausdrucksformen des menschlichen Alltags. Obwohl sie in Gemälden und Kunsttheorie seit der Renaissance immer wieder anzutreffen sind, wird erst seit dem 19. Jahrhundert dafür der Begriff Graffiti verwendet. In den letzten Jahren haben diese wilden Zeichen zunehmend auch ins aktuelle Kunstgeschehen eingewirkt. Dazu tragen die Erfolge der New Yorker Sprayer mit Leinwandbildern ebenso bei wie ein vermehrtes Interesse der Öffentlichkeit an illegalen Sprüchen und Bildern. 
Die vorliegende Arbeit nimmt sich des Themas in verschiedenen Zugängen an. Nach einer Einleitung in die Begriffsgeschichte untersucht sie im Falle des Sprayers von Zürich, Harald Naegeli, einige Sichtweisen zum Thema. Das Spektrum reicht dabei von der gerichtlichen Verurteilung des „Vandalen“ bis hin zur denkmalpflegerischen Unterschutzstellung des Künstlers Naegeli. Seine umstrittene Position dient als Ansatzpunkt für die Frage nach der öffentlichen Wirkungsweise der Graffiti, wobei deren Beziehung zur Architektur, aber auch die wechselseitige Wirkung von Selbstdarstellungen der Sprayer und die Darstellung in wissenschaftlichen Publikationen behandelt werden. Einen weiteren Zugang bietet die Sichtbarmachung einer kunsthistorischen Entwicklung des Phänomens Graffiti seit der Renaissance in Wort und Bild. Im Laufe des 20. Jahrhunderts bilden sich Wandzeichen zur eigenständigen künstlerischen Ausdrucksform aus (Künstler wie George Grosz, Brassaï oder Jean Dubuffet seien hier als Beispiele herausgestellt) – eine Entwicklung, die die heutige Stellung der Graffiti vorprägt. Anhand ausgewählter heutiger Beispiele erläutert ein dritter Ansatz einzelne Aspekte und Probleme der Graffiti. Fallstudien zu einer Wandzeichnung in Köln, der Berliner Mauer, den Graffiti von Hausbesetzern, dem Schicksal eines Naegeli-Graffito oder dem Schritt in die Legalität, den New Yorker Sprayer mit auf Leinwand gesprayten Bildern unternommen haben, erschließen ein vielschichtiges Zusammenspiel zwischen Kunst und Kunstvermittlung einerseits und der Alltagskultur andererseits.},
	language = {German},
	number = {36},
	publisher = {scaneg},
	author = {Stahl, Johannes},
	year = {1990},
	keywords = {Graffiti},
}

@book{stahl_street_2009,
	address = {Königswinter},
	series = {Art pocket},
	title = {Street {Art}},
	isbn = {978-3-8331-4943-6},
	language = {German},
	publisher = {h.f.ullmann},
	author = {Stahl, Johannes},
	year = {2009},
	keywords = {Graffiti, Street art, Urban art},
}

@book{stahl_street_2009-1,
	address = {Königswinter},
	series = {Art pocket},
	title = {Street {Art}},
	isbn = {978-3-8331-4944-3},
	abstract = {Readers of this book learn about street art in its various dimension and points of view, its history and its peculiarities, and gain a profound insight into the beauty and wit, the provocations and arguments of what is possibly the most elementary of all forms of art.},
	language = {English},
	publisher = {h.f.ullmann},
	author = {Stahl, Johannes},
	translator = {Watson, Frauke},
	year = {2009},
	keywords = {Graffiti, Street art, Urban art},
}

@book{stahl_street_2012,
	address = {Königswinter},
	edition = {Sonderausgabe},
	title = {Street {Art}},
	isbn = {978-3-8480-0075-3},
	language = {German},
	publisher = {h.f.ullmann},
	author = {Stahl, Johannes},
	year = {2012},
	keywords = {Graffiti, Street art, Urban art},
}

@article{stampoulidis_polysemiotic_2019,
	title = {Polysemiotic {Communication} vs. {Multimodality}: a conceptual and terminological distinction applied in street art},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i2.156},
	abstract = {Multimodality is in fact a polysemous word, which is tightly related to the notions of modality, and (semiotic) mode and is used in conceptually different ways across different disciplines (for a review see Adami, 2016; Devylder, 2019; Green, 2014). As cognitive semiotics (Zlatev et al., 2016) aims to integrate concepts and methods from semiotics, cognitive science and cognitive linguistics, we endeavor to offer a coherent terminology, in line with the proposals of Green (2014), Stampoulidis et al. (2019) and Zlatev (2019), which distinguishes the notions of perceptual (sensory) modalities (sight, hearing, smell, touch and taste) and semiotic systems (language, depiction and gesture). 
For example, using this polysemiotic/multimodal distinction would allow us to describe the work of street art displayed in Figure 1 consisting of verbal text (language) and pictorial elements (depiction) as clearly a form of polysemiotic communication, instantiated in the particular socio-cultural medium of street art, whereas the street artwork displayed in Figure 2 might be considered as an example of unisemiotic communication (only the semiotic system of depiction is present). Nevertheless, both artworks may be considered monomodal since at least one perceptual modality is involved: sight. On the other hand, artworks such as these displayed in Figure 3 and Figure 4 can be both polysemiotic and unisemiotic, respectively, and (potentially) multimodal (if) they trigger multiple senses in the viewer, such as sight and touch, for example. It is important to note that the terminological distinction and conceptual dichotomy between the semiotic systems of language and depiction are not always clear-cut, especially in the case of street art (and graffiti), as has been argued in a certain literature (Bal, 1991; Neef, 2007). Therefore, we would like to stress that street art is typically a form of polysemiotic communication, and thus, we restrict the term unisemiotic either to the case of primarily depiction-dominant or primarily language- dominant graphic representations. 
In our study on street art, marking this polysemiotic/ multimodal distinction – terminological and conceptual – would help us toward a synthetic analysis of the interaction between language and depiction, and that of language, depiction, vision, and (potentially) smelling, touching or even hearing, into a whole communicative situation.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Stampoulidis, Georgios},
	year = {2019},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Polysemiotic, Semiotics},
	pages = {26--31},
}

@article{stampoulidis_urban_2019,
	title = {Urban {Creativity} in {Abandoned} {Places}. {Xenia} {Hotels} {Project}, {Greece}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Stampoulidis, Georgios},
	year = {2019},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Greece, Xenia Hotels Project},
	pages = {71--75},
}

@article{stampoulidis_black-and-white_2018,
	title = {The “black-and-white mural” in {Polytechneio}: {Meaning}-making, {Materiality}, and {Heritagization} {Of} {Contemporary} {Street} {Art} in {Athens}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i2.143},
	abstract = {The campus of the National Metsovian Polytechnic in central Athens has been a significant cornerstone in the socio-political landscape of the city. Within the history of modern Greece, Polytechneio is regarded as a symbol of resistance against the Greek military dictatorship (junta) in 1973. In March 2015 and during times of austerity politics, the west façades of the Polytechneio were covered by a “black-and-white mural” (Tziovas 2017: 45). This paper examines how and why this black-and-white mural has been discussed often controversially from different kinds of recipients, leading to an ardent public debate within Greek society from a cross disciplinary point of view: 1) semiotics, 2) design, and 3) cultural studies. For our analysis, we use data from primary and secondary sources. Primary data sources include photographic documentation of the field. Secondary data sources include photographic material and newspaper articles circulated online, as well as, relevant academic literature. 
First, we examine how this mural was integrated into the constructions and intersubjective experiences of public space from the perspective of semiotization of space. Second, we discuss the practicalities involved for the fulfilment of this mural from the perspective of design-scope. And third, we advance the discussion around the issues of cultural preservation and heritagization of street art and graffiti. Our goal in this paper is to avoid binary interpretations, and instead, to induce in an intermediary way the significance of public dialogue, which this mural achieved to trigger.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Stampoulidis, Georgios and Bitouni, Tina and Xyntarianos-Tsiropinas, Paris},
	year = {2018},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Athens, Greece, Heritagisation},
	pages = {54--65},
}

@book{steinat_graffiti_2007,
	address = {Marburg},
	title = {Graffiti: {Auf} {Spurensuche} im urbanen {Zeichendschungel}},
	isbn = {978-3-8288-9485-3},
	abstract = {Graffiti - die urbanen Zeichen und Bilder - gehören heutzutage zum Erscheinungsbild vieler Großstädte. Sie durchziehen die Städte wie ein buntes Band, verweisen dabei auf ihre Unkontrollierbarkeit und sind als Zeichen unserer Zeit zum Alltagsphänomen geworden, über das gleichwohl höchst emotional und kontrovers diskutiert wird. Während die Graffiti manch einem als künstlerisch-kreative oder politische Ausdrucksformen der heranwachsenden Generationen gelten, sind sie für andere nicht mehr als bloße Schmierereien im öffentlichen Raum, die als sachbeschädigende Handlungen geahndet werden müssen. Die Autorin begibt sich auf Spurensuche und beleuchtet das Phänomen Graffiti als wissenschaftlich interessanten zeitgenössischen Kulturbereich im Rahmen von drei Grunddimensionen: Graffiti als jugendkulturelles Phänomen, Graffiti als eine Form des Protests und Graffiti als Kunstform. Dem Leser werden unterschiedliche wissenschaftlichen Zugänge erläutert und diese kritisch beleuchtet. Zugleich wird ihm die Kultur hinter den oftmals unverständlichen jedoch kaum übersehbaren Spuren der Graffitisprüher, die historische Entwicklung und die Grundstrukturen (Begriffe, deren Bedeutungen und Werte) näher gebracht. Der vorliegende Text gibt dem interessierten Leser neue Einblicke und Einsichten in diese kulturelle Ausdrucksform und motiviert diesen, sich selbst auf Spurensuche zu begeben.},
	language = {German},
	publisher = {Tectum},
	author = {Steinat, Carolin},
	year = {2007},
	keywords = {Graffiti, Street art},
}

@book{stenzel_graffiti_2017,
	address = {Berlin},
	title = {Graffiti photographers united},
	isbn = {978-3-946688-23-5},
	language = {German; English;},
	publisher = {Seltmann+Söhne},
	author = {Stenzel, Paul},
	year = {2017},
	keywords = {Graffiti, Photography},
}

@article{sterling_mundane_2016,
	title = {Mundane {Myths}: {Heritage} and the {Politics} of the {Photographic} {Cliché}},
	volume = {15},
	issn = {1465-5187},
	doi = {10.1080/14655187.2017.1384279},
	abstract = {This paper considers the impact of photographic clichés on the management, conceptualization, and experience of heritage. Working along the grain of pejorative readings of ‘snapshot’ photography, this account views the repetitiveness and redundancy of the cliché as a critical point of departure, rather than a cause for reproach. Taking the World Heritage Site of Angkor as a core case study, three intersecting axes of political concern are sketched out to elucidate the broad social, material, and affective implications of clichéd photography for heritage. First, processes of dehistoricization and depoliticization are interrogated in relation to the role certain images play in constructing a mythic sense of the past in the present. This leads directly in to the second strand of analysis, which examines the various ways in which individuals negotiate these myths through the production of their own highly personalized photographic clichés. Here I develop the concept of an embodied politics of heritage photography to grasp the multivalent resonances of tourist clichés in particular. Finally, the implicit and explicit forms of spatial control that permeate sites such as Angkor are examined in relation to the photographic clichés they respond to and help shape.},
	language = {English},
	number = {2-3},
	journal = {Public Archaeology},
	author = {Sterling, Colin},
	year = {2016},
	note = {Num Pages: 26},
	keywords = {Graffiti, Cultural heritage, Photography, Heritage management},
	pages = {87--112},
}

@book{stern_writing_2018,
	address = {Princeton},
	title = {Writing on the wall: {Graffiti} and the forgotten {Jews} of antiquity},
	isbn = {978-0-691-16133-4},
	abstract = {Few direct clues exist to the everyday lives and beliefs of ordinary Jews in antiquity. Prevailing perspectives on ancient Jewish life have been shaped largely by the voices of intellectual and social elites, preserved in the writings of Philo and Josephus and the rabbinic texts of the Mishnah and Talmud. Commissioned art, architecture, and formal inscriptions displayed on tombs and synagogues equally reflect the sensibilities of their influential patrons. The perspectives and sentiments of nonelite Jews, by contrast, have mostly disappeared from the historical record. Focusing on these forgotten Jews of antiquity,Writing on the Walltakes an unprecedented look at the vernacular inscriptions and drawings they left behind and sheds new light on the richness of their quotidian lives. 
Just like their neighbors throughout the eastern and southern Mediterranean, Mesopotamia, Arabia, and Egypt, ancient Jews scribbled and drew graffiti everyplace--in and around markets, hippodromes, theaters, pagan temples, open cliffs, sanctuaries, and even inside burial caves and synagogues. Karen Stern reveals what these markings tell us about the men and women who made them, people whose lives, beliefs, and behaviors eluded commemoration in grand literary and architectural works. Making compelling analogies with modern graffiti practices, she documents the overlooked connections between Jews and their neighbors, showing how popular Jewish practices of prayer, mortuary commemoration, commerce, and civic engagement regularly crossed ethnic and religious boundaries. 
Illustrated throughout with examples of ancient graffiti,Writing on the Wallprovides a tantalizingly intimate glimpse into the cultural worlds of forgotten populations living at the crossroads of Judaism, Christianity, paganism, and earliest Islam.},
	language = {English},
	publisher = {Princeton University Press},
	author = {Stern, Karen B.},
	year = {2018},
	keywords = {Graffiti, Jews},
}

@phdthesis{stewart_subway_1989,
	address = {New York},
	type = {{PhD} thesis},
	title = {Subway graffiti: {An} aesthetic study of graffiti on the subway system of {New} {York} {City}, 1970-1978},
	abstract = {This investigation addresses the question: Is subway graffiti different from the common graffiti that has been around for centuries virtually unchanged, and if so, in what way is it different and what is the significance of the difference? 
The problem has been investigated through selected samples of graffiti done prior to 1970 from the late sixties to Paleolithic times. There is no evidence of stylistic distinction to be found in any graffiti done before 1970. 
In 1969 graffiti began to increase in New York City. One name, TAKI 183, seemed omnipresent. The New York Times ran a profile on TAKI on July 21, 1971. Thenceforth, each week more youths joined in the fun and soon focused on the subway system as the ideal arena for graffiti. First, the insides of the subway cars became covered with their "tags," and by the end of 1971 they had begun to write on the outsides of the cars in ever increasing scale. 
This investigation is based on primary information from photographs, direct observation, and taped interviews with graffitiists and Transit Authority personnel. Emphasis is on the aesthetic development of the design of the letters and the increasing scale of these designs in relation to the sides of the subway cars. The physical and technical problems were examined and described. 
This graffiti movement has been divided into periods: The early "masterpieces" were done when these youths learned how to enter the lay ups and the yards where they could work undisturbed. The "high period" was from 1972 to 1974 when the aesthetic foundation of subway graffiti was formed. 1974 to 1976 was a period of synthesis and graffiti declined in aesthetic quality from late 1975 to late 1976. During this period the cars were not cleaned and "crossing out" pieces became common. This decadence was followed by an outpouring of creative energy during the late period. By the end of 1978 this graffiti movement began to die from lack of original ideas. 
It was concluded that subway graffiti is a phenomenon distinct from traditional graffiti and should be classified the art of the asocial.},
	language = {English},
	school = {New York University},
	author = {Stewart, Jack},
	year = {1989},
	keywords = {Graffiti, Graffiti writing, Train, New York, USA},
}

@book{stewart_graffiti_2009,
	address = {New York},
	title = {Graffiti kings: {New} {York} {City} mass transit art of the 1970s},
	isbn = {978-0-8109-7526-2},
	abstract = {Offers an account of the birth of the New York subway graffiti movement during the 1970s. This book reveals what happened behind the scenes when writers put their lives on the line to grab a scrap of fame from a faceless urban landscape. Through personal interviews and over 275 full-color photographs, it provides the origins of subway graffiti.},
	language = {English},
	publisher = {Melcher Media; Harry N. Abrams},
	author = {Stewart, Jack},
	year = {2009},
	keywords = {Graffiti, Graffiti writing, Train, New York, USA},
}

@book{stewart_crimes_1991,
	address = {New York},
	title = {Crimes of writing: {Problems} in the containment of representation},
	isbn = {0-19-506617-0},
	abstract = {From the origins of modern copyright in early eighteenth-century culture to the efforts to represent nature and death in postmodern fiction, this pioneering book explores a series of problems regarding the containment of representation. Stewart focuses on specific cases of "crimes of writing"--the forgeries of George Psalmanazar, the production of "fakelore," the "ballad scandals" of the eighteenth and nineteenth centuries, the imposture of Thomas Chatterton, and contemporary legislation regarding graffiti and pornography. In this way, she emphasizes the issues which arise once language is seen as a matter of property and authorship is viewed as a matter of originality. Finally, Stewart demonstrates that crimes of writing are delineated by the law because they specifically undermine the status of the law itself: the crimes illuminate the irreducible fact that law is written and therefore subject to temporality and interpretation.},
	language = {English},
	publisher = {Oxford University Press},
	author = {Stewart, Susan},
	year = {1991},
	keywords = {Graffiti, Graffiti writing, Writing},
}

@book{stivine_paris_2008,
	address = {Munich},
	title = {Paris street art},
	isbn = {978-3-7913-4053-1},
	abstract = {Zevs, ein junger Pariser Street-Artist, ist einer von vielen Künstlern, die im Verborgenen agieren. Ihr Atelier - das ist die Stadt, Paris bei Nacht. Sie kleben, sprühen oder malen auf Häuserwände, Straßenschilder, Stromkästen, Fußwege und Werbeflächen, ihre Kunstwerke sind ein visueller Angriff auf unsere eingefahrenen Sehgewohnheiten.},
	language = {English},
	publisher = {Prestel},
	author = {Stivine, Romuald and Del Forte, Vito},
	year = {2008},
	keywords = {Graffiti, Street art, France, Paris},
}

@article{stocker_social_1972,
	title = {Social {Analysis} of {Graffiti}},
	volume = {85},
	issn = {00218715},
	doi = {10.2307/539324},
	language = {English},
	number = {338},
	journal = {The Journal of American Folklore},
	author = {Stocker, Terrance L. and Dutcher, Linda W. and Hargrove, Stephen M. and Cook, Edwin A.},
	year = {1972},
	note = {Num Pages: 11},
	keywords = {Graffiti, Sociology},
	pages = {356--366},
}

@article{stone_intervention_2020,
	title = {Intervention on the {Underground}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Stone, Alex and Onwumezi, Vanessa and Wakefield, Martin},
	year = {2020},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Underground},
	pages = {62--68},
}

@article{strange_dalison_2022,
	title = {Dalison: {A} {Visual}-{Sonic} {Collaboration}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Strange, Ian and Powers, Trevor},
	year = {2022},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Dalison},
	pages = {103--118},
}

@article{strom_bohemia_2020,
	title = {Bohemia growth machine: {Street} art as an urban development tool in {Florida}},
	volume = {9},
	issn = {2045-5879},
	doi = {10.1386/vi_00010_1},
	abstract = {Meanings and functions of street art have, in recent decades, diversified in the United States as well as globally. Today, we find street art initiatives and mural festivals in many cities, where they are applauded for fostering local development and tourism while also producing less tangible branding and marketing outcomes. Our research, based on ethnographic fieldwork and secondary data analysis in three Florida cities, suggests that street art initiatives can indeed become, in essence, handmaids to real estate development; however, the degree to which this is the case is variable, and it is by no means inevitable that the only long-term outcome will be the cultural obliteration and physical displacement of current residents. The article’s analysis describes and compares mural scenes in key redeveloping neighbourhoods in three Florida cities (Tampa, St. Petersburg and Miami) that, we argue, represent a diversity, and perhaps even a trajectory, of cities’ appropriation of street art as a development tool.},
	language = {English},
	number = {1},
	journal = {Visual Inquiry},
	author = {Strom, Elizabeth and Kusenbach, Margarethe},
	year = {2020},
	note = {Num Pages: 20},
	keywords = {Graffiti, Street art, USA, Tourism, Florida},
	pages = {59--78},
}

@article{sunara_park_2021,
	title = {Park skulptura Željezare {Sisak}},
	volume = {40-41},
	issn = {0352-1826},
	abstract = {Članak donosi podatke o Parku skulptura Željezare Sisak, zbirci koju čini trideset osam skulptura nastalih tijekom 1970-ih i 1980-ih godina u okviru Kolonije likovnih umjetnika Željezara Sisak. Skulpture su izrađene u sisačkoj željezari, od materijala koje je tvornica proizvodila i uz tehničku pomoć njezinih radnika. Objašnjava se kako je tekao proces prepoznavanja, vrednovanja i upisa skulptura u Registar kulturnih dobara Republike Hrvatske. Uz kratki pregled skulptura prema lokacijama na kojima se nalaze, analizira se povijest (i opravdanost) uporabe naziva »park skulptura« za korpus kiparskih djela na otvorenom nastalih u likovnoj koloniji Željezare Sisak.},
	language = {Croatian},
	journal = {Anali Galerije Antuna Augustinčića},
	author = {Sunara, Sagita Mirjam},
	year = {2021},
	note = {Num Pages: 46},
	keywords = {Street art, Sculpture},
	pages = {111--156},
}

@book{sutherland_autograf_2004,
	address = {New York},
	title = {Autograf: {New} {York} {City}'s graffiti writers},
	isbn = {978-1-57687-203-1},
	language = {English},
	publisher = {PowerHouse Books},
	author = {Sutherland, Peter and Revs},
	year = {2004},
	keywords = {Graffiti, Graffiti writing, New York, USA},
}

@article{szpila_humour_2009,
	title = {Humour as a tool in communicating proverbial wisdom in polish graffiti},
	volume = {54},
	issn = {1216-9803},
	doi = {10.1556/AEthn.54.2009.1.9},
	abstract = {The paper discusses the treatment of proverbial wisdom in Polish graffiti by drawing upon nearly 100 paremic structures collected on Polish Internet sites in the last decade. Proverbs in mural writing are classified as existential graffiti inscriptions due to their general rather than individualized reference. Graffiti writers challenge the potential of universal application of proverbs, paraphrazing the original forms, creating anti-proverbs in the process, with an eye to exposing the limited application of paremic wisdom or rejecting proverbs as entirely unsuitable in the context of modern Polish society. The paper explores the ways in which humour is employed in the use of proverbs in Polish murals.},
	language = {English},
	number = {1},
	journal = {Acta Ethnographica Hungarica},
	author = {Szpila, Grzegorz},
	year = {2009},
	note = {Num Pages: 10},
	keywords = {Graffiti, Murals, Humour, Poland},
	pages = {105--114},
}

@article{taamneh_discourse_2021,
	title = {A {Discourse} {Analysis} {Study} of {Graffiti} at {Secondary} {Schools} in {Jordan}},
	volume = {11},
	issn = {1799-2591},
	doi = {10.17507/tpls.1105.12},
	abstract = {This research aims to explore the thematic meanings of graffiti written on the walls and desks at secondary public schools in the Directorate of Education for the Qasabat Irbid District during the second semester of the academic year 2020/2021. The data comprise 207 written graffiti taken from different locations. Braun and Clarke's (2006) Thematic Analysis and Fairclough's (1995) Critical Discourse Analysis are adopted to account for the data thematically and linguistically. The findings of the study show that the qualitative and quantitative data fall into three main discourse themes: Religious, Political, and Emotional. Each one has been classified into subcategories accordingly. The results also show that the highest percentage of the discourse theme domains is related to the emotional one which constitutes the half of data. The lexical features indicate that the language of the graffiti is simple. Yet, it presents a complete thought. Languages and language variations are also identified.},
	language = {English},
	number = {5},
	journal = {Theory and Practice in Language Studies},
	author = {Ta'amneh, Mohammad Abd Alhafeez Ali},
	year = {2021},
	note = {Num Pages: 10},
	keywords = {Graffiti, Graffiti writing, Jordan},
	pages = {539--548},
}

@article{talego_grafitis_2012,
	title = {Grafitis: huellas de un patrimonio inmaterial urbano},
	volume = {13},
	issn = {1695-7229},
	language = {Spanish},
	journal = {Mus-A: Revista de los museos de Andalucía},
	author = {Talego, Félix},
	year = {2012},
	note = {Num Pages: 2},
	keywords = {Graffiti},
	pages = {36--37},
}

@book{tapies_street_2021,
	address = {Zürich},
	edition = {2. Auflage},
	series = {Midas {Collection}},
	title = {Street {Art} in {Zeiten} von {Corona}},
	isbn = {978-3-03876-178-5},
	language = {German},
	publisher = {Midas Verlag},
	author = {Tapies, Xavier},
	translator = {Koch, Claudia},
	year = {2021},
	keywords = {Graffiti, Street art, CORONA, Covid},
}

@book{tarantino_seattle_2012,
	title = {Seattle {Street} {Art}: {Volume} 3},
	isbn = {978-0-9882720-1-9},
	abstract = {Volume Three contains photos that I took on the streets of Seattle, Washington, USA in 2012. For this volume, the last page includes a list of locations where you can see a concentration of Street Art in Seattle.Aside from its rain and coffee, Seattle is known for many things subversive, from Grunge music to the activist driven WTO riots. This region of America raised the likes of Jimi Hendrix and Bruce Lee. Today, there is a culture here that is only represented anonymously in the reclaimed public spaces of the city. Images dot the urban landscape in the typical street mediums that are used across the globe: spray paint, stickers, paste-ups, stencils, wheatpasting, posters, video projection, art intervention, guerrilla art, flash mobbing, installations, post-graffiti, mosaic tiling, murals, wood-blocking, LED art, reverse-graffiti a.k.a. green-graffiti, cuprocking and yarn bombing.You will see that these are not commercial enterprises or vandalism graffiti, but individual creative statements... something we can all relate to. Street art as a medium has been popularized internationally by the likes of Shepard Fairey, Banksy, D*Face, Paul Insect, Swoon, Twist, Neck face, Faile, Space Invader and WK Interact. It can take on many purposes and sometimes involves activism, phenomenology, repetition, attention capture, culture jamming, direct action, guerrilla messaging, propaganda, subvertising, decoration and territory claiming.The following is a small window into this temporary world that’s constantly being revised in a flux of new symbols. It’s a snapshot of work on the Seattle streets, a visual capsule in time, not a comprehensive representation of Seattle street art and the people involved over the years. Some of the work only existed for a day before it was written over by other artists or removed by the city... a reminder that nothing is permanent and, control is an illusion in the chaos of a city.Enjoy.},
	language = {English},
	publisher = {Seattle Street Art},
	author = {Tarantino, A.},
	year = {2012},
	keywords = {Graffiti, Street art, USA, Seattle},
}

@article{tenschert_stone_2023,
	title = {Stone walls, characters, moos and trees – {Multilevel} documentation of inscriptions and graffiti from different centuries in a former sandstone quarry},
	volume = {XLVIII-M-2-2023},
	issn = {1682-1777},
	doi = {10.5194/isprs-archives-XLVIII-M-2-2023-1549-2023},
	abstract = {The Fingalshöhle near Illesheim, Germany, is today both an archaeological and a cultural heritage site. This paper will show the application and analysis of the combination of terrestrial laser scanning (TLS) and high resolution structured-light-scanning (SLS) as a multilevel documentation approach to help preserve this unique location with its graffiti and inscriptions from the past 300 years. The site is a decommissioned sandstone quarry which has been gradually taken over by nature. The quarry served as field quarters for troops during several wars, with soldiers carving inscriptions into the sandstone walls. In the later 18th and 19th centuries, the site attracted visitors, who also immortalised themselves. These witnesses to the site’s diverse history are threatened by the ever-increasing overgrowth of the quarry, and above all by weathering processes impacting the unprotected stone. Photographs show that over periods as short as the last 15 years, climatic effects have completely obliterated some inscriptions. The characters are thus slowly but steadily being erased. Since the decay could only be stopped with massive interventions to the quarry itself, the aim is that a documentation should preserve, at least in digital form, the current state, giving future generations the opportunity to experience and explore this multi-layered site. As well as recording the vulnerable inscriptions, the digitising process can in some cases make even the most severely degraded inscriptions legible once more. The processed data serves as documentation for the municipality, and can be used for future research approaches and monitoring purposes as well as dissemination.},
	language = {English},
	journal = {ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences},
	author = {Tenschert, Ruth and Pallas, L. and Bellendorf, P.},
	year = {2023},
	note = {Num Pages: 7},
	keywords = {Graffiti, Inscriptions, Quarry, Structured Laser Scanning},
	pages = {1549--1555},
}

@misc{the_ancient_graffiti_project_ancient_2023,
	title = {The {Ancient} {Graffiti} {Project}: {A} digital resource for studying the graffiti of {Herculaneum} and {Pompeii}. {V} 4.1.0},
	url = {http://ancientgraffiti.org/Graffiti},
	language = {English},
	author = {The Ancient Graffiti Project},
	year = {2023},
	keywords = {Graffiti, Pompeii, Roman archaeology, Roman graffiti, Herculaneum, Ancient Graffiti Project},
}

@book{the_european_task_force_on_culture_and_development_margins_1997,
	address = {Strasbourg},
	title = {In from the margins: {A} contribution to the debate on culture and development in {Europe}},
	isbn = {92-871-3336-0},
	language = {English},
	publisher = {Council of Europe Publishing},
	author = {The European Task Force on Culture {and} Development},
	collaborator = {Council of Europe},
	year = {1997},
	keywords = {Graffiti, Cultural heritage, Europe},
}

@book{thompson_american_2009,
	address = {New York},
	series = {Temporis},
	title = {American graffiti},
	isbn = {978-1-78042-929-8},
	abstract = {The first appearances of graffiti 'tags' (signatures) on New York City subway trains in the early 1970s were discarded as incidents of vandalism or the rough, violent cries of the ignorant and impoverished. However, as the graffiti movement progressed and tags became more elaborate and ubiquitous, genuine artists emerged whose unique creativity and unconventional media captured the attention of the world. Featuring gallery and street works by several contributors to the graffiti scene, this book offers insight into the lives of urban artists, describes their relationship with the bourgeois art world, and discusses their artistic motivation with unprecedented sensitivity.},
	language = {English},
	publisher = {Parkstone International},
	author = {Thompson, Margo},
	year = {2009},
	keywords = {Graffiti, Street art, Graffiti writing, America},
}

@article{timko_institutionalization_2021,
	title = {The {Institutionalization} of {Independent} {Public} {Art} and its {Influence} on {Social} {Taste}},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i2.396},
	abstract = {The present paper deals with the persistent trend of transferring independent, or anonymous, even illegal, public artwork into institutions. From the postmodern era (e.g. artists Keith Haring) to the present (e.g. an artist Banksy, etc.), several significant cases have provided evidence that public art has become popular and sought-after by the audience. Nowadays, in addition to the classical media, the Internet, which has become, so to speak, the ‘voice of the people’, significantly facilitates the massive popularization of independent public art. However, such a demand makes many cultural institutions conceive of dramaturgy accounting for the most significant trends, the primary goal being attracting visitors. This results, among other things, in the formation of the aesthetic taste of the audience or the whole society. The paper seeks answers to these questions: whether or how the authenticity of independent artwork changes when transferred into the institution; how the popularity of public art shapes the dramaturgy of art institutions in Czech and Slovak cultures; how it modifies the aesthetic taste of the wide audience.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Timko, Tomáš},
	year = {2021},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Public space, Exhibition},
	pages = {66--72},
}

@misc{timmreck_words_2015,
	title = {The {Words}: {A} {Graffiti} {Glossary}},
	url = {https://www.graffiti.org/faq/graffiti.glossary.html},
	language = {English},
	author = {Timmreck, Chad and Schmoo and RaskeL and Celtic and Eros},
	collaborator = {Art Crimes},
	year = {2015},
	keywords = {Graffiti, Glossary},
}

@article{tolonen_power_2017,
	title = {Power of paint: {Political} street art confronts the authorities},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.78},
	abstract = {In the context of Spain’s economic crisis, waves of protests have transformed the streets of Spanish cities into sites of place-specific spatial activism. City space has been shaped through protest, marches, squatting and street art. During Spain’s austerity years, street art has become an important part of political participation. Based on artists’ interviews and on my visual ethnographic research in the Spanish cities of Madrid (2013–2016) and Valencia (2016), this paper seeks to illuminate how political street art forms a part of social expression toward the authorities. Street art is a media through which artists can question decision-makers and challenge policies made by statesmen. The examples of political street art highlight how creative contestations become barometers of dissatisfaction and how street art confronts institutional power. Ultimately, political street art is argued in Spicca and Perdue’s (2014) term as ‘spatial citizenship’ producing more polyphonic space.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Tolonen, Jonna},
	year = {2017},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Political graffiti},
	pages = {20--29},
}

@article{tolonen_unexpected_2018,
	title = {Unexpected beauty in urban decay},
	volume = {1},
	issn = {2535-549X},
	abstract = {The barrio, or 'neighbourhood', of El Cabanyal in Valencia, Spain, is a historic fishing quarter from the 13th century next to the Mediterranean coast. El Cabanyal, with its colourful art nouveau houses, is an officially protected historical zone – but in recent decades it has suffered an absolute abandonment of public investment, leading to deep degradation in its streets. Due to a history of irregularities with running water and rubbish collection, an absence of social services and restoration projects, and a growing number of drug-related crimes, many residents have moved away from the area. The streets are now full of abandoned houses: doorways are sealed with cement or bricks, building facades have deteriorated, and the walls are used as canvases for graffiti and street art.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Tolonen, Jonna},
	year = {2018},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Spain, València},
	pages = {57--63},
}

@article{tolonen_paint_2020,
	title = {Paint {Like} a {Girl}! {Street} {Interventions} {Fighting} {Against} {Sexual} {Harassment} in {Greece} {And} {Spain}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Tolonen, Jonna},
	year = {2020},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Spain, Greece, Sexual harassment},
	pages = {82--86},
}

@techreport{tomas_graffolution_2014,
	title = {Graffolution -  {FP7}-{SEC} 608152: {D2}.2. {Regional}, cultural, ethical, privacy and legal aspects and influence factors report},
	url = {http://project.graffolution.eu/wp-content/uploads/deliverable/Graffolution_608152_D2.2-Regional,-cultural,-ethical,-privacy-and-legal-aspects-and-influence-factors-report.pdf},
	language = {English},
	author = {Tomàs, Mariona and Prado Perez, Raquel and Müller, Marion and Kleele, Sebastian},
	year = {2014},
	note = {Num Pages: 143},
	keywords = {Graffiti, Street art, Ethics, Graffolution},
}

@article{tomassini_no-tav_2020,
	title = {The {NO}-{TAV} movement and street art: {A} long lasting relationship},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i1.220},
	abstract = {The high-speed railway line between Turin and Lyon (in Italian TAV, Tratta ad Alta Velocità) started to be planned in the early Nineties. Since then, all the governments that followed (both right and left-wing) conceived it as one of the most strategic infrastructure projects for Italy, pursuing its construction regardless the growing number of objections coming from engineers, economists, naturalists and environmentalist associations. Year after year, they pointed out that the new railway would require the excavation of mountains full of carcinogenic metals and the overbuilding of green areas without being economically or environmentally justified: above all, the future, supposed saving of CO2 – due to the decrease of road traffic – won’t even balance the emissions caused by the construction of the railway before the half of the century, against the much closer climate breakdown the world is facing.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Tomassini, Marco},
	year = {2020},
	note = {Num Pages: 1
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, No-Tav},
	pages = {75},
}

@book{touborg_graffiti_2021,
	address = {Mainaschaff},
	title = {Graffiti {Bible}: {A} complete guide on how to do graffiti},
	isbn = {978-3-949526-01-5},
	abstract = {Want to learn Graffiti? Then this book is just right for you! 
On 352 pages, you will find everything you need to start with the spray can theory. The GRAFFITI BIBLE provides a comprehensive knowledge of the basics you should know if you are serious about the can, and explains the most diverse techniques as well as the most important styles. 
But this publication can do even more than comparable learning books, because the content is extended by a very interesting facet, offering an insight into the graffiti culture itself through interviews with world famous graffiti writers like BATES, NYCHOS, CHAS, MADC, ASKEW and others. The Kings \& Queens of the scene tell us their story and secrets of how they became the best writers in the world. In addition, you can study their works from the beginning to their current professional level! 
The author is Eske Touborg, who has specialized in publishing graffiti literature since 2014 and has already published several smaller titles. Eske now bundles all his knowledge in this comprehensive guide, which more than deserves the name GRAFFITI BIBLE. Amen!},
	language = {English},
	publisher = {Publikat Publishing},
	author = {Touborg, Eske},
	year = {2021},
	keywords = {Graffiti, Graffiti writing},
}

@book{touborg_draw_2022,
	title = {Draw {Graffiti}: {A} {Beginners} {Guide} {To} {Graffiti} {Letters}},
	isbn = {978-87-998628-9-4},
	language = {English},
	publisher = {Graffiti Bible},
	author = {Touborg, Eske},
	year = {2022},
	keywords = {Graffiti, Drawing},
}

@techreport{touborg_graffiti_2023,
	title = {Graffiti workbook \#1: {Print} at home exercises},
	language = {English},
	author = {Touborg, Eske},
	collaborator = {GraffitiBible},
	month = mar,
	year = {2023},
	note = {Num Pages: 19},
	keywords = {Graffiti},
}

@article{tremblin_post-posters_2019,
	title = {From {Post}-{Posters} to {Un} gilet},
	volume = {5},
	issn = {2183-3869},
	doi = {10.25765/sauc.v5i1.187},
	abstract = {In April 2018, Antonio GALLEGO and I met in Strasbourg and talked about the way we felt about spontaneous forms of art in urban space regarding the current social movements and the celebration of May 1968. Most of institutions that have been commemorating May 1968 were evacuating the subversive nature of the collective appropriation of urban space, in favour of an iconic fetishism around L’ATELIER POPULAIRE’s posters. We agreed that the best way to “commemorate” social struggles history was not to get into nostalgic reenactment. But, instead we had to contribute with our means to the actual struggles using forms of creative and collective visual presences, di used in a viral manner during and beyond the demonstrations.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Tremblin, Mathieu},
	year = {2019},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Posters},
	pages = {78--87},
}

@article{trentin_between_2023,
	title = {Between {Written} and {Visual} {Communication}: {CIDOC} {CRM} {Ontology} for {Medieval} and {Early} {Modern} {European} {Graffiti}},
	volume = {16},
	issn = {15564673},
	doi = {10.1145/3589230},
	abstract = {The development of graffiti studies during the last couple of decades highlighted the relevance and potential of graffiti as a complementary source for understanding different aspects of past societies. Moreover, the availability of digital documentation techniques crucially increased data production, showing the widespread presence of graffiti in Medieval and Early Modern contexts across Europe. 
However, the approach to historical graffiti has not been yet structured. Guidelines, specific analytical tools, and descriptors are still missing due to various reasons. First, graffiti are a multiform and multimodal graphic expression, so texts, signs, images must be considered together despite their different communicative nature. Secondly, due to their variety in forms and contents, graffiti have been studied from many perspectives – e.g., epigraphy, palaeography, history, art history, maritime studies- following the specific interests of each scholar. Consequently, the numerous and extensive contributions concerning graffiti highlight the lack of shared standards and approaches, hindering data analysis and interoperability. The panorama emerging is fragmentary and unstructured. 
This paper, thus, aims to offer a first step towards the development of a specific methodology for the analysis and study of Medieval and Early Modern European graffiti. Precisely, a specific ontology adopting CIDOC CRM for Medieval and Early Modern graffiti will be presented, as developed in a preliminary form within the DIGIGRAF project with the support of the ARIADNEplus network.},
	language = {English},
	number = {3},
	journal = {Journal on Computing and Cultural Heritage},
	author = {Trentin, Mia and Felicetti, Achille},
	year = {2023},
	note = {Num Pages: 18
Number Of Volumes: 55},
	keywords = {Graffiti, CIDOC CRM, CRM},
	pages = {1--18},
}

@article{trentin_medieval_2020,
	title = {Medieval and {Early} {Modern} graffiti: multicultural and multimodal communication in {Cyprus}},
	issn = {0761-8271},
	doi = {10.4000/cchyp.516},
	abstract = {The paper aims to give an overview of what has emerged so far from the analysis of Cypriot Medieval and Early Modern graffiti. The formal variety of the collected material reflects the multicultural character of the island and the ability of the writers to use different communication and writing systems to express their messages. Moreover, the preliminary analysis of Cypriot graffiti is highlighting an intangible heritage of intimate and daily practices that are still little explored, such as magic and superstition alongside religion. The study of graffiti, as it emerges from the present contribution, can crucially contribute to recovering the intangible heritage of past practices and aspects of everyday life as they are preserved by the invisible archive of the island’s historical buildings.},
	language = {English},
	number = {50},
	journal = {Cahiers du Centre d'Etudes Chypriotes},
	author = {Trentin, Mia Gaia},
	year = {2020},
	note = {Num Pages: 28},
	keywords = {Graffiti, Cyprus, Medieval graffiti},
	pages = {277--304},
}

@article{trentin_historic_2023,
	title = {Historic {Graffiti} as a {Visual} {Medium} for the {Sustainable} {Development} of the {Underground} {Built} {Heritage}},
	volume = {15},
	issn = {2071-1050},
	doi = {10.3390/su151511697},
	abstract = {Since prehistoric times, graffiti has been a way for humans to express themselves and interact with the landscape in a visual way. Graffiti is a visual record of the relationship between society, culture, and the environment over time, representing an additional layer of sociocultural value to the underground built heritage (UBH). Thanks to the application of digital technologies and a specific workflow, this paper will suggest how graffiti can be regarded as an additional and relevant element of creating connections and strengthening the site’s values, bridging the past and present communities. Through the critical discussion of two case studies—the monastery of Ayia Napa (Cyprus) and the Saint Helena chapel in the Holy Sepulchre in Jerusalem—the authors want to achieve two main goals: first, they want to highlight the sociocultural value and raise awareness about the presence and significance of historic graffiti. In the second instance, they wish to illustrate how graffiti can be an additional agent for the sustainable development, valorization, and promotion of the UBH.},
	language = {English},
	number = {15},
	journal = {Sustainability},
	author = {Trentin, Mia Gaia and Altaratz, Doron and Caine, Moshe and Re’em, Amit and Tinazzo, Andrea and Gasanova, Svetlana},
	year = {2023},
	note = {Num Pages: 27},
	keywords = {Graffiti, RTI (Reflectance Transformation Imaging), UNESCO, Cyprus, Mediterranean, Ayia Napa, DIGIGRAF},
	pages = {11697},
}

@article{truman_visible_2010,
	title = {The ({In}){Visible} {Artist}: {Stencil} {Graffiti}, {Activist} {Art}, and the {Value} of {Visual} {Public} {Space}},
	volume = {3},
	language = {English},
	journal = {Shift: Graduate Journal of Visual and Material Culture},
	author = {Truman, Emily J.},
	year = {2010},
	note = {Num Pages: 15},
	keywords = {Graffiti, Stencil graffiti},
	pages = {1--15},
}

@article{tsilimpounidi_graffiti_2022,
	title = {Graffiti \& {Street} {Art}: {Queer} {Feminist} {Approaches}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Tsilimpounidi, Myrto and Carastathis, Anna and Tulke, Julia and Zaporozhets, Oksana and Hansen, Susan and Gupta, Paridhi and Panlee, Piyarat and Awad, Sarah H. and Avramidis, Konstantinos},
	year = {2022},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Feminism, Queer},
	pages = {126--133},
}

@article{tsiropinas_dawn_2020,
	title = {The {Dawn} of the {3D} {Spray}: {Creating} {Street} {Art} {Using} {Polyurethane} {Foam}},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i2.217},
	abstract = {The diversity of techniques, methods and tools in creating Graffiti and Street Art allows artists to constantly evolve and discover new ways to express their ideas and implement their work. At the same time, a large number of researchers study and observe artists and their work, in an attempt to experiment with the emergence and spread of the phenomenon of urban art in combination with other scientific environments, such as engineering, robotics, programming and more. In this article, after the introduction to the power and importance of spray paint as a tool and symbol for the evolution of urban art, a first glimpse on the street artist - designer follows. This new type of creator can intervene radically in shaping the urban landscape by properly utilizing the designers’ toolbox to help innovative ideas come to fruition. One of these ideas is to use polyurethane foam as a "three-dimensional spray". Using it, the artist can create embossed or three-dimensional works on a large scale, taking existing practices one step further. A case study illustrated by a variety of images is presented before the conclusion of this paper, describing the creation of a lion's head directly on the wall using polyurethane foam spray and then painting it with graffiti spray paint.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Tsiropinas, Paris Xyntarianos},
	year = {2020},
	note = {Num Pages: 11
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, 3D, Spray paint, Mural art},
	pages = {48--58},
}

@article{tulke_stayathome_2021,
	title = {\#{StayAtHome} {Protest}: {DIY} {Banners} in {Berlin}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Tulke, Julia},
	year = {2021},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art},
	pages = {80--87},
}

@article{tunic_street_2020,
	title = {Street {Art} \& {Graffiti} in {Belgrade}: {Ecological} {Potentials}?},
	volume = {6},
	issn = {2183-3869},
	doi = {10.25765/sauc.v6i2.231},
	abstract = {Since the emergence of the global contemporary graffiti and street art, urban spaces have become filled with a variety of techniques and art pieces, whether as a beautification method, commemorative and community art, or even activism. Ecology has also been a small part of this, with growing concern over our environment’s health (as well as our own), disappearing living species and habitats, and trying to imagine a better, less destructive humankind (see: Arrieta, 2014). 
But, how can this art - based mostly on aerosol spray cans and thus not very eco-friendly - in urban spaces contribute to ecological awareness? Do nature, animal and plant motifs pave a way towards understanding the environment, or simply serve as aesthetic statements? This paper will examine these questions with the example of Belgrade, Serbia, and several local (but also global) practices. This text is based on ongoing research as part of Street Art Walks Belgrade project (STAW BLGRD) and interviews with a group of artists.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Tunić, Srđan},
	year = {2020},
	note = {Num Pages: 32
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Belgrade, Serbia, Graffiti tours},
	pages = {71--102},
}

@article{tusker_haworth_your_2022,
	title = {“{Your} wall cannot divide us”: {Graffiti} in {Cyprus} and insights into conflict-affected landscapes},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.584},
	abstract = {Graffiti in conflict-affected settings offers alternative understandings of local experiences and international challenges that intertwine with everyday routines and spaces. Urban walls deliver canvases to write, tag, and paint to express grievances and aspirations for more peaceful futures, illuminate societal concerns, and offer solidarity on issues that sit within and outside the confines of historical and present-day division. In this expanded visual essay, we explore the publicly available resource of graffiti to gain insights into the challenges and priorities of Cyprus’ conflict-affected landscape. Drawing on observations on both Greek-Cypriot and Turkish-Cypriot sides of the United Nations Buffer Zone, we explore the ways in which graffiti provides space to recognise alternative voices in a society where official and media discourses remain characterised by language of difference and political division. Insights gained through walking surveys conducted in June 2019 were augmented by discussions with local experts to further contextualise the observed graffiti content. We demonstrate the potential value for academics, policymakers, and practitioners of analysing the languages, symbols, and messages of graffiti. We conclude that this initial exploration establishes graffiti as more than ‘vandalism’ and expands our knowledge of conflict-affected landscapes as an indicator of the everyday and the interactions, priorities, and spatial politics of local people.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Tusker Haworth, Billy and Lepp, Eric and Arthur, Catherine and Vogel, Birte},
	year = {2022},
	note = {Num Pages: 15
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Cyprus, Conflict graffiti, Walking survey},
	pages = {35--49},
}

@article{ubeda_garcia_propuesta_2016,
	title = {Propuesta de un modelo de registro para el análisis y documentación de obras de arte urbano},
	volume = {10},
	issn = {1989-8568},
	doi = {10.37558/gec.v10i0.410},
	abstract = {La presente investigación aporta a la comunidad de conservadores y restauradores, así como a otros especialistas que estudian el arte urbano desde diversos campos de trabajo y perspectiva, una ayuda específica y concreta para la identificación, estudio y análisis de las obras de arte urbano, así como un instrumento útil de clasificación. Se concreta en la propuesta de un modelo de ficha realizada con una metodología específica para documentar el arte urbano. La ficha consta de varios niveles de información: una parte formal y descriptiva (iconográfica, de documentación gráfica-audiovisual) y otra parte para el análisis crítico (iconológico) de la obra y contexto físico, histórico, artístico y social.},
	language = {Spanish},
	number = {10},
	journal = {Ge-conservacion},
	author = {Úbeda García, María Isabel},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Street art, Urban art},
	pages = {169--179},
}

@article{unknown_author_erasing_2019,
	title = {Erasing the {Memory} of the {Revolution} on the {Streets} of {Cairo}},
	volume = {2},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Unknown Author},
	year = {2019},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {58--63},
}

@article{urbanyte_quattordio_2021,
	title = {Quattordio urban art},
	url = {https://www.urbanyte.art/qua/},
	abstract = {Interview with Marco Mantovani, artistic director of Stradedarts and organizer of the festival Quattordio Urban Art, as well as a pioneer of the Milanese graffiti writing scene, who has been active on the streets since 1988 under the name KayOne: "The wall of Phase 2 and Delta 2 in Quattordio is a unique case, which tells a never-ending story of Italian and international writing: it is difficult to find a similar wall. It was important to save it before it disappeared for good, to pay homage to Phase 2 and to what it meant for the history of writing worldwide."},
	language = {English},
	journal = {URBANYTE},
	author = {URBANYTE},
	month = apr,
	year = {2021},
	keywords = {Graffiti, Graffiti writing, USA, Italy, Quattordio, Reconstruction},
}

@book{uschan_graffiti_2011,
	address = {Farmington Hills},
	series = {Eye on {Art}},
	title = {Graffiti},
	isbn = {978-1-4205-0324-1},
	abstract = {A unique combination of history, biography, and artistic techniques, the clear narrative of this exciting series provides an overview of the development of different types of art and artistic movements. These colorful titles explore the roots and influences of different genres and key components that define the style. In addition to discussing the pioneers of the art, each subject-specific title considers the changes the genre has undergone from its inception to its present status on the world scene.},
	language = {English},
	publisher = {Lucent Books},
	author = {Uschan, Michael V.},
	year = {2011},
	keywords = {Graffiti},
}

@article{usic_istrian_2018,
	title = {Istrian graffiti in {World} {War} {II} – {Meanings} and experiences},
	volume = {13},
	issn = {1846-3223},
	abstract = {During World War II, graffiti writing was a particular practice widely used by the People's Liberation Movement (NOP). In this article I am analyzing the meanings and experiences of graffiti writing on three levels, asking three interrelated questions: how was the practice conceived and interpreted by the organizations of the NOP, how it was represented in Partisan media (Glas Istre), and how it was understood and experienced by their authors and witnesses? The article focuses on Istria, precisely on three levels/case studies that are related to the research questions: reports of the People's Liberation Committee of Kastavština, the Glas Istre papers, and memories and experiences of graffiti writers and related subjects. The meanings of both graffiti and the practice of writing were multilayered and articulated differently from diverse social and ideological positions: they were perceived as symbolic "weapons" for the anti-fascist movement, as ways to participate in the struggle and ways of communication of the NOP, and as threats for local communities. For the writers, the practice of graffiti writing was an emotionally and psychologically intense, hazardous life-threating experience.},
	language = {English},
	journal = {Časopis za povijest Zapadne Hrvatske},
	author = {Ušić, Eric},
	year = {2018},
	note = {Num Pages: 25},
	keywords = {Graffiti, Istria, Slovenia, WWII},
	pages = {37--61},
}

@book{uyar_best_2001,
	address = {Bremen},
	title = {Best of {German} graffiti: {Band} 1},
	isbn = {978-3-89757-121-1},
	abstract = {A book full of photos of graffiti masterpieces from Germany. Also photos of work from other metropolises including New York City. Includes statements from the graffiti artists. Walls, trains, canvasses, sculptures, bombings …},
	language = {German},
	publisher = {Hauschild},
	author = {Uyar, M.},
	year = {2001},
	keywords = {Graffiti, Germany},
}

@book{vairo_graffiti_2017,
	address = {Modena},
	title = {Graffiti},
	isbn = {978-88-6060-773-7},
	language = {Italian},
	publisher = {Palombi Editori},
	author = {Vairo, Carmine Rossi},
	year = {2017},
	keywords = {Graffiti},
}

@article{valente_methods_2020,
	title = {Methods for {Ancient} {Wall} {Graffiti} {Documentation}: {Overview} and {Applications}},
	volume = {34, Part A},
	issn = {2352-409X},
	doi = {10.1016/j.jasrep.2020.102616},
	abstract = {Ancient graffiti are evidence of the past, scattered all over the globe and common to many cultures. Documentation is a crucial step for their study, and must allow for clear interpretation. There are a variety of traditional methods to document ancient graffiti, from sketches to frottages, to contact tracing and photography. Digital instruments and other innovative methods developed during recent years in the field of heritage documentation can also be successfully applied to graffiti, improving the quality of results and increasing their readability. This paper presents the principal methods used for graffiti documentation and discusses the trends over the last few decades; it also presents two different case studies where the principal methods are tested and reviewed.},
	language = {English},
	journal = {Journal of Archaeological Science: Reports},
	author = {Valente, Riccardo and Barazzetti, Luigi},
	year = {2020},
	note = {Num Pages: 13},
	keywords = {Graffiti, PCA (Principal Component Analysis), IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), NIR (Near-InfraRed), NUV (Near-UltraViolet), PCV (Photogrammetric Computer Vision), RTI (Reflectance Transformation Imaging), Italy, Decorrelation stretch, DStretch, Epigraphy, San Filastrio, Ancient graffiti},
	pages = {102616},
}

@article{valente_considerations_2019,
	title = {Considerations on the use of digital tools for documenting ancient wall graffiti},
	volume = {XLII-2/W9},
	issn = {1682-1777},
	doi = {10.5194/isprs-archives-XLII-2-W9-731-2019},
	abstract = {Ancient graffiti are a valuable and constant historical evidence through the human history, regardless from the geographic area or historical period. They can be found on different kinds of surfaces and in different contexts, such as religious building or civic structures, in public or private environments. Their study and comprehension need to be grounded on good and complete documentation techniques. The application of accurate recording methods is even more important for ancient graffiti, for a series of reasons. First of all, their perception is often less immediate than other historical or artistic evidence, and directly depends on external aspects, such as the lighting conditions, and personal skills. Moreover, their interpretation is often challenging also for expert scholars, so as to require both the most objective reproduction possible and the personal interpretation of the scholar. As a case study, several late medieval graffiti scratched on frescos have been documented with digital methods. Results will be presented and discussed. This paper will mainly focus on graffiti scratched on frescos or plaster, and not on petroglyphs, i.e. marks and drawings on rock surfaces.},
	language = {English},
	journal = {ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences},
	author = {Valente, Riccardo and Barazzetti, Luigi and Previtali, Mattia and Roncoroni, Fabio},
	year = {2019},
	note = {Num Pages: 7},
	keywords = {Graffiti, PCA (Principal Component Analysis), IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), NIR (Near-InfraRed), NUV (Near-UltraViolet), PCV (Photogrammetric Computer Vision), RTI (Reflectance Transformation Imaging), Italy, Decorrelation stretch, DStretch, Epigraphy, San Filastrio, Ancient graffiti},
	pages = {731--737},
}

@article{valisena_bin_2019,
	title = {Bin ich ein {Berliner}? {Graffiti} as layered public archive and socio-ecological methodology},
	volume = {23},
	issn = {1468-8417},
	doi = {10.1080/14688417.2019.1602069},
	abstract = {In this article, we discuss the role played by graffiti in representing, fomenting and studying binary and non-binary sentiments of ‘us’ and ‘them’. Through asocio-textual analysis of examples of public anti-gentrification and anti-touristification protest graffiti in Berlin, we consider the complex layers of history, identity, mobility, community and environment which have been folded onto one another throughout the city over the past decades. By investigating the textual politics of belonging and self as shown through the lens of graffiti, we argue that representational analyses of so-called banal public texts can help to comprehend the complexities that lie behind binary socio-cultural categories (e.g. local/non-local. In exploring some of the defining characteristics that distinguish ecocritical from environmental humanities approaches to critique, the article posits how multiple disciplines—even those well outside humanities subjects—might well be able to benefit from the humanities’ distinct approaches to cultural, or indeed social, analysis.},
	language = {English},
	number = {1},
	journal = {Green Letters},
	author = {Valisena, Daniele and Norum, Roger},
	year = {2019},
	note = {Num Pages: 20},
	keywords = {Graffiti, Sociology, Gentrification, Political ecology, Socio-political},
	pages = {83--102},
}

@article{valjakka_graffiti_2013,
	title = {Graffiti in {China} – {Chinese} {Graffiti}?},
	volume = {29},
	doi = {10.22439/cjas.v29i1.4021},
	abstract = {This article focuses on the emergence of graffiti in Beijing and Shanghai as an intriguing part of the contemporary art scene. Approaching graffiti through the framework of visual culture and analyzing both the visual and social aspects of creating graffiti images, I argue that contemporary graffiti in these cities can be regarded primarily as creative self-expression emphasizing aesthetic intention and a renaming process, not as vandalism. Deriving primarily from information gathered during my fieldwork in Beijing and Shanghai, I also discuss the development of graffiti in China and its characteristics. In the Euro-American context, graffiti is still commonly regarded as criminal activity that destroys public property. This allegation, however, fails to take into account how the international graffiti culture has become an enduring genre of art with strong emphasis on style and aesthetic evaluation. Although creating graffiti is a controversial issue in China also, graffiti nevertheless exists, especially in the so-called art areas (districts known for their numerous art galleries, artist studios, art-related activities and, occasionally, art museums), or in the surrounding neighbourhoods.},
	language = {English},
	number = {1},
	journal = {The Copenhagen Journal of Asian Studies},
	author = {Valjakka, Minna},
	year = {2013},
	note = {Num Pages: 31},
	keywords = {Graffiti, Art, China, Contemporary art, Visual culture},
	pages = {61--91},
}

@article{valjakka_negotiating_2015,
	title = {Negotiating spatial politics: {Site}-responsive urban art images in mainland {China}},
	volume = {29},
	issn = {0920-203X},
	doi = {10.1177/0920203X15589535},
	abstract = {Since the mid-1990s, growing urbanization has led to the rise of new forms, needs and sites for visual self-expression in urban public space in mainland China. Drawing on periods of intensive fieldwork in Beijing, Shanghai, Shenzhen and Hong Kong since 2006, this article suggests a new approach for examining the spatial politics of urban art images in China based on the concept of ‘site responsiveness’. Inspired by discussions on site-specific and site-oriented art and street art, this article aims to clarify the importance of both aesthetic analysis and comparative contextualization of urban art images in relation to (1) the reciprocal relationship between the urban art images and the site, and (2) international developments in the discourses on ‘graffiti’ and ‘street art’. This dual approach provides a starting point for a comprehensive sociospatial interpretation of the visual phenomenon in China while challenging the unproblematized use of the concept of graffiti in existing studies and offering two umbrella concepts – urban art images and creator of urban art images – to facilitate more nuanced research. By examining actions of visual self-expression at the grass-roots level, this article brings attention to an often neglected but crucial perspective to discussions of the city as a living organism and to the interrelations between art and urbanization.},
	language = {English},
	number = {2},
	journal = {China Information},
	author = {Valjakka, Minna},
	year = {2015},
	note = {Num Pages: 29},
	keywords = {Graffiti, China, Hong Kong, Shanghai, Shenzhen},
	pages = {253--281},
}

@article{valjakka_material_2021,
	title = {From {Material} {Ephemerality} to {Immaterial} {Permanency}: the {disCONNECT} {Exhibition} and the {Realms} of {Interactive} {Immersiveness}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Valjakka, Minna},
	year = {2021},
	note = {Num Pages: 14},
	keywords = {Graffiti, Street art},
	pages = {120--133},
}

@book{van_gemert_graffiti_2004,
	address = {Best},
	title = {Graffiti op monumenten: een last of een lust},
	isbn = {90-76132-16-X},
	abstract = {De WTA Nederland-Vlaanderen richt dit seminarie in over graffiti op monumenten, omdat het probleem van graffiti een actueel onderdeel is van de maatschappelijke discussies over de gebouwde omgeving, en omdat over dit onderwerp de meningen erg verdeeld zijn, en dit niet alleen over de maatschappelijke interpretatie ervan, maar ook over de technische aanpak van deze problematiek. WTA wil inzonderheid wat betreft graffiti op monumenten elementen aanreiken over hoe in de monumentenzorg omgegaan kan of moet worden met graffiti. Hoe graffiti op monumentale ondergronden voorkomen en verwijderen. Is of wordt de thematiek van graffiti werkelijk een problematiek? Graffiti zijn een deel van het maatschappelijk leven geworden. Waar voorheen het graffiti-beleid louter repressief was, wordt nu de problematiek in een veel ruimere maatschappelijke context geplaatst. Vele steden, gemeenten en diensten voor monumentenzorg bouwen een nieuwe benadering van en omgang met graffiti uit. Deze brede problematiek, met zijn onderliggende maatschappelijke discussies en de veelheid van wetenschappelijke benaderingen en studies waarop het voorkomen, verwijderen en maatschappelijk duiden van graffiti is gebaseerd, komen aan bod tijdens deze studiedag. 
De studiedag gaat door in de ridderzaal van het Gravensteen te Gent, een centraal in de stad gelegen 12de eeuws monument, zinnebeeld van macht en van machthebbers, en ondanks dat toch voorlopig gevrijwaard van graffiti. Zoals steeds wordt de problematiek vanuit een brede optiek behandeld: maatschappelijke context, cultuur-historische oogpunten, producttechnische gegevens, wetenschappelijk onderzoek van de verschillende graffitimaterialen en de geëigende bestrijdingsmethoden en -middelen, beheersaspecten toegepast door en ervaringen van beheerders van grote gebouwcomplexen en gebouwengroepen. 
Bij de voorbereiding van de teksten is er een nauwe samenwerking geweest tussen WTA NL/VL en de Rijksdienst voor Monumentenzorg RDMZ, Zeist (NL). Dit heeft geresulteerd in een gemeenschappelijke brochure over anti-graffiti systemen, welke tijdens deze studiedag aan de deelnemers werd uitgereikt. Deze brochure is steeds verkrijgbaar via de secretariaten. De Stad Gent heeft ook een bijzonder project opgezet: een graffitisteegje waar taggers zich ongestraft kunnen uiten. Een bezoek aan dit steegje onder begeleiding van de Gentse collega’s is ingelast in het programma. De voordrachten worden verzorgd door ervaren architecten, historici, praktijkmensen, onderzoekers, productontwikkelaars, zodat WTA NL/VL u een instructieve en verrijkende studiedag kan aanbieden en verzekeren. Wij zijn er ons van bewust dat zij nog geen sluitend antwoord kunnen bieden op alle heden gestelde vragen, maar wij zijn er wel van overtuigd dat de voordrachten en discussies tijdens deze studiedag een belangrijke bijdrage vormen tot de juiste inschatting van de problemen, en een stimulans vormen voor een gedegen studie en aanpak van de problematiek van graffiti in de monumentenzorg. WTA ondersteunt deze aanpak via de Technische voorlichtingen Merkblatt 2-5-97D ‘Anti-Graffiti-Systeme’ en Merkblatt E 2-8-03 ‘Bewertung von Anti-Graffiti-Systeme nach WTA’.},
	language = {Dutch},
	publisher = {WTA},
	editor = {van Gemert, D.},
	year = {2004},
	keywords = {Graffiti, Belgium},
}

@book{van_kan_untold_2020,
	address = {Mainaschaff},
	title = {Untold stories: {Inside} graffiti writing culture},
	isbn = {978-3-939566-53-3},
	language = {English},
	publisher = {Publikat},
	editor = {van Kan, René},
	year = {2020},
	keywords = {Graffiti, Graffiti writing},
}

@book{van_treeck_graffiti_1998,
	address = {Berlin},
	edition = {Vollständig überarbeitete Neuausgabe},
	title = {Graffiti {Lexikon}: {Legale} und illegale {Malerei} im {Stadtbild}},
	isbn = {3-89602-160-5},
	language = {German},
	publisher = {Schwarzkopf \& Schwarzkopf},
	author = {van Treeck, Bernhard},
	year = {1998},
	keywords = {Graffiti, Street art, Graffiti writing, Lexicon},
}

@book{van_treeck_grosse_2001,
	address = {Berlin},
	edition = {Stark erweiterte Neuausgabe},
	title = {Das grosse {Graffiti}-{Lexikon}},
	isbn = {3-89602-292-X},
	language = {German},
	publisher = {Lexikon Imprint Verlag},
	author = {van Treeck, Bernhard},
	year = {2001},
	keywords = {Graffiti, Street art, Graffiti writing, Lexicon},
}

@book{van_treeck_street-art_1999,
	address = {Berlin},
	title = {Street-art {Berlin}: {Kunst} im öffentlichen {Raum}},
	isbn = {3-89602-191-5},
	language = {German},
	publisher = {Schwarzkopf \& Schwarzkopf},
	author = {van Treeck, Bernhard and Nungesser, Horst Michael and Kuzdas, Heinz and Schmundt, Hilmar},
	year = {1999},
	keywords = {Graffiti, Street art, Berlin},
}

@book{van_treeck_hall_1995,
	address = {Moers},
	title = {Hall of fame: {Graffiti} in {Deutschland}. {Graffiti} in {Germany}},
	isbn = {3-89535-430-9},
	language = {English; German},
	publisher = {Edition Aragon},
	author = {van Treeck, Bernhard and Todt, Mark},
	year = {1995},
	keywords = {Graffiti, Germany, Graffiti writing},
}

@book{van_treeck_wholecars_1996,
	address = {Moers},
	title = {Wholecars: {Graffiti} auf {Zügen}. {Graffitti} on trains},
	isbn = {3-89535-435-X},
	language = {English; German},
	publisher = {Edition Aragon},
	author = {van Treeck, Bernhard and Wiese, Markus},
	year = {1996},
	keywords = {Graffiti, Germany, Graffiti writing, Train},
}

@article{vandermerghel_brilliant_2022,
	title = {‘{Brilliant} and ever-changing’: readers’ favourite street art in {Europe}},
	url = {https://www.theguardian.com/travel/2022/aug/11/street-art-in-europe-readers-tips-favourites-city-breaks},
	abstract = {From Penge to Sardinia, exuberant street art makes neighbourhoods more vibrant and casts light on local history and culture – or just gives you a laugh},
	language = {English},
	journal = {The Guardian},
	author = {Vandermerghel, Chris},
	month = aug,
	year = {2022},
	keywords = {Graffiti, Street art, UK, Birmingham, Bristol},
}

@article{vanderveen_criminal_2016,
	title = {Criminal but {Beautiful}: {A} {Study} on {Graffiti} and the {Role} of {Value} {Judgments} and {Context} in {Perceiving} {Disorder}},
	volume = {22},
	issn = {0928-1371},
	doi = {10.1007/s10610-015-9288-4},
	abstract = {Annoying paintings everywhere, [it] should be forbidden, and the perpetrators [should] clean everything with a toothbrush. It is pollution. There is an exception, what happens in cities, a boring wall is embellished with a nice painting made by experienced professional artists.},
	language = {English},
	number = {1},
	journal = {European Journal on Criminal Policy and Research},
	author = {Vanderveen, Gabry and van Eijk, Gwen},
	year = {2016},
	note = {Num Pages: 19},
	keywords = {Graffiti, Policy},
	pages = {107--125},
}

@book{vanhoenacker_op_2011,
	address = {Gent},
	title = {Op maat van de straat: naar een integrale kijk op graffiti en street art},
	isbn = {978-90-818497-0-8},
	language = {Dutch},
	publisher = {Graffiti Jeugddienst Vzw},
	author = {Vanhoenacker, Bart and Bosschaert, Peter},
	year = {2011},
	keywords = {Graffiti, Street art, Graffiti writing},
}

@article{varanda_street_2017,
	title = {Street {Art} and {Urban} {Creativity}. {Welcome} {Session} 6-07-2017},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.73},
	abstract = {As director of the national organization that has a mission to promote the value and support the arts in Portugal I am honored to share this moment in this event that will undertake discussion about some of the paradigmatic approaches to arts and society in our present times. 
Direção-Geral das Artes (General Directorate of Arts) is a public organization from the Portuguese Ministry of Culture, that coordinates the policies of art funding for the fields of architecture, digital arts, visual arts, dance, design, photography, music and theater.  We cover a diverse range of disciplines and professional activities. Among our main attributes are the management of various funding programmes to support the arts, the promotion of art and artists resident in Portugal, both across the country and abroad at an international level, the fostering of international cultural exchange and institutional cooperation, and ensuring regular and widespread access to culture as well as new audiences outreach.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Varanda, Paula},
	year = {2017},
	note = {Num Pages: 2
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {112--113},
}

@article{vaz_pinto_street_2017,
	title = {Street {Art} \& {Urban} {Creativity}. 17.07.07},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.74},
	abstract = {In recent decades, Urban Art has become one inescapable reality in the public space of cities throughout the world. It is such a significant trend that we can now talk about it as one of the main artistic movements of the 21st century, not only because of its geographical profusion, but also because of the diversity of artists, techniques, medium, discourses and languages that it embraces. 
It is a phenomenon that is as global as it is singular, very relevant in the History of Art, by the complexity, creativity, ephemerality and paradoxes it implies. These characteristics make it difficult, on the one hand, to define, to study and reflect, but on the other hand promote a very strong artistic production and the renovation of the plastic discourse in the urban landscape.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Vaz Pinto, Catarina},
	year = {2017},
	note = {Num Pages: 1
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {114},
}

@book{velikonja_post-socialist_2020,
	address = {London},
	series = {Southeast {European} {Studies}},
	title = {Post-{Socialist} political graffiti in the {Balkans} and {Central} {Europe}},
	isbn = {978-0-367-33815-2},
	abstract = {This theoretically and empirically grounded book uses case studies of political graffiti in the post-socialist Balkans and Central Europe to explore the use of graffiti as a subversive political media. 
Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nostalgic, and chauvinist graffiti and street art, it looks at why and by whom graffiti is used as political media and to/against whom it is directed. The book theorises discussions of political graffiti and street art to show different methodological approaches from four perspectives: context, author, the work itself, and audience. 
It will be of interest to the growing body of literature focussing on (sub)cultural studies in the contemporary Balkans, transitology, visual cultural studies, art theory, anthropology, sociology, and studies of radical politics.},
	language = {English},
	publisher = {Routledge},
	author = {Velikonja, Mitja},
	year = {2020},
	keywords = {Graffiti, Balkan, Central Europe, Socialism},
}

@book{velikonja_chosen_2021,
	address = {Los Angeles},
	title = {The chosen few: {Aesthetics} and ideology in football-fan graffiti and street art},
	isbn = {978-1-954600-02-7},
	abstract = {"In this intriguing visual title and thoughtful meditation on street culture and sports, a pioneering 'graffitologist' unravels the symbology used by soccer fanatics, examining the aesthetics of political extremism and how factions complement democracies. On the fringe of sports culture are the ultras, the European football fans whose pyrotechnics, chants, wildly creative stunts, and hooliganism are infamous. Using selections from his archive containing several thousand photographs of ultras' street art and graffiti, including everything from elaborate murals to stickers to "scratchitto" incisions and spray-paint duels, award-winning author and researcher Mitja Velikonja introduces readers to the visual iconography of a fascinating underworld. The ultra subculture is built by "no-bodys," the anonymous (primarily) men whose attachments to their teams sometimes cross the lines into disturbing nationalist, racist sentiments and even "Blood and Soil" extremism. Velikonja discovers other surprising sets of ideological and cultural messages in street art and tifo club graffiti, then embarks on a case study of Slovenian fans, touching on the roles of football fans in the Balkan Wars. Critically reflecting the ultras' complex and controversial visual representations, he cues our understanding of factional mindsets within histories of political instability and argues for dissensus being a critical element to democracies"--},
	language = {English},
	publisher = {DoppelHouse Press},
	author = {Velikonja, Mitja},
	year = {2021},
	keywords = {Graffiti, Street art, Balkan, Football},
}

@techreport{verhoeven_goindigo_2022,
	address = {Vienna},
	title = {{goINDIGO} 2022 international graffiti symposium: document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Book} of abstracts},
	url = {https://go-indigo.eu/wp-content/uploads/2022/05/goINDIGO2022_bookOfAbstracts.pdf},
	abstract = {This is the book of abstracts created for the goINDIGO 2022 international graffiti symposium organised in the framework of the academic project INDIGO.},
	language = {English},
	author = {Verhoeven, Geert Julien Joanna and Carloni, Massimiliano and Schlegel, Jona and Trognitz, Martina and Wild, Benjamin and Wogrin, Stefan and Hale, Alex and Ricci, Chiara and Paola, C. and Scarcella, A. and Sunara, S. M. and Bertasa, M. and Scalarone, D. and Wieser, Martin and Luque Rodrigo, Laura and Moral Ruiz, Maria Del Carmen and Amor Garcia, Rita L. and Goffriler, Gabriele and Molada-Tebar, Adolfo and Niemann, Sven and Eichert, Stefan and Richards, Nina and de la Iglesia, Martin and Ressl, Camillo and Otepka-Schremmer, Johannes and Pfeifer, Norbert and Radošević, Ljiljana and Cavallari, Flaminia and Ippoliti, Elena and Meschini, Alessandra and Russo, Michele and Kreslehner, Klaudia},
	collaborator = {project INDIGO},
	year = {2022},
	doi = {10.5281/zenodo.6591241},
	keywords = {Graffiti, Street art},
	pages = {54},
}

@techreport{verhoeven_goindigo_2023,
	address = {Vienna},
	title = {{goINDIGO} 2023 international graffiti symposium: disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Book} of abstracts},
	url = {https://zenodo.org/record/8029994},
	abstract = {This is the book of abstracts created for the goINDIGO 2023 international graffiti symposium organised in the framework of the academic project INDIGO.},
	language = {English},
	author = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Baumann, Oskar and Bonadio, Enrico and Carloni, Massimiliano and Davico, Luca and DEADBEAT HERO and Egeland, Siri-Helen and Fernández Merino, Francisca and Flenghi, Giulia and Guerreschi, Paola and Ippoliti, Elena and Jungfleisch, Johannes and Koschicek-Krombholz, Bernhard and Lorah, Paul and Meschini, Alessandra and Michels, Gunther and Montobbio, Luisa and Oedl, Konstantin and Pfeifer, Norbert and Radošević, Ljiljana and Russo, Michele and Shalaby, Nora and Shirey, Heather and Sypniewski, Holly and Todd Lawrence, David and Tommasella, Noemi and Tretti-Beckles, Valentina and Trognitz, Martina and van Tiggelen, Richard and Vergara-Heidke, Adrián and Webb, Brett and Wieser, Martin},
	collaborator = {project INDIGO},
	year = {2023},
	doi = {10.5281/zenodo.8029994},
	keywords = {Graffiti, Street art},
	pages = {64},
}

@book{verhoeven_document_2023,
	address = {Lisbon},
	title = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	isbn = {979-8-3946-0127-9},
	abstract = {goINDIGO 2022 has managed to bring various disciplines together. That is why the editors hope that the contributions in these proceedings can collectively be considered a proper methodological status quo on the inventorying and dissemination of graffiti records. Because most academic efforts focus on the analyses of graffiti, these proceedings also hope to kickstart further discussion and interdisciplinary scholarly action on the (need for) proper documentation and dissemination of graffiti. Critical, maybe even uncomfortable, reflections like those vented in this volume form an essential part of this discourse.},
	language = {English},
	publisher = {Urban Creativity},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.5281/zenodo.7962437},
	keywords = {Graffiti, Vienna},
}

@article{verhoeven_project_2022,
	title = {Project {INDIGO} – document, disseminate \& analyse a graffiti-scape},
	volume = {XLVI-2/W1-2022},
	issn = {1682-1777},
	doi = {10.5194/isprs-archives-XLVI-2-W1-2022-513-2022},
	abstract = {Graffiti is a short-lived form of heritage balancing between tangible and intangible, offensive and pleasant. Graffiti makes people laugh, wonder, angry, think. These conflicting traits are all present along Vienna's Donaukanal (Eng. Danube Canal), a recreational hotspot – located in the city's heart – famous for its endless display of graffiti. The graffiti-focused heritage science project INDIGO aims to build the basis to systematically document, monitor, and analyse circa 13 km of Donaukanal graffiti in the next decade. The first part of this paper details INDIGO's goals and overarching methodological framework, simultaneously placing it into the broader landscape of graffiti research. The second part of the text concentrates on INDIGO's graffiti documentation activities. Given the project's aim to create a spatially, spectrally, and temporally accurate record of all possible mark-makings attached in (il)legal ways to the public urban surfaces of the Donaukanal, it seems appropriate to provide insights on the photographic plus image-based modelling activities that form the foundation of INDIGO's graffiti recording strategy. The text ends with some envisioned strategies to streamline image acquisition and process the anticipated hundreds of thousands of images.},
	language = {English},
	journal = {ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences},
	author = {Verhoeven, Geert Julien Joanna and Wild, Benjamin and Schlegel, Jona and Wieser, Martin and Pfeifer, Norbert and Wogrin, Stefan and Eysn, Lothar and Carloni, Massimiliano and Koschiček-Krombholz, Bernhard and Molada-Tebar, Adolfo and Otepka-Schremmer, Johannes and Ressl, Camillo and Trognitz, Martina and Watzinger, Alexander},
	year = {2022},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Cultural heritage, Photography, IBM (Image-Based Modelling), SfM (Structure from Motion), Vienna, PCV (Photogrammetric Computer Vision), Austria, Laser scanning, INDIGO, Graffiti-scape, Heritage science, Mobile laser scanning},
	pages = {513--520},
}

@article{vilaseca_graffiti_2012,
	title = {From {Graffiti} to {Street} {Art}: {How} {Urban} {Artists} are {Democratizing} {Spanish} {City} {Centers} and {Streets}},
	volume = {8},
	issn = {1557-2277},
	language = {English},
	journal = {Transitions: Journal of Franco-Iberian studies},
	author = {Vilaseca, Stephen Luis},
	year = {2012},
	note = {Num Pages: 26},
	keywords = {Graffiti, Street art, Cultural heritage, City},
	pages = {9--34},
}

@article{vimercati_blu_2016,
	title = {Blu v {Bologna}: new shades of grey in the street art debate},
	url = {https://www.theguardian.com/artanddesign/2016/mar/17/street-artist-blu-destroys-murals-in-bologna},
	abstract = {Taking a stand against a city that scrubs off graffiti but celebrates street art in galleries, Blu has painted over their own murals – self-sabotage or victory?},
	language = {English},
	journal = {The Guardian},
	author = {Vimercati, Giovanni},
	month = mar,
	year = {2016},
	keywords = {Graffiti, Street art, Bologna, Blu},
}

@article{vlady_art_2019,
	title = {Art {Underground}},
	volume = {1},
	issn = {2535-549X},
	abstract = {Vlady (aka Vladyart) is a prolific multidisciplinary artist known for his minimal, spontaneous, and sociopolitical streetbased works. His witty and critical approach towards society and environments makes him one of the few Italian names active in this specific branch of public art (unsanctioned interventions). Born in Catania in the mid-1970s, Vlady attended the State Institute of Art and then Brera’s Art Academy in Milan. With the complicity of the economic crisis, in one of the most deprived areas in Italy’s south, Vlady went on to challenge his own society with an unprecedented, sarcastic, sharp, guerrilla activism. More recently, Vlady’s approach has turned more conceptual, open to new media and to various forms of communication. Vlady has gained a national and international reputation in urban/public art, resulting in publications, articles, interviews, exhibitions, and invitations throughout Europe and Russia. Today he lives in Stockholm, Sweden.},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Vlady},
	year = {2019},
	note = {Num Pages: 2},
	keywords = {Graffiti, Street art, Underground, Metro},
	pages = {88--89},
}

@article{void_cut_2023,
	title = {Cut in the {Fence}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Void, Adam and Ragan, Chelsea},
	year = {2023},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art},
	pages = {9--15},
}

@article{vorachart_thasala_2021,
	title = {{ThaSala} {Street} {Art}: {Restoring} the {Colors} to the {City} in the {Time} of {Pandemic}},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i1.479},
	abstract = {Thailand's street art circle is now gaining popularity. As a tourism country, Thailand has a policy to promote tourism in a number of ways. Therefore, street art has been used to promote tourism a variety of locations. In the midst of the COVID-19 crisis, this article reveals a story of a street art initiative in an overlooked district in southern Thailand to establish a new tourist attraction. The article covers the story since the beginning of the idea, specifies concepts and processes behind the showcase, interviews various stakeholders for insights and provides additional thoughts on street art creation. It also summarizes the lessons learned from the project that has been done through interviews with stakeholders from different perspectives to use as a guideline for further street art project development.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Vorachart, Varunyu and Hosap, Witthaya and Preeyawongsakul, Patibut},
	year = {2021},
	note = {Num Pages: 19
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Thailand},
	pages = {8--26},
}

@article{vormann_home_2021,
	title = {Home {Mural}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Vormann, Jan},
	year = {2021},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art},
	pages = {110--117},
}

@article{vormann_between_2022,
	title = {Between {Particles} and {Waves}: {Street}-{Art} {Heavyweights} {Exhibiting} in the {Virtual} {World} of {Minecraft}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Vormann, Jan and Downey, Brad},
	year = {2022},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Minecraft},
	pages = {90--101},
}

@article{voutichtis_no_2016,
	title = {No {Place} for {Urban} {Art}},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i2.52},
	abstract = {The following is an attempt to situate Urban Art within the philosophical tradition with and against Plato’s exclusion of the mimetic artist from the well-ordered city-state. It takes into account modern as well as postmodern literature on the concept of art and the city in order to rehabilitate a place for art within the city limits without sacrificing its potential to call into question any clear-cut limit the philosophical tradition has attempted to draw around the concepts of the subject, the work of art and the city itself.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Voutichtis, Christos and Rehm, Jonas Aaron},
	year = {2016},
	note = {Num Pages: 3
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {45--47},
}

@article{wachsmann_interpretation_2019,
	title = {On the {Interpretation} of {Watercraft} in {Ancient} {Art}},
	volume = {8},
	issn = {2076-0752},
	doi = {10.3390/arts8040165},
	abstract = {In the past six decades since its inception, nautical archaeologists have excavated and studied the hulls, cargoes, and other remains of ancient watercraft. However, shipwrecks themselves only tell part of the story. The archaeological record is replete with examples of known shipwrecks from some cultures and periods, but, for others, no hulls exist in the known archaeological record. Vagaries of preservation generally prevent the upper parts and rigging of a vessel to survive in all but the most remarkable of cases. This paper reviews the role of iconographic representations in understanding ancient vessels and seafaring by presenting the issues, examining the limitations, proposing interpretative methods for, and finally by supplying specific examples of, ancient nautical depictions.},
	language = {English},
	number = {4},
	journal = {Arts},
	author = {Wachsmann, Shelley},
	year = {2019},
	note = {Num Pages: 67},
	keywords = {Graffiti, Egypt, Ancient graffiti, Minoan, Nautical archaeology, Ship},
	pages = {165},
}

@book{waclawek_graffiti_2011,
	address = {London},
	series = {Thames \& {Hudson} world of art},
	title = {Graffiti and street art},
	isbn = {978-0-500-20407-8},
	abstract = {Whether adored or abhorred, graffiti and street art provoke passionate debate. This is the first comprehensive popular survey of the art movement around the world. Organized thematically, it explores the origins of the movement and its evolution, the relationship between street art and the urban environment, its interactions with (or rejection of) the market and the world of commercial galleries, and the culture of street art online. 
The book features a wide range of artists working in different media and styles across multiple countries. It explains the terms and language of street art—from tags and throwies to culture jamming and subvertising—as well as its multiple influences and sub-genres.},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Wacławek, Anna},
	year = {2011},
	keywords = {Graffiti, Street art},
}

@book{waclawek_graffiti_2012,
	address = {Berlin},
	title = {Graffiti und {Street} {Art}},
	isbn = {978-3-422-07110-0},
	abstract = {Graffiti und Street Art prägen die visuelle Ästhetik einer Stadt, sie treten in einen Dialog mit dem urbanen Raum und erschaffen diesen neu. Während das traditionelle Graffiti sich auf die Gestaltung von Buchstaben und Namen konzen¬triert, experimentiert Street Art stärker mit figürlichen Dar¬stellungen, Symbolen und verschiedenen Techniken. Anna Waclawek zeichnet die Geschichte der illegalen Kunstform von ihren Anfängen in den 1960er Jahren bis in die Gegen¬wart nach und demonstriert die Bedeutung von Graffiti und Street Art als spielerische, kritische Reflexion der kulturellen Strukturen einer Stadt.},
	language = {German},
	publisher = {Deutscher Kunstverlag},
	author = {Wacławek, Anna},
	translator = {Mohr, Marcus},
	year = {2012},
	keywords = {Graffiti, Street art},
}

@book{waddacor_street_2020,
	address = {London; New York},
	title = {Street {Art} {Africa}},
	isbn = {978-0-500-02282-5},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Waddacor, Cale},
	year = {2020},
	keywords = {Graffiti, Street art, Africa},
}

@book{walde_sticker_2007,
	address = {London},
	title = {Sticker city: {Paper} graffiti art},
	isbn = {978-0-500-28668-5},
	abstract = {A worldwide survey of the popular street art trend showcases the work of more than eighty top artists, including Shepard Fairey, Blek le Rat, and Swoon, in a volume that also traces the histories of specific "sticker cities" that host some of the world's most definitive collections. Original.},
	language = {English},
	publisher = {Thames \& Hudson},
	author = {Walde, Claudia},
	translator = {Gamlin, Edward},
	year = {2007},
	keywords = {Graffiti, Stickers},
}

@article{waldner_graffiti_2013,
	title = {Graffiti as a {Form} of {Contentious} {Political} {Participation}},
	volume = {7},
	issn = {17519020},
	doi = {10.1111/soc4.12036},
	abstract = {Graffiti is a popular topic in the sociological, criminological, and linguistic literature with several book length treatments of various types of graffiti including tagging, gang graffiti, murals, and “bombings”. Yet, political sociologists have paid little attention to the role of graffiti as a form of contentious politics despite the often political nature of graffiti messages. As a result, most of the political research on graffiti is by non‐sociologists. We believe this is an oversight and that both political sociologists and social movement scholars need to seriously consider this form of micro‐level political participation. In this review we (1) demonstrate why some forms of graffiti should be considered a serious form of political participation; (2) compare and contrast graffiti to other forms of resistance including squatting and culture jamming; (3) review research findings on graffiti; and (4) discuss some of the conceptual and methodological challenges for doing graffiti research.},
	language = {English},
	number = {5},
	journal = {Sociology Compass},
	author = {Waldner, Lisa K. and Dobratz, Betty A.},
	year = {2013},
	note = {Num Pages: 13},
	keywords = {Graffiti},
	pages = {377--389},
}

@article{walker_made_2017,
	title = {Made {Corrections}: {A} prison-based street art intervention for young offenders},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.69},
	abstract = {This paper describes a prison-based street art intervention that took place at a Lithuanian institution for young offenders. During the first stage of the project, existing historical graffiti and murals on the prison walls were uncovered and documented. The second stage of the project involved working with the young offenders to co-produce a series of collaborative large-scale works within the prison walls, some of which incorporated elements of these earlier murals as a form of living heritage. The final stage of the project reproduced a selection of this work outside on the walls of the local city. Future work will involve a more formal evaluation of the impact of the intervention on the young offenders, the prison staff, and the local community.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Walker, Oliver and Hansen, Susan},
	year = {2017},
	note = {Num Pages: 9
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Law, Crime, Prison},
	pages = {95--103},
}

@book{walker_abandoned_2020,
	address = {Charleston},
	title = {Abandoned {East} {Bay} {San} {Francisco}: {Where} {Graffiti} {Is} {King}},
	isbn = {978-1-63499-271-8},
	language = {English},
	publisher = {America Through Time},
	author = {Walker, Xan Blood},
	year = {2020},
	keywords = {Graffiti, Graffiti writing, USA, San Francisco},
}

@article{wall_art_2020,
	title = {Art \& {Archaeology}: {Uncomfortable} {Archival} {Landscapes}},
	volume = {39},
	issn = {1476-8062},
	doi = {10.1111/jade.12316},
	abstract = {This paper conceptualises practice in the space between and beyond Art \& Archaeology as a zone where disciplinary certainties and known practices are unsettled, expanded and re-cast. We will outline our current thinking about heritage landscapes as places and temporalities for engagement in the practice of what Henk Slager calls the para-archive. For us, landscape functions as a kind of living archive, however, following Jacques Derrida, we are sceptical of the privileged relation between archive, law and authority. Therefore, in this paper we will think through our interdisciplinary research in the context of the development of creative para-archives, which facilitate new, affective ways of thinking and making by bringing together the previously unimagined. Responding to the challenge of the SARS-CoV-2 discomfort zone, we seek to surface creative practices, activate archival disruptions and expand pedagogical approaches to the articulation of uncomfortable archival landscapes. The pandemic has brought into sharp focus the need to re-conceptualise visions of space, experiences of place and archival practices. During a virtual fieldtrip students accessed a range of materials from Scotland’s National Record of the Historic Environment. We aimed to enable the co-design and co-production of a virtual fieldtrip, followed by discussions about our collective conceptualisations of landscapes of discomfort. The archaeological fieldwork in the virtual realm provides a context for students to engage in desirology as a catalyst for deranging, re-associating and re-imagining the archive in creative ways.},
	language = {English},
	number = {4},
	journal = {International Journal of Art \& Design Education},
	author = {Wall, Gina and Hale, Alex},
	year = {2020},
	note = {Num Pages: 18},
	keywords = {Graffiti, Art, Archaeology, Archive, Landscape},
	pages = {770--787},
}

@book{walsh_graffito_1996,
	address = {Berkeley},
	title = {Graffito},
	isbn = {978-1-55643-231-6},
	abstract = {The graffiti phenomenon taking place in urban America has erupted into a full scale war. The main weapons: aerosol spray paint versus hundreds of taxpayer-funded abatements programs. To the graffiti writer, graffiti is a secret language, an empowering form of self-expression, a screaming voice against an unjust, alienating society. To the upholders of social law and order, graffiti is "vandalism," an ugly and terrifying threat to social value, which cost U.S. taxpayers four billion dollars in 1995. 
For two years, beginning in the fall of 1994, Michael Walsh immersed himself in the graffiti world of the San Francisco Bay Area. He took thousands of photographs, frequented train yards, went on all-night "bombing runs" with graffiti writers, prowled the Muni train tunnels at 3a.m., rode with graffiti abatement crews, spoke with small business owners who are frequent targets of graffiti, and tracked down key city officials and personnel directly involved with graffiti removal. 
This powerful book delivers a raw, in-your-face account of this complex and controversial subject. It contains nearly 200 photographs, and quotes from over fifty interviews regarding both sides of the issue, and dispels many of the media-generated myths concerning graffiti. In this moving, articulate, visual account, Michael Walsh presents to us an urban phenomenon begging to be understood.},
	language = {English},
	publisher = {North Atlantic Books},
	author = {Walsh, Michael},
	year = {1996},
	keywords = {Graffiti, Brett Webb},
}

@article{ward_drawing_2022,
	title = {Drawing the {Line}: {A} {Legal} {Geography} of {Street} {Art} in the {London} {Borough} of {Tower} {Hamlets}},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.623},
	abstract = {his article presents the findings of a small study that examines how and why the London Borough of Tower Hamlets introduced a policy in 2019 to distinguish between graffiti and street art. In doing so, this study adopts the theoretical vocabulary of legal geography to intervene in debates concerning the distinction between graffiti and street art. The research begins by outlining East London as a site of empirical interest, before defining several concepts in legal geography that are argued to be of analytical use for graffiti and street art scholars. The methodology of the study is presented before describing the results: that street art is selectively retained in Tower Hamlets because it valorises and decorates property where graffiti is considered to threaten the dominance of property in the spatial imagination of the law. As such, legal geography is presented as a critical tool to interrogate the instrumentalisation of policies, like that in Tower Hamlets, that seek to regulate what can be termed street art.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Ward, Tom},
	year = {2022},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Legality, Semiotics, Property},
	pages = {144--155},
}

@article{warerkar_190_2016,
	title = {190 {Bowery} {Will} {Be} {Stripped} of {Its} {Graffiti}, {But} {One} {Tag} {Will} {Remain}},
	url = {https://ny.curbed.com/2016/6/16/11955792/190-bowery-germania-bank-graffiti-removal-nekst},
	abstract = {Come this weekend, most of the historic building's graffiti will be no more},
	language = {English},
	journal = {Curbed NY},
	author = {Warerkar, Tanay},
	year = {2016},
	keywords = {Graffiti, New York, Historic building},
}

@misc{weisberg_difference_2012,
	title = {The {Difference} {Between} {Street} {Art} and {Graffiti}},
	url = {https://schriftfarbe.com/the-difference-between-street-art-and-graffiti},
	language = {English},
	author = {Weisberg, Jill C.},
	year = {2012},
	keywords = {Graffiti, Street art},
}

@book{weltkulturerbe_volklinger_hutte_5_2019,
	address = {Esslingen},
	title = {5. {UrbanArt}! {Biennale} 2019® unlimited. {New} {York} {\textbar} {Paris} {\textbar} {Berlin} {\textbar} {Völklingen}},
	isbn = {978-3-947563-36-4},
	abstract = {Die weltweit bedeutendste Präsentation der Urban Art – 2019 zum fünften Mal gezeigt Ihre Themen sind Stadt und urbaner Lebensstil, ihre Leinwände Mauern, Türen oder Fenster, ihre Künstler kosmopolitisch. Seit der Jahrtausendwende ist die Urban Art aus den unkommerziellen, oft illegalen Kunstformen Graffiti und Street-Art hervorgegangen. Zwar bedient sie sich der gleichen Stilmittel – Sprühen, Taggen, bewusstes Setzen von Farbnasen, Verwendung von Graffiti-Schriften etc. ¬–, holt diese aber als beauftragtes Werk in den legalen Raum des Museums, der Galerie oder der Architektur. Die Urban Art! Biennale im Weltkulturerbe Völklinger Hütte gilt als ihre größte internationale Werkschau. 50 Exponate und 25 Installationen von hundert Künstlern zeigen neueste Entwicklungen und Positionen aus westlichen Metropolen ebenso wie aktuellen Brennpunkten weltweit. Der Katalog erscheint begleitend zur Ausstellung im Weltkulturerbe Völklinger Hütte vom 14. April bis 3. November 2019.},
	language = {German},
	publisher = {Edition Cantz},
	author = {Weltkulturerbe Völklinger Hütte and Grewenig, Meinrad Maria},
	year = {2019},
	keywords = {Graffiti, Street art, Urban art},
}

@book{werbner_political_2014,
	address = {Edinburgh},
	title = {The political aesthetics of global protest: {The} {Arab} {Spring} and beyond},
	isbn = {978-0-7486-9335-1},
	abstract = {From Egypt to India, and from Botswana to London, worker, youth and middle class rebellions have taken on the political and bureaucratic status quo and the privilege of small, wealthy and often corrupt elites at a time when the majority can no longer earn a decent wage. 
A remarkable feature of the protests from the Arab Spring onwards has been the salience of images, songs, videos, humour, satire and dramatic performances. This book explores the central role the aesthetic played in energising the mass mobilisations of young people, the disaffected, the middle classes, the apolitical silent majority, as well as enabling solidarities and alliances among democrats, workers, trade unions, civil rights activists and opposition parties. 
Comparing the North African and Middle Eastern uprisings with protest movements such as Occupy, the authors bring to bear an anthropological and sociological approach from a variety of perspectives, illuminating the debate by drawing on a wide array of disciplinary expertise. 
Case studies include 
{\textgreater} Protests about regime change in Tunisia, Egypt, Syria, Libya, Bahrain, Yemen and Russia 
{\textgreater} Corruption in India 
{\textgreater} The demise of the welfare state in Spain, Israel and Greece 
{\textgreater} The living wage in Botswana and Wisconsin 
{\textgreater} The financial crisis and corporate greed and the Occupy movement in British and American cities},
	language = {English},
	publisher = {Edinburgh University Press},
	editor = {Werbner, Pnina and Webb, Martin and Spellman-Poots, Kathryn},
	year = {2014},
	keywords = {Graffiti, Street art, Political graffiti, Arab Spring},
}

@book{weyres_aix_2018,
	address = {Aachen},
	title = {Aix {Vandals}. {Graffiti} und {Writing} in {Aachen} 1988–2018},
	language = {German},
	publisher = {Centre Charlemagne - Neues Stadtmuseum},
	editor = {Weyres, Thomas and Kaltenhäuser, Robert and Kroll, Myriam and Pohle, Frank},
	year = {2018},
	keywords = {Graffiti, Germany, Aachen},
}

@article{whiddington_archaeologists_2023,
	title = {Archaeologists {Are} {Using} {Imaging} {Technology} to {Capture} 2,000 {Years} of {Ancient} {Graffiti} {Scratched} {Into} the {Walls} of an {Egyptian} {Temple}},
	url = {https://news.artnet.com/art-world/temple-of-isis-egypt-ancient-graffiti-photogrammetry-2282967},
	abstract = {The inscriptions include textual graffiti, depictions of hunting scenes, and feet imprints.},
	language = {English},
	journal = {Artnet News},
	author = {Whiddington, Richard},
	month = apr,
	year = {2023},
	keywords = {Graffiti, Egypt, Egyptology, Temple of Isis},
}

@article{widiarto_aesthetics_2018,
	title = {Aesthetics of {Change} {Multiculturalism} and the street art of {Footscray}},
	volume = {4},
	issn = {2183-3869},
	doi = {10.25765/sauc.v4i1.121},
	abstract = {Street art is considered by many as a cultural practice, which like all cultures, has its diversity within it. Through the analysis of three case studies, this article demonstrates the value in using multiculturalism as a framework for developing street art. This study is situated in the Melbourne suburb of Footscray in Australia, from 2014 – 2018 which has been undergoing urban development and gentri cation. Each case study features artists that have created a street art piece in the suburb during the research period. There are varied opinions about what constitutes street art and how to de ne a street artist. In order to contain our research, the article focuses on artists who create legal murals. Through an exploration of their work, techniques and intent behind their art, the article presents an understanding of the diversity that exists within the street art community. Culture and multiculturalism have broad interpretations and this research suggests understanding multiple perspectives from a lived experience to political forms of management and integration. Theoretical literature, are reviewed to explore how they are at work in contemporary discourses of government, arts and community. The setting for this research, Footscray, is known as a culturally diverse inner-city suburb, that has been reportedly going through the process of gentri cation. We examine gentri cation’s impact on social diversity and also explore the role of street artists as both gentri es and activists against gentri cation. This article intends to prove that the application of multicultural theory to street art projects can create community resilience during times of urban transition. Through this research, we investigate street art as a manifestation of the cultural diversity of the community. As such, it demonstrates how an understanding of multiculturalism from di erent perspectives, can provide a framework for the development of future street art projects by artists, communities and organisations.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Widiarto, Christie},
	year = {2018},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {36--45},
}

@article{wiedemann_zu_1900,
	title = {Zu den {Felsgraffiti} in der {Gegend} des ersten {Katarakts}},
	volume = {3},
	issn = {0030-5383},
	doi = {10.1524/olzg.1900.3.16.86},
	language = {German},
	number = {1-6},
	journal = {Orientalistische Literaturzeitung},
	author = {Wiedemann, A.},
	year = {1900},
	note = {Num Pages: 3},
	keywords = {Graffiti, Egypt},
	pages = {86--88},
}

@book{wiese_graffiti_1996,
	address = {Moers},
	series = {Aragon},
	title = {Graffiti {Dortmund}: {Die} {Kunst} der {Sachbeschädigung}},
	isbn = {3-89535-431-7},
	abstract = {Für American Graffiti ist die Dortmunder Graffiti-Szene in Deutschland und vielleicht sogar weltweit führend. Nirgends werden mehr Züge besprüht, nirgends fahren mehr Züge bemalt aus den Depots. Die Geschichte der Entwicklung der Dortmunder Szene wird in diesem Buch beschrieben und die klare Linienführung des "Dortmund Style" in Bildern gezeigt.},
	language = {German},
	number = {3},
	publisher = {Edition Aragon},
	author = {Wiese, Markus},
	year = {1996},
	keywords = {Graffiti, Street art, Germany, Dortmund},
}

@article{wild_dem_2023,
	title = {Dem {Donaukanal}-{Chamäleon} auf der {Spur}: {Auch} {Wandbemalungen} aus der frühen {Vergangenheit} und {Gegenwart} sind für die {Wissenschaft} interessant},
	url = {https://www.derstandard.at/story/2000144976673/dem-donaukanal-chamaeleon-auf-der-spur},
	abstract = {Auch Wandbemalungen aus der frühen Vergangenheit und Gegenwart sind für die Wissenschaft interessant},
	language = {German},
	journal = {Der Standard},
	author = {Wild, Benjamin and Schlegel, Jona},
	month = feb,
	year = {2023},
	keywords = {Graffiti, INDIGO, Donaukanal},
}

@article{wild_tracking_2023,
	title = {Tracking the urban chameleon – {Towards} a hybrid change detection of graffiti},
	volume = {X-M-1-2023},
	issn = {2194-9050},
	doi = {10.5194/isprs-annals-X-M-1-2023-285-2023},
	abstract = {Colourful and ever-changing: Graffiti can be considered the urban chameleon skin. At the Donaukanal (Eng. Danube Channel), Vienna's central waterway and one of the largest and most active graffiti-scapes worldwide, this metaphor applies like hardly anywhere else. Every day a multitude of graffiti is destroyed by the creation of new works. Recently, efforts have been made to mitigate this constant loss of cultural heritage along the Donaukanal by systematically documenting the graffiti, mainly using photography and photogrammetry. However, keeping track of the newly added works is very time-consuming and often like finding needles in a haystack, considering the large extent and high volatility of the monitored area. Thus, an automated graffiti change detection would significantly reduce the effort and avoid overlooking graffiti. 
This contribution outlines the main challenges in image-based change detection for cultural heritage and proposes a hybrid graffiti change detection method. The investigated method exploits and combines an established pixel-based change detection algorithm, the Iteratively Multivariate Alteration Detection, with a novel descriptor-based method. The latter relies on image features, rather than pixels as analysis unit and can robustly filter false alarms from the high-performing but noise-prone pixel-based approach. Overall, the results indicate that the proposed method can largely automate image-based change detection of graffiti-scapes. It can uncover graffiti-related changes and robustly distinguish them from other image differences such as shadows but tends to overlook small-scale graffiti, indicating the need for further fine-tuning.},
	language = {English},
	journal = {ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences},
	author = {Wild, Benjamin and Verhoeven, Geert Julien Joanna and Pfeifer, Norbert},
	year = {2023},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Computer vision, Change detection, SIFT (Scale-Invariant Feature Transform), SURF (Speeded Up Robust Feature), Donaukanal, IR-MAD (Iteratively Reweighted Multivariate Alteration Detection), MAD (Multivariate Alteration Detection)},
	pages = {285--292},
}

@article{wild_autografautomated_2022,
	title = {{AUTOGRAF}—{AUTomated} {Orthorectification} of {GRAFfiti} {Photos}},
	volume = {5},
	issn = {2571-9408},
	doi = {10.3390/heritage5040155},
	abstract = {Admired and despised, created and destroyed, legal and illegal: Contemporary graffiti are polarising, and not everybody agrees to label them as cultural heritage. However, if one is among the steadily increasing number of heritage professionals and academics that value these short-lived creations, their digital documentation can be considered a part of our legacy to future generations. To document the geometric and spectral properties of a graffito, digital photographs seem to be appropriate. This also holds true when documenting an entire graffiti-scape consisting of 1000s of individual creations. However, proper photo-based digital documentation of such an entire scene comes with logistical and technical challenges, certainly if the documentation is considered the basis for further analysis of the heritage assets. One main technical challenge relates to the photographs themselves. Conventional photographs suffer from multiple image distortions and usually lack a uniform scale, which hinders the derivation of dimensions and proportions. In addition, a single graffito photograph often does not reflect the meaning and setting intended by the graffitist, as the creation is frequently shown as an isolated entity without its surrounding environment. In other words, single photographs lack the spatio-temporal context, which is often of major importance in cultural heritage studies. Here, we present AUTOGRAF, an automated and freely-available orthorectification tool which converts conventional graffiti photos into high-resolution, distortion-free, and georeferenced graffiti orthophotomaps, a metric yet visual product. AUTOGRAF was developed in the framework of INDIGO, a graffiti-centred research project. Not only do these georeferenced photos support proper analysis, but they also set the basis for placing the graffiti in their native, albeit virtual, 3D environment. An experiment showed that 95 out of 100 tested graffiti photo sets were successfully orthorectified, highlighting the proposed methodology’s potential to improve and automate one part of contemporary graffiti’s digital preservation.},
	language = {English},
	number = {4},
	journal = {Heritage},
	author = {Wild, Benjamin and Verhoeven, Geert Julien Joanna and Wieser, Martin and Ressl, Camillo and Schlegel, Jona and Wogrin, Stefan and Otepka-Schremmer, Johannes and Pfeifer, Norbert},
	year = {2022},
	note = {Num Pages: 23},
	keywords = {Graffiti, Street art, Cultural heritage, IBM (Image-Based Modelling), SfM (Structure from Motion), Vienna, Metashape, INDIGO, AUTOGRAF, Georeferencing, Orthorectification},
	pages = {2987--3009},
}

@article{wilde_power_2023,
	title = {Power {Rarely} {Falls} {Within} the {Right} {Hands}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Wilde, Aida},
	year = {2023},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {94--99},
}

@article{wilde_notes_2021,
	title = {Notes from a {Phantom}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Wilde, Aida and Sowinski, Ego Ahaiwe},
	year = {2021},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art},
	pages = {88--93},
}

@article{wilde_dreamboat_2022,
	title = {Dreamboat {II}: {Money} {Talks}},
	volume = {3},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Wilde, Aida and Vo, Dan},
	year = {2022},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, Interview},
	pages = {120--125},
}

@book{wilke_hiphop_2022,
	address = {Wiesbaden},
	title = {{HipHop} im 21. {Jahrhundert}: {Medialität}, {Tradierung}, {Gesellschaftskritik} und {Bildungsaspekte} einer ({Jugend}-){Kultur}},
	isbn = {978-3-658-36515-8},
	abstract = {Der Band liefert eine Bestandsaufnahme der bisherigen Entwicklungen von HipHop in Deutschland und geht der Vielfältigkeit der Zugänge, den Formen der inhaltlichen Auseinandersetzungen sowie der Ausdrucksformen nach. Es werden im Wesentlichen folgende Felder thematisiert und kartographiert: HipHop \& Wissenschaft, Gender, (Post-)Migration, Empowerment \& Bildung, mediale Repräsentationen, Archivierung \& Tradition sowie Gesellschaftskritik.},
	language = {German},
	publisher = {Springer Fachmedien Wiesbaden},
	editor = {Wilke, Thomas and Rappe, Michael},
	year = {2022},
	keywords = {Graffiti, Hip hop},
}

@article{willcocks_hands_2015,
	title = {The hands behind the cans},
	volume = {1},
	issn = {2183-3869},
	doi = {10.25765/sauc.v1i1.20},
	abstract = {Nowadays, walking around any city is a guarantee of seeing graffiti, while the public transportation are still a good canvas for writers. It is a well-established social phenomenon and has catch the attention of ethnographers, academic artists and other scholars that have entered the worlds of graffiti writers to explain their origins, trajectories, motivations, their identity construction, their conception of the self and their role and relation with society at large. However, still there is no synthetic effort of categorisation that provides understandable and communicable approaches to graffiti in the real world. From some sectors graffiti is still something to “deal with”. Generally speaking, authorities and dutyholders consider graffiti as threat a security and safety issue, turning it into something that needs to be addressed. For social workers, for instance, graffiti can be a means of communication with certain youth sectors or even a tool for social cohesion generation. Departing from this perspective, Graffolution was designed: an EC funded project for generating awareness and advance in the provision of best practices for tackling graffiti in Austria, Germany, Spain and the United Kingdom. The first rule encountered is no-one-size-fits-all and referring to graffiti and graffiti writers, this requires a complex understanding of the phenomenon, their trajectories as well as individual and collective dispositions. The aim of this paper is to provide a consistent typology of graffiti writers, offering a comprehensive picture of whose are the hands behind the graffiti cans. This serves a double level purpose: advancing at the theoretical level putting forward the sociocultural approaches to careers and social backgrounds provided by ethnographic approaches, as well as capturing the complexity of the phenomenon to serve as an operative conceptual basis for practitioners, professionals and decision makers. In doing so, the analysis is made on the transcripts obtained for 22 semi-structured interviews, carried out in the four participating countries. The transcripts have been analysed according to the “persona” methodology, which constitutes a systematic and novel approach and a qualitative technique for clustering information. As a result, three main categories have been defined according to important ambitions, challenges and stages of typical ‘journeys’ or ‘pathways’ of actors. These findings contribute to form a basis of a) highlight the misconceptions around graffiti as a petty crime, and b) offer a guide to understand graffiti writers under a socio-cultural perspective.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Willcocks, Marcus and Thorpe, Adam and Toylan, Gamze and Clavell, Gemma Galdon and Moliner, Liliana Arroyo},
	year = {2015},
	note = {Num Pages: 12
ISBN: 9781522943389},
	keywords = {Graffiti, Street art, Graffiti writing},
	pages = {80--91},
}

@article{willcocks_search_2016,
	title = {In search of a commons of centers: reviewing values and methods designed to assert benefit, harm or opportunity among uncommissioned visual urban practices},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i2.49},
	abstract = {Photographer Martha Cooper points out that artists and graffitists define street art as pictures and graffiti as words (Cooper, 2016). Meanwhile, municipal authorities, property and transport managers may tell us that street art is framed by what is legal and graffiti by what is illegal. This is not an article about art versus crime, rather it is about disparate and commonly accessible centers for discussing and understanding value, in ways that look toward easier dialogue across and between long-separated specialisms concerned with unsolicited visual urban practice and efforts to manage those. To Cooper the processes of painting and urban play are at the center, to authorities legal, political and commercial demands lie far closer to the center. Each of us who variously associate or engage with uncommissioned street art, urban creativity or graffiti, bring new centers and peripheries, be those related to social personal interest, professional occupation, or spatial action. Artists, creative practitioners, urban managers, land owners, cultural consumers, transport providers, academics, activists and self-proclaimed vandals, each reframe what we bring to this terrain through highly disparate values and indicators that we consciously or unconsciously attribute to these informal visual urban practices. This article draws on findings from a recent major European research project, Graffolution, plus separate socially responsive design-led insights gathered through the Graffiti Dialogues Network via the University of the Arts London, plus interviews with a wide range of individuals, diversely concerned with graffiti and related practices. It sets out to identify and discuss some of the value-sets and indicators which some consider as central and others consider peripheral in experiencing, managing, creating or otherwise intervening in urban contexts through visual practices. The article refers to cases that merge diverse value centers, in varying success, and discloses a number of immediate opportunities for prototyping new common and accessible ways to understand and respond to different centers and peripheries of value.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Willcocks, Marcus and Toylan, Gamze},
	year = {2016},
	note = {Num Pages: 15
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art},
	pages = {22--36},
}

@book{willms_sprayer_2010,
	address = {Marburg},
	title = {Sprayer im {White} {Cube}: {Streetart} zwischen {Alltagskultur} und kommerzieller {Kunst}},
	isbn = {978-3-8288-2473-7},
	abstract = {Bäume und Bürgersteige, Ampeln und Mülleimer, Wände und Stromkästen - kreativ gestaltet werden sie zu Kunstobjekten. Längst hat Streetart den öffentlichen Raum der Städte erobert - auch gesellschaftlich und ästhetisch ist sie relevant geworden. Auf einer kulturanthropologischen Spurensuche erkundet Claudia Willms, wie aus der Subkultur eine Ware im Umfeld kommerzieller Kunst wurde. Mit der postmodernen Wende wandelte sich gleichzeitig das Verhältnis von Subkultur und Mainstream. Kritisch hinterfragt die Autorin die kulturelle Bedeutung des diskursiven Konstrukts der vom Underground in den Mainstream aufsteigenden kulturellen Formen. Ein Exkurs vertieft die Frage, was in unserer Gesellschaft Kunst sein darf. Was passiert mit kulturellen Formen, wenn sie vom Alltagsgebrauch ins Museum oder in die Galerie wandern? Wie verändern sich dabei die Kunstschaffenden? Der Sprayer, Künstler und Kurator NoLogo aus Dresden, die Veranstalter der beyond streetart-Ausstellung in Düsseldorf und der bekannte Hamburger Kunstsammler und Kurator Rik Reinking berichten aus der Praxis und diskutieren mit der Autorin die aktuellen Entwicklungen der Streetart.},
	language = {German},
	publisher = {Tectum Verlag},
	author = {Willms, Claudia},
	year = {2010},
	keywords = {Graffiti, Street art},
}

@book{wilson_prison_2008,
	address = {New York},
	title = {Prison: {Cultural} memory and dark tourism},
	isbn = {978-1-4331-0279-0},
	abstract = {Prison: Cultural Memory and Dark Tourism discusses decommissioned Australian prisons currently or potentially functioning as tourist attractions. In particular, it addresses a fundamental question: Do the interpretations and presentations of the sites include and fairly represent the personal stories and experiences associated with those prisons? The author argues that the conventional understanding of most of Australia’s historical prisons fosters a radical «othering» of inmates, and with it the exclusion, distortion and historical neglect of their narratives. 
This book examines avenues via which neglected narratives may be glimpsed or inferred, presenting a number of examples. This remedies the imbalance in some degree – and tests such avenues’ potential as resources for inclusive interpretations by public historians and curators. The book also focuses on the influence of «celebrity prisoners», whose links to the penal system are exploited as promotional features by the sites and in some cases by the individuals themselves. Their narratives provide broad, if unwitting, support for the system and for the othering of the more general inmate population. 
The ramifications of the above with regard to aspects of Australian identity mean that certain facets of the «Australian character» traditionally held to be emblematic are affected. These effects have subtle but tangible consequences for modern Australians’ collective memory and deleterious consequences for current popular attitudes to penal practice.},
	language = {English},
	publisher = {Peter Lang Publishing},
	author = {Wilson, Jacqueline Z.},
	year = {2008},
	keywords = {Graffiti, Prison},
}

@book{wimsatt_bomb_1994,
	address = {Chicago},
	edition = {Revised, second},
	title = {Bomb the {Suburbs}},
	isbn = {0-9643855-0-3},
	abstract = {Should graffiti writers organize to tear up the cities, or should they really be bombing the ?burbs? That’s the question posed by William Upski Wimsatt in his seminal foray into the world of hip-hop, rap, and street art, and the culture and politics that surround it. But to say that the book deals only with taggers and hip-hop is selling it short. Taking on a broad range of topics, including suburban sprawl, racial identity, and youth activism, Wimsatt (a graffiti artist himself) uses a kaleidoscopic approach that combines stories, cartoons, interviews, disses, parodies, and original research to challenge the suburban mindset wherever it’s found: suburbs and corporate headquarters, inner cities and housing projects, even in hip-hop itself. Funny, provocative, and painfully honest, Bomb the Suburbs encourages readers to expand their social boundaries and explore the vibrant, chaotic world that exists beyond their comfort zones.},
	language = {English},
	publisher = {The Subway And Elevated Press Company},
	author = {Wimsatt, William Upski},
	year = {1994},
	keywords = {Graffiti, USA, Bombing, Hip-hop, Chicago},
}

@book{wimsatt_bomb_2008,
	address = {New York},
	edition = {15th anniversary},
	title = {Bomb the suburbs},
	isbn = {978-1-933368-55-9},
	abstract = {Should graffiti writers organize to tear up the cities, or should they really be bombing the ‘burbs? That’s the question posed by William Upski Wimsatt in his seminal foray into the world of hip-hop, rap, and street art, and the culture and politics that surround it. But to say that the book deals only with taggers and hip-hop is selling it short. Taking on a broad range of topics, including suburban sprawl, racial identity, and youth activism, Wimsatt (a graffiti artist himself) uses a kaleidoscopic approach that combines stories, cartoons, interviews, disses, parodies, and original research to challenge the suburban mindset wherever it’s found: suburbs and corporate headquarters, inner cities and housing projects, even in hip-hop itself. Funny, provocative, and painfully honest, Bomb the Suburbs encourages readers to expand their social boundaries and explore the vibrant, chaotic world that exists beyond their comfort zones.},
	language = {English},
	publisher = {Soft Skull Press},
	author = {Wimsatt, William Upski},
	year = {2008},
	keywords = {Graffiti, USA, Bombing, Hip-hop, Chicago},
}

@article{wiorko_caring_2017,
	title = {Caring for creative possibility: {Locality} as heritage},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i1.57},
	abstract = {This paper addresses the problem of how to articulate the notions of heritage and locality, while looking at accessible public space as the ground for the awareness of its possibilities. Acknowledging the importance of scattered creative and co-creative experiments – spatial and political practices which are seen as proposals with great cultural value – what is proposed is a challenge: to look at neighborhoods as players in a more densely connected urban narrative. The way heritage is reinterpreted appears then as a citizenly contribution for a more diverse urban sensescape, where values such as vicinity or provocation can become operative. A major conclusion is that an ethics of the curatorial – as implied in the concept by Irit Rogoff – is the basis for a pragmatics of the urban realm where heritage can have a futurant sense.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Wiórko, Agata},
	year = {2017},
	note = {Num Pages: 6
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Heritage, Public space},
	pages = {6--11},
}

@book{witten_style_2001,
	address = {New York},
	title = {Style master general: the life of graffiti artist {Dondi} {White}},
	isbn = {0-06-039427-7},
	abstract = {Coming of age in hardscrabble East New York in the early 1970s, Dondi White unknowingly began the process of introducing a whole new artistic dialect into the cacophony of the American art scene. His train pieces painted from roughly 1977 to 1982 stand as some of the most influential works ever committed to Transit Authority steel. Writing with legendary partners such as DURO, NOC 167, KID 56, KEL 139, and FUZZ ONE, Dondi created some of graffiti art's most enduring iconography.},
	language = {English},
	publisher = {ReganBooks},
	author = {Witten, Andrew "ZEPHYR" and White, Michael},
	collaborator = {McCormick, Carlo and Chalfant, Henry},
	year = {2001},
	keywords = {Graffiti, New York, USA, America, Dondi White},
}

@book{wood_graffiti_2015,
	address = {London},
	series = {Is it really art?},
	title = {Graffiti},
	isbn = {978-1-4451-4396-5},
	abstract = {Is it Art? is a series of books focusing on exciting contemporary art forms. From graffiti to junk sculptures and from urban street art to installations, Is it Art? offers young readers examples from each medium and tells the story behind their creation. The series also encourages discussion and suggests activities so that readers can try making their own art.},
	language = {English},
	number = {1},
	publisher = {Franklin Watts},
	author = {Wood, Alix},
	year = {2015},
	keywords = {Graffiti, Art, Vandalism, Australia},
}

@article{woods_secondary_2019,
	title = {Secondary {Vandals}: {The} {Performances} of {Uncommmisioned} {Urban} {Art} in {Post}-{Earthquake} {Christchurch}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Woods, Reuben},
	year = {2019},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art},
	pages = {20--29},
}

@book{woodward_world_2023,
	address = {Abingdon; New York},
	title = {World {Heritage}: {Concepts}, {Management} and {Conservation}},
	isbn = {978-1-003-04485-7},
	language = {English},
	publisher = {Routledge},
	author = {Woodward, Simon C. and Cooke, Louise},
	year = {2023},
	doi = {10.4324/9781003044857},
	keywords = {Graffiti, Climate change, World heritage},
}

@book{woolfitt_graffiti_2021,
	address = {Swindon},
	series = {Historic {England} {Advice} and {Guidance}},
	title = {Graffiti on {Historic} {Buildings}: {Removal} and {Prevention}},
	abstract = {This publication provides guidance to building owners, conservation professionals, local authorities and estate managers responsible for dealing with graffiti on historic buildings and sites. 
It describes the types of graffiti and historic materials affected, the legal context for reporting and prosecuting graffiti crime, general advice on removing graffiti, best technical practice expected of specialist graffiti-removal contractors, and prevention measures. It also addresses wider cultural developments, notably the increased public recognition and acceptance of ‘street art’, and the consequent need to define the boundaries between street art and unwanted graffiti.},
	language = {English},
	number = {288},
	publisher = {Historic England},
	author = {Woolfitt, Catherine and Fairchild, Jamie},
	year = {2021},
	keywords = {Graffiti, Graffiti removal, Building},
}

@article{woolner_graffiti_1957,
	title = {Graffiti of {Ships} at {Tarxien}, {Malta}},
	volume = {31},
	issn = {0003-598X},
	doi = {10.1017/S0003598X00022122},
	language = {English},
	number = {122},
	journal = {Antiquity},
	author = {Woolner, Diana},
	year = {1957},
	note = {Num Pages: 8},
	keywords = {Graffiti, Malta, Tarxien, Temple},
	pages = {60--67},
}

@article{wunderlich_no_2019,
	title = {No more white cubes: {Street} {Art} {Museum} {Amsterdam}},
	volume = {4},
	issn = {2574-0296},
	abstract = {Noteworthy museums in Europe and North America have organized international exhibitions that appropriated street art to display within a gallery space. This paper argues that the restrictive framework of the ‘white cube’ museum space is incompatible for the display of street art. As the museum redefines its role in our society and carefully crafts appropriate narratives around cultural objects, it must also rethink its presentation of artworks like street art. All cultures deserve to have their story told in their way, and their objects authentically displayed – including street art culture. Taken from a larger research project, this article considers the conceptual relationship between street art and the museum, and physical display of the artwork. Rather than forcing the art to conform to the museum, the strategies of the Street Art Museum of Amsterdam are highlighted to provide opportunities for the museum to reconsider its role in the presentation of street art.},
	language = {English},
	number = {1},
	journal = {The Museum Review},
	author = {Wunderlich, Caitlin S.},
	year = {2019},
	note = {Num Pages: 21},
	keywords = {Graffiti, Street art, Museum, Amsterdam},
}

@article{xyntarianos_tsiropinas_design_2017,
	title = {Design workshop: {The} case of creating a stencil mural},
	volume = {3},
	issn = {2183-3869},
	doi = {10.25765/sauc.v3i2.81},
	abstract = {Street art, as a global art movement, affects the daily lives of people in towns and cities of our world. Taking that into consideration, this paper reports on the concept of creating a stencil workshop with the goal of painting a stencil - mural (large scale artwork on a vertical surface). This co-design workshop includes some type of Maker technology approached through experiential learning and educational methodologies similar to those used in Design courses, as the ones taught at the Department of Product and Systems Design Engineering of the University of the Aegean. The multidimensional character of street artists is presented in this paper’s introduction and their role as creators is examined under the light of design. The techniques and methods they use can be analyzed as design processes, one of which is the creation of stencils. Specific reference is made to the history of this artistic medium, alongside other ways of transferring a draft from paper or the screen on to the wall. The stencil-mural workshop took place in the city of Hermoupolis, Syros, Greece and was attended by 24 participants, young design students from different semesters, who worked individually or in groups for three days. The final artwork and the individual steps of its production are presented, and the paper concludes with all the results and insights provided by the study of the process and the feedback received from the workshop participants.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Xyntarianos Tsiropinas, Paris},
	year = {2017},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Stencil graffiti, Murals, Mural art},
	pages = {53--64},
}

@article{yasar_urban_2023,
	title = {Urban {Furniture} in the {Framework} of {Economic}, {Social}, and {Environmental} {Sustainability}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.696},
	abstract = {Urban furniture plays an important role in the making of sustainable cities and the need to incorporate sustainability requirements into the manufacture of urban furniture has been a part of ongoing debate for the last few decades and numerous studies have been performed on sustainable urban furniture. Notwithstanding above, there is only a limited number of integrated studies that address urban furniture with all its aspects associated with sustainability. Whereas, urban sustainability is a doctrine which is practically concretized with economic, social, and environmental aspects thereof. Accordingly, the present study investigates the material, production, and design stages of urban furniture in social, economic, and environmental contexts, and suggest recommendations regarding the necessary qualities of sustainable urban furniture. These recommendations include utilization of natural and local materials in the design of urban furniture, re-usability of the material, easy supply opportunities, durability against external factors, accidents, and vandalism, compliance with manufacture standards, allowing local intervention in case of damage, use of environmentally friendly technologies in production and design, suitability for long-term use, compatibility of design with the identity of the urban space in which it is located, arrangement and positioning in a way that allows its users to establish social relations, accessibility, and ability to serve all members of the society as much as possible.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Yasar, Dilek},
	year = {2023},
	note = {Num Pages: 7
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Sustainability, Economic value, Furniture},
	pages = {74--80},
}

@article{yerznkyan_graffiti_2021,
	title = {Graffiti as a form of rhetoric},
	volume = {17},
	issn = {1829-2429},
	doi = {10.46991/AFA/2021.17.1.009},
	abstract = {The article touches upon graffiti discourse as a form of rhetorical speech and tries to analyse it according to the three strategies of persuasion suggested by Aristotle: ethos, pathos and logos. The article reveals how specific the graffiti discourse is in terms of using these strategies and how the latter make the speech more powerful and persuasive. Also, an attempt is made to reveal the role of metaphor in the performance of the strategy of pathos in graffiti discourse.},
	language = {English},
	number = {1 (23)},
	journal = {Armenian Folia Anglistika},
	author = {Yerznkyan, Yelena and Gasparyan, Grisha},
	year = {2021},
	note = {Num Pages: 15},
	keywords = {Graffiti},
	pages = {9--23},
}

@article{young_criminal_2012,
	title = {Criminal images: {The} affective judgment of graffiti and street art},
	volume = {8},
	issn = {1741-6590},
	doi = {10.1177/1741659012443232},
	abstract = {This article draws together two distinct strands within contemporary criminological scholarship by focusing on the encounter between the criminal law and the uncommissioned word or image in public space. The first strand of criminological research involves the study of the processes through which aspects of everyday life have become criminalised; the second is that which has investigated the cultural practices known as graffiti and street art, often approached as manifestations of subcultures, as the products of new social movements, and as ambiguous images straddling the art/crime dichotomy. The article examines the response of law to uncommissioned images and words in public space, and investigates the law’s judgment of illicit art and writing. Based upon research done as part of a three-year study of street art and graffiti in a range of jurisdictions, the article draws upon theories of affect to think through the ways in which the illicit writer or artist is constructed.},
	language = {English},
	number = {3},
	journal = {Crime, Media, Culture: An International Journal},
	author = {Young, Alison},
	year = {2012},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, Criminology},
	pages = {297--314},
}

@book{young_street_2014,
	address = {Abingdon; New York},
	title = {Street art, public city: {Law}, crime and the urban imagination},
	isbn = {978-0-415-53869-5},
	abstract = {What is street art? Who is the street artist? Why is street art a crime? 
Since the late 1990s, a distinctive cultural practice has emerged in many cities: street art, involving the placement of uncommissioned artworks in public places. Sometimes regarded as a variant of graffiti, sometimes called a new art movement, its practitioners engage in illicit activities while at the same time the resulting artworks can command high prices at auction and have become collectable aesthetic commodities. Such paradoxical responses show that street art challenges conventional understandings of culture, law, crime and art. 
Street Art, Public City: Law, Crime and the Urban Imagination engages with those paradoxes in order to understand how street art reveals new modes of citizenship in the contemporary city. It examines the histories of street art and the motivations of street artists, and the experiences both of making street art and looking at street art in public space. It considers the ways in which street art has become an integral part of the identity of cities such as London, New York, Berlin, and Melbourne, at the same time as street art has become increasingly criminalised. It investigates the implications of street art for conceptions of property and authority, and suggests that street art and the urban imagination can point us towards a different kind of city: the public city. 
Street Art, Public City will be of interest to readers concerned with art, culture, law, cities and urban space, and also to readers in the fields of legal studies, cultural criminology, urban geography, cultural studies and art more generally.},
	language = {English},
	publisher = {Routledge},
	author = {Young, Alison},
	year = {2014},
	keywords = {Graffiti, Street art, Criminology},
}

@book{young_street_2016,
	address = {London},
	title = {Street art world},
	isbn = {978-1-78023-670-4},
	abstract = {Street art and graffiti are a familiar sight in all our cities. Giant murals commemorate historical events or proclaim the culture of a neighborhood, while tagged walls can function simultaneously as a claim to territory and a backdrop for an urban fashion shoot. Street Art World examines these divergent forms and functions of street art. This strikingly illustrated book explores every aspect of street art, from those who spray it into being to those who revel in it on Instagram, from its place under highway overpasses to one on the austere walls of high art museums. What exactly is street art? Is it the same as graffiti, or do they have different histories, meanings, and practitioners? Who makes it? Who buys it? Can it be exhibited at all, or does it always have to appear unsanctioned? Talking with artists, collectors, sellers, and buyers, author Alison Young reveals an energetic world of self-made artists who are simultaneously passionate about an authentic form of expression and ambivalent about the prospects of selling it to make a living—even a fabulously good one. Drawing on over twenty years of research, she juxtaposes the rise and fall of art markets against the vibrancy of the street and urban life, providing a rich history and new ways of contextualizing the words and images—some breathtakingly beautiful—that seem to appear overnight in cities around the world.},
	language = {English},
	publisher = {Reaktion Books},
	author = {Young, Alison},
	year = {2016},
	keywords = {Graffiti, Street art},
}

@article{young_art_2018,
	title = {Art in the streets: {Place}, genre and encounter},
	volume = {1},
	issn = {2535-549X},
	abstract = {This is a transcript of Professor Alison Young’s keynote presentation at Art on the Streets II: Art as Intervention, at the ICA London, March 21 2018. In addition to original material, this talk draws on a number of her published works, including Street Art World (2016: London: Reaktion); ‘On Walls in the Open City’ in Andrea Mubi Brighenti and Mattias Kärrholm (eds), Urban Walls: Political and Cultural Meanings of Vertical Structures and Surfaces (2019: London: Routledge), and ‘Illicit Interventions in Public Nonspaces’ in Desmond Manderson (ed.) Law and the Visual (2018: Toronto: Toronto University Press).},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Young, Alison},
	year = {2018},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art, Art, Gender},
	pages = {89--95},
}

@article{young_art_2019,
	title = {Art and {Belonging}: {On} {Place}, {Displacement} and {Placelessness}},
	volume = {1},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Young, Alison},
	year = {2019},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Place},
	pages = {10--19},
}

@book{yu_thinking_1975,
	address = {Berkeley},
	title = {The {Thinking} {Man}'s {Graffiti}: {Public} opinion from college and university restrooms across the nation},
	language = {English},
	publisher = {Timco International},
	author = {Yu, Timothy and Jang, Jonathan},
	year = {1975},
	keywords = {Graffiti, USA},
}

@article{yuill_is_2018,
	title = {‘{Is} {Anthropology} {Legal}?’},
	volume = {25},
	doi = {10.3167/aia.2018.250205},
	abstract = {In May 2018, the European Union (EU) introduced the General Data Protection Regulation (GDPR) with the aim of increasing transparency in data processing and enhancing the rights of data subjects. Within anthropology, concerns have been raised about how the new legislation will affect ethnographic fieldwork and whether the laws contradict the discipline’s core tenets. To address these questions, the School of Oriental and African Studies (SOAS) at the University of London hosted an event on 25 May 2018 entitled ‘Is Anthropology Legal?’, bringing together researchers and data managers to begin a dialogue about the future of anthropological work in the context of the GDPR. In this article, I report and reflect on the event and on the possible implications for anthropological research within this climate of increasing governance.},
	language = {English},
	number = {2},
	journal = {Anthropology in Action},
	author = {Yuill, Cassandra},
	year = {2018},
	note = {Num Pages: 6},
	keywords = {Graffiti, Anthropology, GDPR, Pseudonyms},
	pages = {36--41},
}

@article{zahar_arabic_2022,
	title = {Arabic {Calligraffiti}: {A} {Political} {Liminal} {Practice} in {Street} {Art}'s {Visual} {Scene}},
	volume = {8},
	issn = {2183-3869},
	doi = {10.25765/sauc.v8i2.606},
	abstract = {Arabic calligraffiti, a form of urban art, has spread in both Arab and Western cities, including Montreal, Paris and cities in Tunisia and elsewhere in the Arabic world. Its visibility underlines different tensions and highlights various conflicts and power relations, such as Arab-Western tensions in the visual culture of Western cities, tensions around the religious role of Islamic calligraphy in Arab cities, tensions around urban art in all cities, and tensions around the various digital spaces where these works are disseminated (Zahar, 2018). Arabic calligraffiti has its origins in Islamic calligraphy, modern Arabic calligraphy and the globalized graffiti movement. It is situated at the problematic meeting of the Arab and Western worlds and raises the question of possible interpenetrations and/or tensions (physical and digital) between those two cultural ensembles. Arabic calligraffiti can be considered in many ways as a liminal practice. In this article, we will illustrate the different facets of this liminal practice.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Zahar, Hela},
	year = {2022},
	note = {Num Pages: 12
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Calligraphy, Liminality, Arabic},
	pages = {61--72},
}

@article{zahar_street_2016,
	title = {Street {Art}: {Visual} scenes and the digital circulation of images},
	volume = {2},
	issn = {2183-3869},
	doi = {10.25765/sauc.v2i2.51},
	abstract = {Street art is introduced as a global visual scene that is local, trans-local, and digital, as well as a practice that often expresses various tensions of the visibility regimes in which it exists. This study specifically focuses on Arab-occidental expressions of street art in three locations: Paris (France), Djerba (Tunisia), and Montreal (Canada). The visibility regimes of these visual scenes are physical (Arabic and Occidental), but significantly they are also digital (found on social media, web sites, blogs etc.). The concepts of “visual practices,” and more specifically “image practices” (pratiques de l’image), are used to study the spatio-temporal and digital evolution of street art to ascertain the changing nature of these visual scenes, in their specific stagings, as they reflect Arab-Occidental encounters.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Zahar, Hela and Roberge, Jonathan},
	year = {2016},
	note = {Num Pages: 3
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Arab-Occidental},
	pages = {42--44},
}

@article{zahl_aesthetic_2018,
	title = {Aesthetic destruction: {At} home with {Ian} {Strange}},
	volume = {1},
	issn = {2535-549X},
	abstract = {Ian Strange (previously known as Kid Zoom) is a multidisciplinary artist whose work explores architecture, space and the home, alongside broader themes of disenfranchisement within the urban environment. His practice includes large-scale multifaceted projects resulting in photography, sculpture, installation, site-specific interventions, film works, documentary works and exhibitions. His studio practice includes painting and drawing as well as on-going research and archiving projects. Ian’s work is held in private and public collections including The National Gallery of Victoria; Art Gallery of South Australia; Art Gallery of Western Australia, and the Canterbury Museum. He currently lives and works in Brooklyn, New York.},
	language = {English},
	number = {1},
	journal = {Nuart Journal},
	author = {Zahl, Jan},
	year = {2018},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, New York, Interview},
	pages = {83--87},
}

@article{zangemeister_graffito_1867,
	title = {Graffito eines {Oculistenstempels}},
	volume = {2},
	language = {German},
	number = {2},
	journal = {Hermes},
	author = {Zangemeister, K.},
	year = {1867},
	note = {Num Pages: 6},
	keywords = {Pompeii, Roman archaeology, Graffito},
	pages = {313--318},
}

@article{zeneli_development_2023,
	title = {The development of {Albanian} art during the {Middle} {Age}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i1.687},
	abstract = {In the latter part of the Middle Age, Albanian urban society reached a high point of development. Foreign commerce flourished to such an extent that leading Albanian merchants had their own agencies in Ragusa, Venice and other medieval urban centres. This prosperity stimulated the development of education and the arts. Therefore, this paper elaborates some significant features about medieval Albanian cultural history. The works of painters and art masters were observed to provide a more comprehensive overview of culture as an integral component of spiritual life, as well as the Albanian medieval history in general. This paper uses a comprehensive and chronological perspective. This approach combines archival sources with contemporary literature to take a literal interpretation of cultural or artistic developments.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Zeneli, Fidan and Qerimi, Muhamet},
	year = {2023},
	note = {Num Pages: 10
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Middle Ages, Renaissance, Albania, Andrea Alessi, Marco Basaiti},
	pages = {64--73},
}

@book{zimmer_graffitikunst_2017,
	address = {Igling},
	title = {Graffitikunst: {Material}, {Styles} und {Techniken} der {Profis}},
	isbn = {978-3-86355-632-7},
	abstract = {Die Bibel für Graffiti-Begeisterte: Inspiration, Insiderwissen und Tricks von Graffiti-Künstlern aus aller Welt. Lori Zimmer, Autorin, Künstlerin und Kuratorin aus New York, versammelt in diesem Buch die ganze Bandbreite der Graffiti-Kunst. Sie nimmt den Leser mit in die Geschichte einer jungen Kunstform und den konkreten Entstehungsprozess der Dosenkunst: von ersten Straßengraffitis über die Limits von Schablonen bis zu Abstraktion und Mixed Media. Schrittweise bebilderte Entstehungsprozesse ausdrucksstarker Graffitis werden auf über 200 atemberaubenden Farbfotos präsentiert. Ein Highlight für alle Graffiti-Liebhaber.},
	language = {German},
	publisher = {Edition Michael Fischer},
	author = {Zimmer, Lori},
	year = {2017},
	keywords = {Graffiti, Art},
}

@book{zimmer_art_2017,
	address = {Beverly},
	title = {The art of spray paint: {Inspirations} and techniques from masters of aerosol},
	isbn = {978-1-63159-146-4},
	language = {English},
	publisher = {Rockport Publishers},
	author = {Zimmer, Lori},
	year = {2017},
	keywords = {Graffiti, Art},
}

@article{zojaji_making_2021,
	title = {({Un})making {Femininity} on the {Walls} of {Tehran}},
	volume = {7},
	issn = {2183-3869},
	doi = {10.25765/sauc.v7i2.457},
	abstract = {This article explores how a series of street art in Tehran that address the restriction of the right of women to stadium, challenge the official discourse of femininity in the semiotic landscape of Tehran. It investigates how through techniques of carnivalistic satire, these imageries subvert the gender orders that dominate the official visual discourse of femininity in the urban space. The article proposes that the function of this street art series as a form of resistance, is enacted both by their internal generic structure, and in relation to the official mural landscape of the city.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Zojaji, Negar},
	year = {2021},
	note = {Num Pages: 14
Publisher: Urban Creativity},
	keywords = {Graffiti, Street art, Murals, Feminism, Mural art, Iran, Tehran},
	pages = {34--47},
}

@incollection{amato_eagle_2014,
	series = {{CEUR} {Workshop} {Proceedings}},
	title = {{EAGLE} - {Europeana} {Network} of {Ancient} {Greek} and {Latin} {Epigraphy}, {A} {Digital} {Bridge} to the {Ancient} {World}},
	abstract = {This paper discusses the experience of developing a mobile application to increase the use and visibility of EAGLE, the Europeana network of Ancient Greek and Latin Epigraphy. EAGLE is a project financed by the European Commission. Its main aims are to bring together the most prominent European institutions and archives in the field of Classical Latin and Greek epigraphy and to provide Europeana with a comprehensive collection of unique historical sources related to inscriptions. EAGLE also aims to provide a single, user-friendly portal by which to search and browse the majority of surviving inscriptions from the Greco-Roman world. In order to increase the usefulness and visibility of EAGLE, two applications are being developed: a storytelling application to allow teachers and experts to assemble epigraphy-based narratives for the benefit of less experienced users, and a mobile application to enable tourists and scholars to obtain detailed information about the inscriptions they are looking at by taking pictures with their smartphones. In this paper, we will focus on the EAGLE mobile application and give an outline of its architecture and design.},
	language = {English},
	number = {1336},
	booktitle = {{EPC} 2014 {Horizon2020} and {Creative} {Europe} vs {Digital} {Heritage}: {A} {European} {Projects} {Crossover}: {Proceedings} of the {Workshop} on {Horizon2020} and {Creative} {Europe} vs {Digital} {Heritage}: {A} {European} {Projects} {Crossover}. {Flash} {News} co-located with the {International} {Conference} {Museums} and the {Web} {Florence} 2014 ({MWF} 2014)},
	author = {Amato, Giuseppe and Casarosa, Vittore and Martineau, Philippe and Orlandi, Silvia and Santucci, Raffaella and Giberti, Luca Marco Carlo},
	editor = {Ronzino, Paola and Niccolucci, Franco},
	year = {2014},
	note = {Num Pages: 8},
	keywords = {Graffiti, Epigraphy, Roman archaeology, Ancient graffiti, EAGLE, Greek epigraphy, Roman epigraphy},
	pages = {25--32},
}

@incollection{amor_garcia_conservation_2023,
	address = {Lisbon},
	title = {Conservation of {Graffiti}\_Ethics and {Practices}},
	isbn = {979-8-3946-0127-9},
	abstract = {The conservation of contemporary graffiti has been a topic of study scarcely addressed by researchers, practitioners, or the public. Largely, with graffiti being a cultural phenomenon worldwide since the 1970s/80s, the conservation and dissemination of the pieces and murals have always been presented through photographs, in the form of records that allow the collection, admiration and exhibition of what pioneer graffiti writers did, and what later generations have evolved into. 
Documentation can maintain the essence of what is seen, but the reality of admiring a piece in the flesh will always go beyond it. Over the years, graffiti writers and followers have tried to maintain certain throw-ups, pieces, and murals in situ, for a multitude of reasons and with different results—some better than others. In other cases, and from the other perspective, simple luck has given the public the opportunity to rediscover and appreciate works thought lost (and many times hidden) at the locations where they were first created. In most of the cases of these rediscovered productions, the condition of the works became unstable and slowly faded until disappearing completely. Nevertheless, many graffiti pieces have become valuable parts of the urban environment. This plays an important role in opening possibilities regarding extending their life and appreciation through conservation. The same tools conservators use on public and private works can be adapted and applied to accomplish a better treatment of contemporary graffiti and urban art. 
This paper aims to present the opportunities and limits of graffiti conservation, taking into consideration ethical and respectful approaches and the importance of advocating and extending the conservation practice to the support and understanding of Graffiti as a part of the contemporary art repertoire.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Amor Garcia, Rita Lucía},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.714},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Conservation},
	pages = {250--259},
}

@incollection{andron_paint_2016,
	address = {London},
	title = {Paint. {Buff}. {Shoot}. {Repeat}: {Re}-photographing graffiti in {London}},
	isbn = {978-1-78453-459-2},
	language = {English},
	booktitle = {Engaged urbanism: {Cities} \& methodologies},
	publisher = {I.B. Tauris},
	author = {Andron, Sabina},
	editor = {Campkin, Ben and Duijzings, Gerlachlus},
	year = {2016},
	doi = {10.5040/9781350986251.ch-014},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, London, UK},
	pages = {125--130},
}

@incollection{andron_city_2015,
	address = {London},
	series = {Strands book series},
	title = {The {City} and the {Virtual}: {The} {Use} of {Digital} {Technology} in {3D} {Street} {Art}},
	isbn = {978-0-9571470-5-8},
	language = {English},
	booktitle = {Return to the street},
	publisher = {Pavement Books},
	author = {Andron, Sabina and Ramos, Regner},
	editor = {Fuggle, Sophie and Henri, Tom},
	year = {2015},
	keywords = {Graffiti, Street art},
}

@incollection{archer_paris_2017,
	address = {Newcastle upon Tyne},
	title = {Paris: text and image underground},
	isbn = {978-1-4438-4388-1},
	language = {English},
	booktitle = {Text and image in the city: {Manuscript}, print and visual culture in urban space},
	publisher = {Cambridge Scholars Publishing},
	author = {Archer, Caroline},
	editor = {Hinks, John and Armstrong, Catherine},
	year = {2017},
	note = {Num Pages: 22},
	keywords = {Graffiti, France, Paris},
	pages = {3--24},
}

@incollection{avramidis_place_2024,
	address = {New York; Oxon},
	title = {Place writing, site drawing: researching graffiti as a critical spatial practice},
	isbn = {978-0-367-76805-8},
	abstract = {Graffiti have become integral parts of our urban landscapes in the past decades. Yet, they are increasingly treated as mere aesthetic objects or fleeting images. Moving away from the plural form, the subjects and the aesthetics of graffiti—with the latter being its most seductive and commonly abused characteristic—this chapter shifts the focus to their unique, material and situated character. This happens through a close study of three extensively graffitied sites in Athens city centre, the writings of which are being recorded. The way these sites are (re)presented is crucial in understanding each situation. The chapter is based on a series of drawings documenting the writings—and, by extension, the places—in multiple scales. Α series of associated terms emerging from the design explorations are being set up as potential frameworks of criticality that any subsequent researcher could apply in any situation. The aim is to introduce an urban design method of studying graffiti that brings together image and text, materiality and temporality, and consensus and dissensus. This chapter demonstrates how graffiti has the potential to reveal the multi-temporal dimension and multi-authored nature of urban environments whilst acting as a critical spatial practice.},
	language = {English},
	booktitle = {The {Routledge} handbook of urban design research methods},
	publisher = {Routledge},
	author = {Avramidis, Konstantinos},
	editor = {Kamalipour, Hesam and Aelbrecht, Patricia and Peimani, Nastaran},
	year = {2024},
	doi = {10.4324/9781003168621-34},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art},
	pages = {304--314},
}

@incollection{avramidis_moving_2015,
	address = {Cham},
	series = {Research in {Networked} {Learning}},
	title = {Moving from {Urban} to {Virtual} {Spaces} and {Back}: {Learning} {In}/{From} {Signature} {Graffiti} {Subculture}},
	isbn = {978-3-319-13751-3},
	abstract = {This chapter explores bottom-up development and maintenance of vernacular networked learning practices in the context of signature graffiti subculture. Situated within the conceptual framework of critical theory, it explores the role of technology in connecting and mediating various learning and communicational practices. In the spirit of early definitions of networked learning, it investigates the ways in which new network capacities, fueled by the contemporary information and communication technologies, are used to promote connections between one writer and other writers, between apprentices and mentors, and between the graffiti community and its learning resources. Networked learning is analyzed on three interrelated domains: graffitists’ interpersonal interactions, the graffiti media, and the city. In each domain, the transition from the physical to the digital is interrogated so as to reveal the educational and subcultural implications that this shift may entail. The aim of this chapter is to examine how the widening of graffiti milieu, whether enabled or facilitated by the pervasive presence of the Internet, introduces networked learning into the graffiti community; what extra transferable skills its members are equipped with for success in mainstream careers; and how networked learning transforms the way they think of and engage with their educational situations, immediate material environment, and wider social reality.},
	language = {English},
	booktitle = {Critical {Learning} in {Digital} {Networks}},
	publisher = {Springer International Publishing},
	author = {Avramidis, Konstantinos and Drakopoulou, Konstantina},
	editor = {Jandrić, Petar and Boras, Damir},
	year = {2015},
	doi = {10.1007/978-3-319-13752-0_7},
	note = {Num Pages: 28},
	keywords = {Graffiti},
	pages = {133--160},
}

@incollection{awad_introducing_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Introducing the {Street} {Art} of {Resistance}},
	isbn = {978-3-319-63329-9},
	abstract = {The world we live in today is defined more by borders and walls than by common spaces. Mental and physical barriers separate us from them. They divide those in power from the masses, and separate people by nationality, ideology, and identity, thus marginalizing all those who do not conform to the societal norm. But these barriers, no matter how concrete, are permeable, open to interpretation, negotiation, and destruction. This book is about the multiple ways people use imagination to reconfigure those barriers and create meaningful spaces. We will look at walls that have become an arena for contentious dialogues through which social and political resistance is manifest.},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Awad, Sarah H. and Wagoner, Brady},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_1},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Egypt},
	pages = {1--16},
}

@incollection{baird_ancient_2011-1,
	address = {New York; Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {Ancient {Graffiti} in {Context}. {Introduction}},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Baird, Jennifer A. and Taylor, Claire},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 17},
	keywords = {Graffiti, Roman graffiti, Depinti, Ostraca, Tituli picti},
	pages = {1--17},
}

@incollection{baird_ancient_2016,
	address = {Abingdon; New York},
	series = {Routledge international handbooks},
	title = {Ancient graffiti},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Baird, Jennifer A. and Taylor, Claire},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 10},
	keywords = {Graffiti, Roman graffiti, Depinti, Ostraca, Tituli picti},
	pages = {17--26},
}

@incollection{baldini_dangerous_2018,
	address = {Rome},
	title = {Dangerous {Liaisons}: {Graffiti} in da {Museum}},
	isbn = {978-88-97640-05-9},
	language = {English},
	booktitle = {Un({Authorized})//{Commissioned}},
	publisher = {Whole Train Press},
	author = {Baldini, Andrea},
	editor = {Rivasi, Pietro and Baldini, Andrea},
	year = {2018},
	note = {Num Pages: 7},
	keywords = {Graffiti, Museum},
	pages = {26--32},
}

@incollection{bartelds_is_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Is this likable? Über den {Einfluss} {Sozialer} {Medien} auf die {Writing}-{Kultur}},
	isbn = {978-3-7799-6448-3},
	language = {German},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Bartelds, Oliver},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 16},
	keywords = {Graffiti},
	pages = {18--33},
}

@incollection{bazzanella_introduction_2020,
	address = {Oxford},
	series = {{BAR} {International} {Series}},
	title = {Introduction. {Shepherds} who write. {A} new frontier for ethnoarchaeology},
	isbn = {978-1-4073-5714-0},
	language = {English},
	number = {2999},
	booktitle = {Shepherds who write: {Pastoral} graffiti in the uplands of {Europe} from prehistory to the modern age},
	publisher = {BAR Publishing},
	author = {Bazzanella, Marta and Kezich, Giovanni},
	editor = {Bazzanella, Marta and Kezich, Giovanni},
	year = {2020},
	note = {Num Pages: 6},
	keywords = {Graffiti, Rock art, Ethnoarchaeology, Shepherd},
	pages = {1--6},
}

@incollection{benefiel_graffiti_2013,
	address = {Los Altos, CA},
	title = {Graffiti},
	isbn = {978-1-938325-29-8},
	language = {English},
	booktitle = {Excavations at {Zeugma} {Conducted} by {Oxford} {Archaeology}: {Volume} 1},
	publisher = {The Packard Humanities Institute},
	author = {Benefiel, Rebecca and Coleman, Kathleen},
	editor = {Aylward, William},
	year = {2013},
	note = {Num Pages: 14},
	keywords = {Graffiti, Roman archaeology, Greek archaeology, Zeugma},
	pages = {178--191},
}

@incollection{benefiel_ancient_2017,
	address = {New York},
	title = {The {Ancient} {Graffiti} {Project}: {Geo}-{Spatial} {Visualization} and {Search} {Tools} for {Ancient} {Handwritten} {Inscriptions}},
	isbn = {978-1-4503-5265-9},
	abstract = {This paper discusses how the Ancient Graffiti Project publishes the digital content of ancient epigraphic material and makes handwritten inscriptions from the first century AD more accessible through the use of geo-referenced, spatial interfaces, interlinked and expanded reference data, and innovative tools that enhance searching. Ancient graffiti are texts, but they are texts that exist within a physical environment. We have designed the Ancient Graffiti Project (AGP) to provide a richer understanding of these handwritten inscriptions from the first century AD in their archaeological context. Interactive maps allow a user to retrieve and analyze all the graffiti in a particular location. These and other tools, from filters that refine searches to brief descriptions and translations to explain the content of these writings, have been designed to reach multiple audiences, including scholars, students, and interested members of the public. We discuss how we have designed AGP from its inception to be integrated within and interoperable with the Epigraphic Database Roma. The spatial and physical context of graffiti also allows us to link with other spatially oriented digital projects on the ancient world, including the ancient gazetteer Pleiades.},
	language = {English},
	booktitle = {Proceedings of the 2nd {International} {Conference} on {Digital} {Access} to {Textual} {Cultural} {Heritage} ({DATeCH2017})},
	publisher = {ACM},
	author = {Benefiel, Rebecca and Sprenkle, Sara and Sypniewski, Holly M. and White, Jamie},
	year = {2017},
	doi = {10.1145/3078081.3078104},
	note = {Num Pages: 6},
	keywords = {Graffiti, Roman archaeology, Geospatial analysis, Pleiades},
	pages = {163--168},
}

@incollection{benefiel_wall_2019,
	address = {Leiden},
	title = {Wall {Inscriptions} in the {Ancient} {City}: {The} {Ancient} {Graffiti} {Project}},
	isbn = {978-90-04-38288-6},
	language = {English},
	booktitle = {From {Document} to {History}: {Epigraphic} {Insights} into the {Greco}-{Roman} {World}},
	publisher = {Brill},
	author = {Benefiel, Rebecca and Sypniewski, Holly M. and Zimmerman Damer, Erika},
	editor = {Noreña, Carlos F. and Papazarkadas, Nikolaos},
	year = {2019},
	doi = {10.1163/9789004382886_013},
	note = {Num Pages: 18},
	keywords = {Graffiti, Pompeii, Roman archaeology, Greek archaeology, Ancient graffiti, Herculaneum},
	pages = {179--196},
}

@incollection{bengtsen_decontextualisation_2019,
	address = {Cambridge},
	title = {Decontextualisation of {Street} {Art}},
	isbn = {978-​1-​108-​48233-​2},
	abstract = {The worlds of graffiti and street art are changing. Over the past fifteen years, institutions, corporations and the general public have increasingly taken an interest in these creative practices as legitimate forms of artistic and cultural expression. With this attention has come an influx of money, as collectors have bought up studio work by artists who also work in the street. Likewise, galleries, corporate brands, municipalities and others have sought to invest in – and capitalise on – the “urban cool” of graffiti and street art. This has been positive for some artists, who are now able to make a living from their work. However, the heightened interest has also brought to the fore questions about intellectual property in cases where expressions in different ways have been appropriated and commoditised without the author’s permission. A recent high-profile case involved the American graffiti writer Revok and the Swedish multinational fast fashion company H\&M.},
	language = {English},
	booktitle = {The {Cambridge} handbook of copyright in street art and graffiti},
	publisher = {Cambridge University Press},
	author = {Bengtsen, Peter},
	editor = {Bonadio, Enrico},
	year = {2019},
	doi = {10.1017/9781108563581.004},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art},
	pages = {41--52},
}

@incollection{bianco_question_2023-1,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {A {Question} of {Images}},
	isbn = {978-88-9280-129-5},
	language = {English},
	number = {1},
	booktitle = {A question of style: {Graffiti} writing between art/theory and practice},
	publisher = {Edifir edizioni Firenze},
	author = {Bianco, Egidio Emiliano},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 15},
	keywords = {Graffiti},
	pages = {121--135},
}

@incollection{bianco_artification_2023,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {Artification and {Canonisation} of {Graffiti}: {SUBWAY} {ART} as {Visual} {Narrative}},
	isbn = {978-88-9280-129-5},
	language = {English},
	number = {1},
	booktitle = {A question of style: {Graffiti} writing between art/theory and practice},
	publisher = {Edifir edizioni Firenze},
	author = {Bianco, Egidio Emiliano},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 16},
	keywords = {Graffiti, Train, Subway, Subway art},
	pages = {69--84},
}

@incollection{blake_graffiti_1981,
	address = {New York; London},
	series = {Studies in archaeology},
	title = {Graffiti and {Racial} {Insults}: {The} {Archaeology} of {Ethnic} {Relations} in {Hawaii}},
	isbn = {978-0-12-293580-0},
	language = {English},
	booktitle = {Modern material culture: {The} archaeology of us},
	publisher = {Academic Press},
	author = {Blake, C. Fred},
	editor = {Gould, Richard A. and Schiffer, Michael B.},
	year = {1981},
	note = {Num Pages: 13},
	keywords = {Graffiti, USA, Racism, Ethnic, Hawaii},
	pages = {87--99},
}

@incollection{blanche_about_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {About the origins of {European} {Style} {Writing} {Graffiti} in {Punk} {Stencils}},
	isbn = {978-3-7799-6448-3},
	language = {English},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Blanché, Ulrich},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 13},
	keywords = {Graffiti},
	pages = {34--46},
}

@incollection{blennow_inscriptions_2012,
	address = {Stockholm},
	series = {Skrifter utgivna av {Svenska} institutet i {Rom}. 4 ̊},
	title = {Inscriptions and graffiti in {San} {Lorenzo} in {Lucina}},
	isbn = {978-91-7042-179-2},
	language = {English},
	number = {61 = Acta Instituti Romani Regni Sueciae. 4̊, 61},
	booktitle = {San {Lorenzo} in {Lucina}: {The} transformations of a {Roman} quarter},
	publisher = {Swedish Institute in Rome},
	author = {Blennow, Anna},
	editor = {Brandt, Olof},
	collaborator = {Brandt, Olof},
	year = {2012},
	note = {Num Pages: 27},
	keywords = {Graffiti, Italy, Ancient graffiti, Lucina, San Lorenzo},
	pages = {207--233},
}

@incollection{blume_graffiti_1985,
	address = {Amsterdam},
	series = {Critical {Theory}},
	title = {Graffiti},
	isbn = {90-272-2406-4},
	language = {English},
	number = {3},
	booktitle = {Discourse and {Literature}: {New} {Approaches} to the {Analysis} of {Literary} {Genres}},
	publisher = {John Benjamins Publishing Company},
	author = {Blume, Regina},
	editor = {van Dijk, Teun A.},
	year = {1985},
	doi = {10.1075/ct.3.09blu},
	note = {Num Pages: 12},
	keywords = {Graffiti},
	pages = {137--148},
}

@incollection{bomfim_art_2022,
	address = {Cham},
	series = {Intelligent {Systems} {Reference} {Library}},
	title = {Art {Graffiti} {Detection} in {Urban} {Images} {Using} {Deep} {Learning}},
	isbn = {978-3-031-06306-0},
	abstract = {Art graffiti can be considered as a type of urban street art which is actually present in most cities worldwide. Many artists who began as street artists have successfully moved to mainstream art, including art galleries. In consequence, the artistic graffiti produced by these authors became valuable works which are part of the cultural heritage in cities. When understanding the economic value of these public art initiatives within the smart cities context, the preservation of artistic graffiti (mainly, against vandalism) becomes essential. This fact will make it possible for municipal governments and urban planners to implement such graffiti maintenance initiatives in the future. In this context, this paper describes a deep learning-based methodology to accurately detect urban graffiti in complex images. The different graffiti varieties (i.e., 3D, stencil or wildstyle, among others) and the multiple variabilities present in these artistic elements on street scenes (such as partial occlusions or their reduced size) make this object detection problem challenging. Our experimental results using different datasets endorse the effectiveness of this proposal.},
	language = {English},
	number = {224},
	booktitle = {{ICT} {Applications} for {Smart} {Cities}},
	publisher = {Springer International Publishing},
	author = {Bomfim, Tacio Souza and Nunes, Éldman de Oliveira and Sánchez, Ángel},
	editor = {Sappa, Angel D.},
	year = {2022},
	doi = {10.1007/978-3-031-06307-7_1},
	note = {Num Pages: 20},
	keywords = {Graffiti, ANN (Artificial Neural Network), Deep learning, CNN (Convolutional Neural Networks)},
	pages = {1--20},
}

@incollection{bonadio_conservation_2019,
	address = {Cambridge},
	title = {Conservation of {Street} {Art}, {Moral} {Right} of {Integrity} and a {Maze} of {Conflicting} {Interests}},
	isbn = {978-​1-​108-​48233-​2},
	abstract = {The chapter highlights issues raised by attempts to preserve street and graffiti art. It does so by exploring whether street and graffiti artists could successfully oppose the removal or destruction of their works by relying on the moral right of integrity; and whether the heritagisation of these forms of art could also be a valuable legal option to conserve them. Cases where artists have tried to protect their works, and local councils and communities have attempted to conserve street artworks, will also be analysed. The chapter concludes that a reasonable balance between the rights and interests of all stakeholders – artists, property owners and local communities – needs to be achieved, and that this is best undertaken by judges, or administrative bodies, equipped to grasp the specificity and complexity of each case.},
	language = {English},
	booktitle = {The {Cambridge} handbook of copyright in street art and graffiti},
	publisher = {Cambridge University Press},
	author = {Bonadio, Enrico},
	editor = {Bonadio, Enrico},
	year = {2019},
	doi = {10.1017/9781108563581.006},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Copyright, Law},
	pages = {71--80},
}

@incollection{bonadio_preserving_2020,
	address = {Cheltenham; Northampton},
	title = {Preserving street art and graffiti: can the law reconcile the (often conflicting) rights of artists, property owners and local communities?},
	isbn = {978-1-78897-147-8},
	language = {English},
	booktitle = {Research {Handbook} on {Art} and {Law}},
	publisher = {Edward Elgar Publishing Limited},
	author = {Bonadio, Enrico},
	editor = {McCutcheon, Jani and McGaughey, Fiona},
	year = {2020},
	doi = {10.4337/9781788971478.00024},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, Copyright, Law},
	pages = {194--208},
}

@incollection{bonadio_preservation_2022,
	address = {Cheltenham},
	series = {Research {Handbooks} in {Intellectual} {Property} series},
	title = {Preservation and heritagisation of street art and graffiti},
	isbn = {978-1-80037-690-8},
	abstract = {This chapter expands on several policy issues raised by attempts to preserve and heritagize street and graffiti art. Such attempts have recently increased, the aim being the conservation of works of art which are increasingly perceived by some sectors of society as artistically meritorious. The decision whether street and graffiti art should, and can, be preserved and heritagized interests and affects artists themselves, property owners and local communities. Making decisions regarding the existence or treatment of the work is not straightforward, as satisfying the interests of a certain category may jeopardize those of the others. It is certainly difficult to reach a fair and reasonable balance between the rights and interests of each of the three identified categories. Decisions of this kind are evidently fact-sensitive that inevitably the right balance should be found by judges, or administrative central or local bodies, based on the specificity and complexity of each case.},
	language = {English},
	booktitle = {Research {Handbook} on {Intellectual} {Property} and {Cultural} {Heritage}},
	publisher = {Edward Elgar Publishing},
	author = {Bonadio, Enrico},
	editor = {Stamatoudi, Irini},
	year = {2022},
	doi = {10.4337/9781800376915.00017},
	note = {Num Pages: 21},
	keywords = {Graffiti, Street art, Heritagisation},
	pages = {170--190},
}

@incollection{borriello_wildstyle_2023,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {Wildstyle {Graffiti} {Writing} between {Public} {Privacy} and {Artificial} {Intelligence}},
	isbn = {978-88-9280-129-5},
	language = {English},
	number = {1},
	booktitle = {A question of style: {Graffiti} writing between art/theory and practice},
	publisher = {Edifir edizioni Firenze},
	author = {Borriello, Luca},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 24},
	keywords = {Graffiti, Graffiti writing, Calligraphy, Wildstyle},
	pages = {97--120},
}

@incollection{brown_digitized_2015,
	address = {Cham},
	series = {Future {City}},
	title = {Digitized {Street} {Art}},
	isbn = {978-3-319-15152-6},
	abstract = {This chapter argues that “street art” is a mode of artistic expression reliant on the vagaries of the urban environment as its canvas and, as a result, is ultimately dependent on digital technologies to document, disseminate, and reproduce these inherently ephemeral artworks. Whether altered or destroyed by another artist or tagger, “buffed out” by overzealous municipal authorities, or simply decayed by the elements, street art is fundamentally ephemeral. It is this inherent ephemerality that requires the original piece be digitally documented and preserved. The digital camera and the Internet in particular, then, serve to preserve the work of street art that, in their absence, would otherwise be lost to time. By reference to firsthand field research undertaken in Detroit, Michigan, shortly after an “original” Banksy was relocated (and depending on one’s perspective, destroyed or saved) by a local art gallery, this chapter concludes by exploring the idea that street artists working within the very physical and concrete confines of the urban city are better regarded as digital artists, albeit digital artists that go to great lengths in the preparation of their compositions.},
	language = {English},
	number = {5},
	booktitle = {Media {Art} and the {Urban} {Environment}: {Engendering} {Public} {Engagement} with {Urban} {Ecology}},
	publisher = {Springer International Publishing},
	author = {Brown, Brian A.},
	editor = {Marchese, Francis T.},
	year = {2015},
	doi = {10.1007/978-3-319-15153-3_13},
	note = {Num Pages: 18},
	keywords = {Graffiti, Banksy, Digitisation, Spray paint},
	pages = {267--284},
}

@incollection{bryden_stop_2019,
	address = {Abingdon; New York},
	title = {‘{Stop} leaning against the wall – it’s wet!’ ({BANKSY}) {Writing} on the wall and urban space},
	isbn = {978-1-4724-8273-0},
	language = {English},
	booktitle = {The {Routledge} companion on architecture, literature and the city},
	publisher = {Routledge},
	author = {Bryden, Inga},
	editor = {Charley, Jonathan},
	year = {2019},
	note = {Num Pages: 20},
	keywords = {Graffiti, Urban heritage, Space},
	pages = {327--346},
}

@incollection{buonopane_voce_2009,
	address = {Faenza},
	series = {Epigrafia e antichità},
	title = {Una voce di chi non aveva voce: i graffiti delle donne},
	isbn = {978-88-7594-098-0},
	language = {Italian},
	number = {27},
	booktitle = {Opinione pubblica e forme di comunicazione a {Roma}: {Il} linguaggio dell'epigrafia. {Atti} del {Colloquio} {AIEGL}, {Borghesi} 2007},
	publisher = {Fratelli Lega},
	author = {Buonopane, Alfredo},
	editor = {Bertinelli Angeli, Maria Gabriella and Donati, Angela},
	year = {2009},
	keywords = {Graffiti},
	pages = {231--246},
}

@incollection{busse_sprache_2015,
	address = {Berlin; Boston},
	series = {Handbücher {Sprachwissen}},
	title = {Sprache im urbanen {Raum}},
	isbn = {978-3-11-029568-9},
	language = {German},
	number = {Band 1},
	booktitle = {Handbuch {Sprache} und {Wissen}},
	publisher = {De Gruyter},
	author = {Busse, Beatrix and Warnke, Ingo H.},
	editor = {Felder, Ekkehard and Gardt, Andreas},
	year = {2015},
	note = {Num Pages: 20},
	keywords = {Graffiti, City, Language, Place making},
	pages = {519--538},
}

@incollection{cadetti_issues_2023,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {Issues of {Style}: {Reflections} on {Graffiti} {Writing} and {Conservation}},
	isbn = {978-88-9280-129-5},
	language = {English},
	number = {1},
	booktitle = {A question of style: {Graffiti} writing between art/theory and practice},
	publisher = {Edifir edizioni Firenze},
	author = {Cadetti, Alessia},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 15},
	keywords = {Graffiti, Graffiti writing, Conservation},
	pages = {53--67},
}

@incollection{carloni_challenges_2023,
	address = {Siena},
	title = {The challenges of preservation: digitizing graffiti in the urban landscape},
	isbn = {978-88-942535-7-3},
	abstract = {Graffiti have always been a contested form of human expression. Although they have increasingly been accepted as museum objects or study topics, in many cases they are neglected or even actively rejected as human expressions worth documenting and (digitally) preserving. However, some scholarly initiatives have tried to overcome this lack of coverage of the graffiti scene. INGRID, for example, collects images from Germany over a span of forty years, while SprayCity archives photos of graffiti from all over Austria and beyond. The limitations with pre-existing solutions, however, is that they do not have standardized criteria to create and process the digital surrogates of graffiti, especially because they derive the photos from different sources. 
Project INDIGO aims to overcome these difficulties by offering a systematic, standardized and extensive coverage of a specific area of the city of Vienna, the Danube Canal, which has been a hotspot for graffiti production since the 1980s. For this purpose, INDIGO has developed a highly reliable and reproducible workflow that ensures color accuracy and automated orthorectification of the pictures, and has combined it with a curated digital preservation strategy that involves different services, such as the digital repository ARCHE and the spatial database application OpenAtlas. While drawing on the specific experience and knowledge acquired in the course of project INDIGO, this paper aims to offer an overview of the challenges that must be faced when digitizing, documenting and preserving contemporary graffiti. It will focus on three key aspects: (1) heritagization, i.e. the process by which an object made by humans such as a graffito becomes a valuable sample of cultural heritage; (2) FAIRness, the compliance with the so-called FAIR principles (findability, accessibility, interoperability, reusability) in the development of a digital preservation strategy for graffiti; (3) sustainability, i.e. how we can ensure that the data and services provided can integrate into the existing research environment, in order to safeguard the continuous relevance of the products of the research project. While graffiti are an edge case in the field of current studies, this paper aims to show that discussing the challenges linked to the digital preservation of graffiti can also help us think more carefully about possible improvements in digital preservation strategies for other, more traditionally accepted, kinds of cultural heritage assets.},
	language = {English},
	booktitle = {La memoria digitale: forme del testo e organizzazione della conoscenza. {Atti} del {XII} {Convegno} {Annuale} {AIUCD} ({AIUCD} 2023)},
	publisher = {Associazione per l’Informatica Umanistica e la Cultura Digitale},
	author = {Carloni, Massimiliano and Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wogrin, Stefan},
	editor = {Carbé, Emmanuela and Lo Piccolo, Gabriele and Valenti, Alessia and Stella, Francesco},
	year = {2023},
	doi = {10.5281/zenodo.8004645},
	note = {Num Pages: 5},
	keywords = {Graffiti, Cultural heritage, Vienna, Digital preservation, Austria, Linked Open Data, INDIGO, Donaukanal, FAIR principles, Sustainability},
	pages = {338--342},
}

@incollection{carrieri_restoring_2020,
	address = {Saonara},
	title = {Restoring {American} {Graffiti}? {Restoration} of a graffito realized in 1984},
	isbn = {978-88-6336-494-1},
	abstract = {Sometimes the answer comes directly from the writers' world, and there is no doubt: yes, it has to be preserved. In Quattordio (Al) one can admire a few really remarkable works, realized by the New York Masters during the Eighties, precisely in 1984. There in Quattordio artists such as Rammellzee, Phase2, Delta2 and Ero gathered togheter on the occasion of the Art of Frontiers, cured by Francesca Alinovi in Bologna. The restoration began on the occasion of QUA, Quattordio Urban Art, an event organized by Stradedarts that has involved ten out of the most skilled writers in Italy plus Kool Koor from New York. While the tests and the beginning of the restoration on historical pieces was going on, the artists have painted ten new walls giving life to a true museum open-air. The project has involved the study of the pieces, the plaster, the backdrop, the pictorial film, and also that of materials which allowed to intervene in order to stop the degradation, respecting at the same time the gesture, the stroke, the matter, and the idea of works that were born to be ephemeral and were later recognized as a starting point of an international movement. The work has consisted in cleaning and consolidating the substrate and the paint film, that at the moment appeared particularly compromised due to a primer laying with a strongly degraded binder, using nanotechnologies; specifically nanorestoregel for the cleaning tests and nanosilica for the consolidation. The restoration has been supported by controls -before, during and after the intervention- with chemical and physical analysis carried out by Cà Foscari University and Politecnico di Milano; the diagnostic (FT IR, tg-dsc and gsmc) was fundamental in order to choose the most suitable nanotechnology based on the composition of the material on which we have intervened. We did not return the American graffiti to the origins, respecting mainly the historical instance and the aging of the materials. (1) (2)},
	language = {English},
	booktitle = {Supporto e(') immagine: {Problematiche} di consolidamento e di conservazione dei supporti nei dipinti contemporanei  atti del 8° {Congresso} internazionale {Colore} e conservazione, {Università} {Ca}' {Foscari}, {Venezia}, 23, 24 novembre 2018},
	publisher = {Il prato},
	author = {Carrieri, Alessandra and Astolfi, Elena and Izzo, Francesca Caterina and Nevin, Austin},
	editor = {Caranza, Barbara},
	collaborator = {CESMAR7},
	year = {2020},
	note = {Num Pages: 8},
	keywords = {Graffiti, Graffiti writing, Restauration},
	pages = {216--223},
}

@incollection{casimiro_urban_2019,
	address = {New York, United States},
	series = {{ACM} {Digital} {Library}},
	title = {Urban noises: augmented reality and urban art workshop},
	isbn = {978-1-4503-6751-6},
	abstract = {This workshop is focused on the use of augmented reality to animate and activate graffitis of the city of Palermo. The main goal is to teach and share knowledge in digital art and augmented reality, using an easy learning process to make digital interfaces accessible to different public, ages and goals. The workshop brings the main discussion of the city as a screen of intangible interventions, using the mobile devices of the participants to overlap their visual creations on the city walls. To make it possible, we will map and photograph some of the main graffiti in the city of Palermo, working with this files to start up the interventions. The workshop outcome consists in a set of animated interactive graffiti, exploiting a free mobile app for passers-by interaction, which allows for a city tour of augmented interactive murals.},
	language = {English},
	booktitle = {Proceedings of the 8th {ACM} {International} {Symposium} on {Pervasive} {Displays} ({PerDis} '19)},
	publisher = {ACM},
	author = {Casimiro, Giovanna Graziosi},
	editor = {Cauchard, Jessica R. and Gentile, Vito and Khamis, Mohamed and Sorce, Salvatore},
	year = {2019},
	doi = {10.1145/3321335.3329678},
	keywords = {Graffiti, Street art, Murals},
	pages = {1--2},
}

@incollection{cavallari_augmented_2022,
	address = {Milano},
	series = {diségno},
	title = {Augmented {Street} {Art}: a {Critical} {Contents} and {Application} {Overview}},
	isbn = {978-88-351-4194-5},
	abstract = {Street art is a growing phenomenon. The frequent appearance of works, projects, and events in this area reveals its increasing social and cultural role worldwide. The chance of digitizing art represents a benefit to defining cultural paths on the territory, providing an additional tool to understand and interpret it. Street art is characterized by peculiar aspects that make it unique in the artistic panorama. The democratization of contents and the physical decay of the work are two pillars. Any digitalization and communication project should consider them carefully, proposing a knowledge model respectful of the art. Augmented Reality (AR) is a representation tool that leads to achieving that delicate balance between the real and the digital, enhancing the specificities of both. The authors start from the experimentation about artwork digitalization, connecting image deterioration with image recognition. Besides, they show some possible applications in Rome through a critical analysis of the domain, opening some future multidisciplinarity scenarios.},
	language = {English},
	booktitle = {Representation {Challenges}: {New} {Frontiers} of {AR} and {AI} {Research} for {Cultural} {Heritage} and {Innovative} {Design}},
	publisher = {FrancoAngeli srl},
	author = {Cavallari, Flaminia and Ippoliti, Elena and Meschini, Alessandra and Russo, Michele},
	editor = {Giordano, Andrea and Russo, Michele and Spallone, Roberta},
	year = {2022},
	doi = {10.3280/oa-845-c198},
	note = {Num Pages: 8},
	keywords = {Street art, Rome, AR (Augmented Reality), Impermanance, Marker tracking},
	pages = {81--88},
}

@incollection{cavallari_street-art_2023,
	address = {Lisbon},
	title = {Street-{ARt}. {Communication} of {Street} {Art} {Works} {Through} {Augmented} {Reality}},
	isbn = {979-8-3946-0127-9},
	abstract = {Street art is a growing global phenomenon. The frequent appearance of works, projects and events reveals its increasing social and cultural role worldwide. Unfortunately, Street art creations are often hardly visible in urban areas. Besides, few national and international databases collect the characteristics of these artworks. The chance of digitising artworks represents a way to gain these cultural paths on the urban areas, providing an additional tool to understand and interpret it, connecting with other creations in the same area, freezing their memory, and mapping its change over time. Street art is characterised by aspects that make it unique in the artistic panorama. The contents’ democratisation and the work’s physical decay are two pillars. Any digitisation and communication project should consider them carefully, proposing a knowledge model respectful of the artwork. Augmented Reality (AR) is a representation tool that achieves that delicate balance between the real and the digital, enhancing both specificities. The chance of connecting the artwork with descriptive and multimedia content can significantly improve its visibility, enhancing its presence in the urban context. AR can also fill this information gap in the artwork, providing a stimulus for multigenerational reading that brings different audiences to Street art, integrating with existing platforms and proposing new cultural paths. The authors** start with artwork digitisation, showing experimental data about the connection between image deterioration and image AR recognition. Besides, they show some possible applications in Rome through a critical domain analysis, opening some future multifaceted scenarios.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Cavallari, Flaminia and Ippoliti, Elena and Meschini, Alessandra and Russo, Michele},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.715},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Rome, AR (Augmented Reality)},
	pages = {260--275},
}

@incollection{chaniotis_graffiti_2011,
	address = {New York; Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {Graffiti in {Aphrodisias}. {Images}—{Texts}—{Contexts}},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Chaniotis, Angelos},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 17},
	keywords = {Graffiti, Aphrodisias, Greek, Turkey},
	pages = {191--207},
}

@incollection{chaniotis_epigraphy_2019,
	address = {Leiden},
	title = {Epigraphy of the {Night}},
	isbn = {978-90-04-38288-6},
	language = {English},
	booktitle = {From {Document} to {History}: {Epigraphic} {Insights} into the {Greco}-{Roman} {World}},
	publisher = {Brill},
	author = {Chaniotis, Angelos},
	editor = {Noreña, Carlos F. and Papazarkadas, Nikolaos},
	year = {2019},
	doi = {10.1163/9789004382886_003},
	note = {Num Pages: 24},
	keywords = {Graffiti, Ancient graffiti, Nocturnal graffiti},
	pages = {13--36},
}

@incollection{chen_gtgraffiti_2022,
	title = {{GTGraffiti}: {Spray} {Painting} {Graffiti} {Art} from {Human} {Painting} {Motions} with a {Cable} {Driven} {Parallel} {Robot}},
	isbn = {978-1-7281-9681-7},
	abstract = {We present GTGraffiti, a graffiti painting system from Georgia Tech that tackles challenges in art, hardware, and human-robot collaboration. The problem of painting graffiti in a human style is particularly challenging and requires a system-level approach because the robotics and art must be designed around each other. The robot must be highly dynamic over a large workspace while the artist must work within the robot's limitations. Our approach consists of three stages: artwork capture, robot hardware, and planning \& control. We use motion capture to capture collaborator painting motions which are then composed and processed into a time-varying linear feedback controller for a cable-driven parallel robot (CDPR) to execute. In this work, we will describe the capturing process, the design and construction of a purpose-built CDPR, and the software for turning an artist's vision into control commands. Our work represents an important step towards faithfully recreating human graffiti artwork by demonstrating that we can reproduce artist motions up to 2m/s and 20m/s 2 within 9.3mm RMSE to paint artworks.},
	language = {English},
	booktitle = {Proceedings of the 2022 {International} {Conference} on {Robotics} and {Automation} ({ICRA})},
	publisher = {IEEE},
	author = {Chen, Gerry and Baek, Sereym and Florez, Juan-Diego and Qian, Wanli and Leigh, Sang-Won and Hutchinson, Seth and Dellaert, Frank},
	editor = {Pappas, George J. and Kumar, Vijay},
	year = {2022},
	doi = {10.1109/ICRA46639.2022.9812008},
	note = {Num Pages: 8},
	keywords = {Graffiti, Robot, Robotics},
	pages = {4065--4072},
}

@incollection{chmielewska_framing_2009,
	address = {Toronto},
	title = {Framing {Temporality}: {Montreal} {Graffiti} in {Photography}},
	isbn = {978-0-8020-9568-8},
	language = {English},
	booktitle = {Public art in {Canada}: {Critical} perspectives},
	publisher = {University of Toronto Press},
	author = {Chmielewska, Ella},
	editor = {Gérin, Annie and McLean, James S.},
	year = {2009},
	doi = {10.3138/9781442697522-019},
	note = {Num Pages: 21},
	keywords = {Graffiti, Photography, Canada, Montreal},
	pages = {271--291},
}

@incollection{comoy_fusaro_where_2019,
	address = {Lisbon},
	title = {Where is {Street} {Art}?},
	isbn = {978-1-7054-2398-1},
	language = {English},
	booktitle = {Framing {Graffiti} \& {Street} {Art}: {Proceedings} of {Nice} {Street} {Art} {Project}, {International} {Conferences}, 2017 - 2018},
	publisher = {UrbanCreativity},
	author = {Comoy Fusaro, Edwige},
	editor = {Comoy Fusaro, Edwige},
	year = {2019},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art},
	pages = {7--14},
}

@incollection{crowther_inscriptions_2013,
	address = {Los Altos, CA},
	title = {Inscriptions on {Stone}},
	isbn = {978-1-938325-29-8},
	language = {English},
	booktitle = {Excavations at {Zeugma} {Conducted} by {Oxford} {Archaeology}: {Volume} 1},
	publisher = {The Packard Humanities Institute},
	author = {Crowther, Charles},
	editor = {Aylward, William},
	year = {2013},
	note = {Num Pages: 28},
	keywords = {Graffiti, Roman archaeology, Greek archaeology, Stone, Zeugma, Inscriptions},
	pages = {192--219},
}

@incollection{curtis_graffiti_2004,
	title = {Graffiti archaeology},
	language = {English},
	booktitle = {Proceedings of {SIGGRAPH} 2004},
	publisher = {ACM SIGGRAPH},
	author = {Curtis, Cassidy and Rodenbeck, Eric},
	year = {2004},
	doi = {10.1145/1186194.1186196},
	keywords = {Graffiti},
	pages = {1},
}

@incollection{dacunto_bay_2020,
	address = {Hoboken},
	series = {Blackwell companions to the ancient world},
	title = {The {Bay} of {Naples}},
	isbn = {978-1-118-77019-1},
	language = {English},
	booktitle = {A {Companion} to the {Archaeology} of {Early} {Greece} and the {Mediterranean}: {Volume} 1},
	publisher = {Wiley-Blackwell},
	author = {D'Acunto, Matteo},
	editor = {Lemos, Irene S. and Kotsonas, Antonios},
	year = {2020},
	doi = {10.1002/9781118769966.ch53},
	note = {Num Pages: 24},
	keywords = {Graffiti, Archaeology, Italy, Greek archaeology, Greek, Naples},
	pages = {1287--1310},
}

@incollection{danzl_graffito_2019,
	address = {Petersberg},
	series = {Arbeitshefte zur {Denkmalpflege} in {Niedersachsen}},
	title = {Graffito or {Sgraffito}? – {It}’s more than this!},
	isbn = {978-3-7319-0802-9},
	abstract = {The former archbishopric of Magdeburg, founded by Otto the Great in 968, was immediately regarded as a -Third Rome-, an idea that was also emphasized by a rich art production throughout the Middle Ages. Famous for high quality metal casting as well as for its mass production of devotional objects, Magdeburg also witnessed an early revival of other techniques from Antiquity, such as stone or terracotta incrustation techniques (opus sectile) on wall and floor coverings, ornamental and figurative mural paintings, polychrome sculptures in stone and stucco, and precious textiles. 
This paper examines the first appearances of the cutting, scratching, or -a niello- sgraffito techniques in monumental wall art of the thirteenth century and works out the technical commonalities with regard to the graphic and pictorial treatment of various substrate materials. In fact, this practice in some ways anticipates Vasari's description of sgraffito as both a graphic and pictorial technique. It is also interesting to note that many Central German mural paintings of this period are characterized by a strongly incised underdrawing that accentuates the relief-like nature of the pictorial result. In contrast to the sgraffito technique of Central Italy from the fourteenth to the sixteenth centuries, the scratched works in Central Germany are not based on a coloured (red, grey or black) first coarse and a whitish second coarse (or lime wash) but on a natural coloured plaster that only sometimes was whitewashed before scratching and colouring. At the beginning of the sixteenth century, the use of this special technique first coexists and then vanishes slowly because of the Reformation and the import of the Italian sgraffito technique from Switzerland, Austria, Bohemia and Poland. 
--- 
Das von Otto dem Großen 968 gegründete ehem. Erzbistum Magdeburg wurde sehr früh als ein "Drittes Rom" angesehen, eine Idee, die sich im gesamten Mittelalter in einer reichen Kunstproduktion niederschlug. Berühmt vor allem für hochwertigen Metallguss und für seine Massenproduktion von Devotionalien wurde auch ein frühes Revival anderer antiker Techniken befördert, wie etwa Inkrustationstechniken mit Stein oder Terrakotta (opus sectile), ornamentale und figürliche Wandmalerei, polychrome Skulptur aus Stuck und Stein sowie nicht zuletzt wertvolle Textilarbeiten. 
Der Beitrag soll den Blick auf die Anfänge des Ritzens, Kratzens und nielloartigen Behandelns in der monumentalen Wandgestaltung im 13. Jahrhundert werfen und technische Gemeinsamkeiten in der graphischen wie malerischen Behandlung unterschiedlicher Trägermaterialien herausarbeiten. 
Tatsächlich scheint Vasaris Beschreibung des Sgraffito als grafische wie malerische Technik hier in Teilen vorweggenommen. Bemerkenswert ist auch, dass sich viele mitteldeutsche Wandmalereien dieser Zeit durch eine ausgeprägte Ritzung der Unterzeichnung, die sich als reliefartige Verstärkung des malerischen Ergebnisses bemerkbar machen, auszeichnen. 
Im Gegensatz aber zu den mittelitalienischen Sgraffiti des 14. bis 16. Jahrhunderts sind die so genannten Putzritzzeichnungen Mitteldeutschlands nicht durch einen zweischichtigen Putzaufbau mit eingefärbtem Grundputz und weißer Deckschicht charakterisiert. Vielmehr wurden die Motive in einen lediglich getünchten materialfarbigen Putz geritzt und gekratzt und bisweilen farbig nachbehandelt. 
Diese Sondertechnik scheint zu Beginn des 16. Jahrhunderts von der im Zuge der Reformation über die Schweiz, Österreich und Böhmen eingeführten italienischen Sgraffito-Technik schließlich abgelöst worden zu sein.},
	language = {English},
	number = {51},
	booktitle = {Sgraffito im {Wandel}. {Materialien}, {Techniken}, {Themen} und {Erhaltung}: {Tagungsband} der internationalen {Tagung} der {HAWK} {Hochschule} für {Angewandte} {Wissenschaft} und {Kunst} in {Hildesheim} in {Kooperation} mit dem {Niedersächsischen} {Landesamt} für {Denkmalpflege}, 2.-4. {November} 2017 in {Hildesheim}},
	publisher = {Michael Imhof Verlag GmbH \& Co},
	author = {Danzl, Thomas and Möwald, Carola},
	editor = {Weyer, Angela and Klein, Kerstin},
	year = {2019},
	doi = {10.5165/hawk-hhg/444},
	note = {Num Pages: 17},
	keywords = {Graffiti, Sgraffito},
	pages = {77--93},
}

@incollection{darnell_rock_2020,
	address = {Oxford},
	series = {Oxford handbooks},
	title = {Rock art, rock inscriptions, and graffiti},
	isbn = {978-0-19-927187-0},
	abstract = {Rock inscriptions and graffiti in ancient Egyptian and Nubian contexts are ubiquitous at desert sites already by the early fourth millennium BC, marking and creating space along the networks of desert roads linking Nilotic termini with the oases, coasts, and points beyond. Such inscriptions are also common on the walls of structures both free-standing and rock-cut, augmenting and even altering the significance of those structures. Belying their often small size and frequently unassuming appearance, these artistic and epigraphic productions frequently reveal important information, sometimes even preserving evidence of poorly attested rituals.},
	language = {English},
	booktitle = {The {Oxford} handbook of {Egyptology}},
	publisher = {Oxford University Press},
	author = {Darnell, John Coleman},
	editor = {Shaw, Ian and Bloxam, Elizabeth Gambier},
	year = {2020},
	doi = {10.1093/oxfordhb/9780199271870.013.64},
	note = {Num Pages: 27},
	keywords = {Graffiti, Egypt, Nubia, Petroglyphs, Quarry, Rock inscriptions, Sinai},
	pages = {1111--1137},
}

@incollection{de_grummond_etruscan_2000,
	address = {Providence},
	series = {Archaeologia {Transatlantica}},
	title = {Etruscan sigla (“graffiti”): {Prolegomena} and some case studies},
	language = {English},
	number = {18},
	booktitle = {Miscellanea {Mediterranea}},
	publisher = {Center for Old World Archaeology and Art, Brown University},
	author = {de Grummond, Nancy T. and Bare, Ceil and Meilleur, Amy},
	collaborator = {Holloway, R. Ross},
	year = {2000},
	note = {Num Pages: 14},
	keywords = {Graffiti, Etruscan, Sigla},
	pages = {25--38},
}

@incollection{de_la_iglesia_making_2023,
	address = {Lisbon},
	title = {Making {Use} of {Pre}-existing {Street} {Art} {Object} {Metadata}},
	isbn = {979-8-3946-0127-9},
	abstract = {In graffiti and street art studies, we are currently facing a paradoxical situation: vast numbers of publications relevant to our field—some of them academic, most of them not; from journal papers to coffee-table books—are continuously being published, but even the scholarly-oriented among them typically provide only sparse data about individual graffiti pieces and street art objects. It is rare to find complete metadata records containing information about the artist, the precise location, measurements, and the date of completion. Efforts are being made by individual projects and researchers to gather comprehensive and structured metadata, but those efforts take time and yield only small amounts of data. While it is important that these efforts are continued, a different, complementary approach is proposed here that aims to ‘quickly and dirtily’ gather ‘messy’ data. The idea is to make use of work that has already been carried out instead of trying to describe the same artworks in better ways time and again. This requires us to learn how to deal with incomplete data from vastly different sources. Effectively, such an approach lowers the threshold for data sources to become useful for street art researchers. Almost anything can become a valuable resource, even amateur websites (including abandoned ones) and print publications about local and obscure street art. This paper demonstrates how to extract object metadata from street art websites and digitised printed books, and how to feed it into a database that can be a potential treasure trove of street art object data.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {de la Iglesia, Martin},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.708},
	note = {Num Pages: 13},
	keywords = {Graffiti, Street art, Metadata, Archive},
	pages = {175--187},
}

@incollection{deacon_heritage_2010,
	address = {Gainesville},
	series = {Cultural {Heritage} {Studies}},
	title = {Heritage {Resource} {Management} in {South} {Africa}},
	isbn = {978-0-8130-3460-7},
	language = {English},
	booktitle = {Cultural heritage management: {A} global perspective},
	publisher = {University Press of Florida},
	author = {Deacon, Janette},
	editor = {Messenger, Phyllis Mauch and Smith, George S.},
	year = {2010},
	note = {Num Pages: 14},
	keywords = {Graffiti, Cultural heritage, Heritage, South Africa},
	pages = {162--175},
}

@incollection{del_valle_street_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {„{Street} poetry“ – {Die} poetische {Dimension} der urbanen {Schriftkunst}},
	isbn = {978-3-7799-6448-3},
	language = {German},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {del Valle, Victoria},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 18},
	keywords = {Graffiti},
	pages = {234--251},
}

@incollection{evans_graffiti_2015,
	address = {Lisbon},
	title = {Graffiti, {Art} \& the {City}: from {Pariah} to {Place}-{Making}},
	isbn = {978-989-20-5138-3},
	language = {English},
	booktitle = {Lisbon {Street} {Art} \& {Urban} {Creativity}: 2014 {International} {Conference}},
	publisher = {UrbanCreativity},
	author = {Evans, Graeme L.},
	editor = {Soares Neves, Pedro and de Freitas Simões, Daniela V.},
	year = {2015},
	note = {Num Pages: 6},
	keywords = {Graffiti, City},
	pages = {132--137},
}

@incollection{felle_scritture_2022,
	address = {Spoleto},
	series = {Quaderni delle "{Inscriptiones} {Medii} {Aevi} {Italiae}"},
	title = {Scritture esposte e graffiti. {Alcune} note di riflessione},
	volume = {I},
	isbn = {978-88-6809-336-5},
	language = {Italian},
	booktitle = {La dimensione spaziale della scrittura esposta in età medievale: {Discipline} a confronto. {Atti} del {Convegno} di studio, {Napoli}, 14-16 dicembre 2020},
	publisher = {Fondazione Centro italiano di studi sull'alto Medioevo},
	author = {Felle, Antonio Enrico},
	editor = {Ferraiuolo, Daniele},
	collaborator = {Fondazione Centro italiano di studi sull'alto Medioevo},
	year = {2022},
	note = {Num Pages: 14},
	keywords = {Graffiti},
	pages = {1--14},
}

@incollection{felle_introduction_2021,
	address = {Turnhout},
	series = {Contextualizing the {Sacred}},
	title = {Introduction},
	isbn = {978-2-503-59311-1},
	language = {English},
	number = {2},
	booktitle = {Cultic graffiti in the {Late} {Antique} {Mediterranean} and beyond},
	publisher = {Brepols},
	author = {Felle, Antonio Enrico and Ward-Perkins, Bryan},
	editor = {Felle, Antonio Enrico and Ward-Perkins, Bryan},
	year = {2021},
	note = {Num Pages: 4},
	keywords = {Graffiti, Ancient graffiti},
	pages = {xvii--xx},
}

@incollection{ferentinos_digitalising_2022,
	address = {Abingdon; New York},
	title = {Digitalising ephemerality},
	isbn = {978-0-367-48655-6},
	abstract = {The overwritten walls of Athens during the economic crisis offer a rich variety of ‘traces’ that emerge from the human interaction with their urban everyday environment. Slogans, visual and textual representations, graffiti and street art, posters, stickers and paper mass, all demonstrate a relentless persistence and incessant appearance in the contemporary city. The city walls accommodate the human echo, transforming the urban sphere into a narrator of the current Greek socio-political context. Despite the trace’s indefatigable rebirth in palimpsests of time, it remains vulnerable to encounters with perpetual human intervention, and time facilitates its inescapable deterioration. As an artist, engaging in digital technology as a research tool in my city-roaming methodology, I attempt to preserve and utilise the ephemerality in fine art practice. The urban trace, an element considered controversial and ambitious, but also dominant and omnipresent, functions as an apparatus and driving force for contemporary art approaches. Aiming at charting it, I rely on digital technologies to document and create detailed 3D representations as a direct way to preserve the temporal phases of Athens evolution through periodical scannings. 3D scanning and its potential as well as the continual development of digital technology and computerised intelligence establish it as a powerful medium of tracing the ephemerality in the field of fine art.},
	language = {English},
	booktitle = {Diffracting digital images: {Archaeology}, art practice and cultural heritage},
	publisher = {Routledge},
	author = {Ferentinos, Panagiotis},
	editor = {Dawson, Ian and Jones, Andrew Meirion and Minkin, Louisa and Reilly, Paul},
	year = {2022},
	doi = {10.4324/9781003042129-9},
	note = {Num Pages: 22},
	keywords = {Graffiti, Athens, Greece, Recording},
	pages = {143--164},
}

@incollection{ferrell_foreword_2016,
	address = {Abingdon; New York},
	series = {Routledge international handbooks},
	title = {Foreword. {Graffiti}, street art and the politics of complexity},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Ferrell, Jeff},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 9},
	keywords = {Graffiti},
	pages = {xxx--xxxviii},
}

@incollection{finn_places_2016,
	address = {Abingdon; New York},
	title = {Places of {Graffiti}},
	isbn = {978-1-315-61317-8},
	abstract = {In the summer of 2009, I was invited to give a talk at a research seminar organized by a research group affiliated with the Federal University of Bahia in Salvador, Brazil. The topic of the seminar – “representations of Bahian1 society” – posed a challenge for me: as an outsider who had been living and working in Brazil for less than a year, how should I approach this presentation to an audience that would be dominated by local scholars, students, and the public? I opted to put together a talk that merged a central aspect of my own research in Brazil – race – with the idea using the urban landscape as a visual medium to understand the racial and identity struggles taking place in Bahian society. Indeed, there had been something about the visual urban landscape that had been nagging at me since I had landed in Bahia the year before: if everyone in the city suddenly disappeared, and we were forced to understand the city in terms of images of people in advertising throughout the city, what would we see? If we were to judge Salvador’s human geography based on this capitalist representational landscape, how would our perspective of the city change?},
	language = {English},
	booktitle = {The {Routledge} {Research} {Companion} to {Media} {Geography}},
	publisher = {Routledge},
	author = {Finn, John},
	editor = {Adams, Paul C. and Craine, Jim},
	year = {2016},
	doi = {10.4324/9781315613178-21},
	note = {Num Pages: 14},
	keywords = {Graffiti},
	pages = {257--270},
}

@incollection{frederick_out_2018,
	address = {Oxford},
	title = {Out of {Time} and {Place}},
	isbn = {978-0-19-060735-7},
	abstract = {This chapter explores the relationship between graffiti and rock art in the context of archaeological and heritage studies. It outlines how archaeologists, and particularly rock art scholars, have approached graffiti and addresses the complexities of terminology and contested values common to this field of study. The author argues against an oversimplified polemic that has hampered the progression of graffiti/rock art research, suggesting that much may be learned about processes of identification, evaluation, and interpretation by considering graffiti and rock art as associated, albeit distinct, practices of inscription. Through an investigation of two specific sites of historical inscription— Alcatraz Island (San Francisco, US) and the North Head Quarantine Station (Sydney, Australia)—the chapter demonstrates the powerful role that inscription practices play in the making and unmaking of places and the meanings they carry.},
	language = {English},
	booktitle = {The {Oxford} {Handbook} of the {Archaeology} and {Anthropology} of {Rock} {Art}},
	publisher = {Oxford University Press},
	author = {Frederick, Ursula K.},
	editor = {David, Bruno and McNiven, Ian J.},
	year = {2018},
	doi = {10.1093/oxfordhb/9780190607357.013.44},
	note = {Num Pages: 22},
	keywords = {Graffiti, Australia, Rock art, Inscriptio, Mark making},
}

@incollection{gallade_american_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {American {Graffiti} – {Entstehung}, {Einordnung}, {Aneignung}},
	isbn = {978-3-7799-6448-3},
	language = {German},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Galladé, Katharina},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 15},
	keywords = {Graffiti, USA},
	pages = {47--61},
}

@incollection{gamon_alpine_2023,
	address = {Schruns},
	title = {Alpine {Graffiti} – {Rötelzeichnungen} und {Archäologie} im {Montafoner} {Rätikon}},
	isbn = {978-3-902225-93-1},
	language = {German},
	booktitle = {Montafoner {Museen} {\textbar} {Heimatschutzverein} {Montafon} {\textbar} {Montafon} {Archiv}. {Jahrbuch} 2022},
	publisher = {Heimatschutzverein Montafon},
	author = {Gamon, Martin},
	editor = {Kasper, Michael},
	year = {2023},
	note = {Num Pages: 6},
	keywords = {Graffiti, Alps},
	pages = {100--105},
}

@incollection{ganz_graffiti_2021,
	title = {Graffiti},
	isbn = {978-0-19-992010-5},
	language = {English},
	booktitle = {Art {History}},
	publisher = {Oxford University Press},
	author = {Ganz, Nicholas},
	editor = {DaCosta Kaufmann, Thomas},
	year = {2021},
	doi = {10.1093/OBO/9780199920105-0159},
	keywords = {Graffiti, Art history},
}

@incollection{garraffoni_writing_2013,
	address = {London},
	series = {Classical studies \& archaeology},
	title = {Writing in {Public} {Space} from {Child} to {Adult}: {The} {Meaning} of {Graffiti}},
	isbn = {978-1-4411-8876-2},
	language = {English},
	booktitle = {Written space in the {Latin} {West}, 200 {BC} to {AD} 300},
	publisher = {Bloomsbury},
	author = {Garraffoni, Renata Senna and Laurence, Ray},
	editor = {Sears, Gareth and Keegan, Peter and Laurence, Ray},
	year = {2013},
	note = {Num Pages: 12},
	keywords = {Graffiti, Ancient graffiti},
	pages = {123--134},
}

@incollection{glaser_graffiti_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Graffiti cannot be deciphered with the eyes, it can only be read with the soles of the feet},
	isbn = {978-3-7799-6448-3},
	language = {English},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Glaser, Katja},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 20},
	keywords = {Graffiti},
	pages = {62--81},
}

@incollection{goffriller_joseph_2023,
	address = {Lisbon},
	title = {Joseph {Kyselak} (1798–1831): the {First} {Tagger} and {Local} {Patron} of the {Wiener} {Donaukanal} {Graffiti}},
	isbn = {979-8-3946-0127-9},
	abstract = {Joseph Kyselak (1798–1831) achieved fame during his lifetime on account of a strange habit: he left his name in huge black letters in many, perhaps hundreds of places. Since 2006, art historian Gabriele Goffriller and director Chico Klein have been collecting facts and figures on Joseph Kyselak. When we began, there were countless articles and stories about him, even novels and a play, but very few facts. After 16 years of research—what do we know about his aims? Is there a concept? Can Kyselak be seen as the first graffiti tagger in the world? In this paper, we want to give a short overview on the exquisite and endangered heritage of the local patron of graffiti.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Goffriller, Gabriele},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.706},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Kyselak},
	pages = {146--156},
}

@incollection{graf_describing_2016,
	address = {Baden-Baden},
	series = {Advances in {Knowledge} {Organization}},
	title = {Describing an {Outsider} {Art} {Movement} from {Within}: {The} {AAT} and {Graffiti} {Art}},
	isbn = {978-3-95650-221-7},
	language = {English},
	number = {15},
	booktitle = {Knowledge {Organization} for a {Sustainable} {World}: {Challenges} and {Perspectives} for {Cultural}, {Scientific}, and {Technological} {Sharing} in a {Connected} {Society}: {Proceedings} of the {Fourteenth} {International} {ISKO} {Conference} 27-29 {September} 2016 {Rio} de {Janeiro}, {Brazil}},
	publisher = {Ergon},
	author = {Graf, Ann M.},
	editor = {Chaves Guimarães, José Augusto and Oliveira Milani, Suellen and Dodebei, Vera},
	year = {2016},
	doi = {10.5771/9783956504389-125},
	note = {Num Pages: 8},
	keywords = {Graffiti, Thesaurus, AAT (Art \& Architecture Thesaurus)},
	pages = {125--132},
}

@incollection{gwilt_augmented_2018,
	address = {Cham},
	edition = {Second},
	series = {Springer series on cultural computing},
	title = {Augmented {Reality} {Graffiti} and {Street} {Art}},
	isbn = {978-3-319-69931-8},
	abstract = {This chapter looks at how the concept of Augmented Reality graffiti enables us to experience an expanded view of the urban environment. It examines how the intersection between graffiti, street art and AR provides us with a complex socially and technologically encoded interface, which has the potential to combine the first-hand experience of public space with digital media, and creative practices, in a hybrid composition. The chapter begins by looking at the tradition of graffiti and street art; this is followed by a discussion around the philosophical implications for digitally augmented graffiti. A number of key techniques and technologies are then explored through the use of two practice-based case studies.},
	language = {English},
	booktitle = {Augmented {Reality} {Art}: {From} an {Emerging} {Technology} to a {Novel} {Creative} {Medium}},
	publisher = {Springer International Publishing},
	author = {Gwilt, Ian},
	editor = {Geroimenko, Vladimir},
	year = {2018},
	doi = {10.1007/978-3-319-69932-5_12},
	note = {Num Pages: 10},
	keywords = {Graffiti, VR (Virtual Reality)},
	pages = {227--236},
}

@incollection{hale_hard_nodate,
	address = {Oxford},
	title = {'{Hard} to find, mainly forgotten and overwhelmed by the urban'; (re)-remembering field graffiti},
	language = {English},
	booktitle = {Proceedings of the 2016 {Contemporary} and {Historical} {Archaeology} in {Theory} conference ({CHAT} 2016)},
	publisher = {Archaeopress},
	author = {Hale, Alex},
	keywords = {Graffiti},
}

@incollection{hale_graffiti_2023,
	address = {Lisbon},
	title = {Graffiti {Some} {Times}. {Archaeology}, {Artefacts} and {Archives}},
	isbn = {979-8-3946-0127-9},
	abstract = {This keynote address for the goINDIGO 2022 symposium aims to act as an introduction to the exciting complexities that graffiti can present to archaeologists and others who are interested and choose to research this subject. The paper considers graffiti through three lenses: as a subject for archaeological investigation, as artefacts from time past, time now and time as unfolding surfaces; and it asks how should we develop our archival practices in the wake of digital profusion challenges and the 6th extinction event, in the contemporary archaeological timeframe?},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Hale, Alex},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.700},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art, Archiving},
	pages = {16--24},
}

@incollection{hale_photographing_2020,
	address = {London},
	title = {Photographing graffiti},
	isbn = {978-1-350-02968-2},
	language = {English},
	booktitle = {Archaeology and photography: {Time}, objectivity and archive},
	publisher = {Bloomsbury Visual Arts},
	author = {Hale, Alex and Anderson, Iain},
	editor = {McFadyen, Lesley and Hicks, Dan},
	year = {2020},
	note = {Num Pages: 15},
	keywords = {Graffiti, Archaeology, Photography},
	pages = {151--165},
}

@incollection{hansen_darling_2016,
	address = {Łódź},
	title = {Darling {Look}! {It}’s a {Banksy}!” {Viewers}’ {Material} {Engagement} with {Street} {Art} and {Graffiti}},
	isbn = {978-83-8088-151-8},
	language = {English},
	booktitle = {Aesthetic {Energy} of the {City}. {Experiencing} {Urban} {Art} \& {Space}},
	publisher = {Wydawnictwo Uniwersytetu Łódzkiego},
	author = {Hansen, Susan and Flynn, Danny},
	editor = {Gralińska-Toborek, Agnieszka and Kazimierska-Jerzyk, Wioletta},
	year = {2016},
	doi = {10.18778/8088-151-8.06},
	note = {Num Pages: 13},
	keywords = {Graffiti, Street art, City},
	pages = {103--115},
}

@incollection{harding_instagraffinfluence_2019,
	address = {Cham},
	series = {Palgrave {Studies} in {Crime}, {Media} and {Culture}},
	title = {Instagraff—{The} {Influence} of {Web} 2.0, {Social} {Media}, and {User}-{Created} {Content} {Upon} {Graffiti} {Culture} {Performed} in {Cyber}/{Space}},
	isbn = {978-3-030-04911-9},
	abstract = {Instagraff, graffiti found on the social media website Instagram, examines social and technological advances that have prompted graffiti culture to appear ‘mainstream’. Recognising the birth of Web 2.0 as a key turning point, this study analyses images from social media accounts of graffiti writers, relating them to the works of Goffman (The Presentation of Self in Everyday Life. University of Edinburgh and Doubleday, 1959), Burgess (Vernacular Creativity and New Media. Queensland University of Technology, Australia, 2007), and Baudrillard (The Consumer Society. Sage Publications, 1970). Its findings suggest that online representations of graffiti culture are no longer necessarily based upon sensory, deviant, risk-taking associated with urban graffiti. The use of social media by young would-be graffiti writers has created new avenues for the commercialisation of a vibrant, but deviant, subculture. Therefore, graffiti shared on social media cannot be considered a true representation of graffiti subculture, but a procession of simulacra, developing new forms of graffiti culture dislocated from graffiti’s deviant origins.},
	language = {English},
	booktitle = {Crime, {Deviance} and {Popular} {Culture}: {International} and {Multidisciplinary} {Perspectives}},
	publisher = {Springer International Publishing},
	author = {Harding, Nicola},
	editor = {Akrivos, Dimitris and Antoniou, Alexandros K.},
	year = {2019},
	doi = {10.1007/978-3-030-04912-6_11},
	note = {Num Pages: 28},
	keywords = {Graffiti, Social media, Instagraff, Web 2.0},
	pages = {259--286},
}

@incollection{hauser_einleitung_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Einleitung: die unterschiedlichen {Blicke} auf {Graffiti}},
	isbn = {978-3-7799-6448-3},
	language = {German},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Häuser, Friederike},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 5},
	keywords = {Graffiti},
	pages = {13--17},
}

@incollection{hauser_graffiti_2021-1,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Graffiti, {Gouvernementalität} und {Grenzen}. {Auftragsgraffiti} als {Strategie} zur {Graffitiprävention}?},
	isbn = {978-3-7799-6448-3},
	language = {German},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Häuser, Friederike},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 12},
	keywords = {Graffiti},
	pages = {113--124},
}

@incollection{hildebrandt_urbane_2012,
	address = {Wiesbaden},
	title = {Urbane {Kunst}},
	isbn = {978-3-531-17168-5},
	language = {German},
	booktitle = {Handbuch {Stadtsoziologie}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Hildebrandt, Paula-Marie},
	editor = {Eckardt, Frank},
	year = {2012},
	doi = {10.1007/978-3-531-94112-7_32},
	note = {Num Pages: 24},
	keywords = {Graffiti, Street art, Urban art},
	pages = {721--744},
}

@incollection{hillard_graffitis_2013,
	address = {London},
	series = {Classical studies \& archaeology},
	title = {Graffiti’s {Engagement}. {The} {Political} {Graffiti} of the {Late} {Roman} {Republic}},
	isbn = {978-1-4411-8876-2},
	language = {English},
	booktitle = {Written space in the {Latin} {West}, 200 {BC} to {AD} 300},
	publisher = {Bloomsbury},
	author = {Hillard, Tom},
	editor = {Sears, Gareth and Keegan, Peter and Laurence, Ray},
	year = {2013},
	note = {Num Pages: 18},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Ancient graffiti},
	pages = {105--122},
}

@incollection{hinz_there_2018,
	address = {Aachen},
	title = {There is no comparison},
	language = {English},
	booktitle = {Aix {Vandals}. {Graffiti} und {Writing} in {Aachen} 1988–2018},
	publisher = {Centre Charlemagne - Neues Stadtmuseum},
	author = {Hinz, Harald},
	editor = {Weyres, Thomas and Kaltenhäuser, Robert and Kroll, Myriam and Pohle, Frank},
	year = {2018},
	note = {Num Pages: 8},
	keywords = {Graffiti},
	pages = {2--9},
}

@incollection{holler_graffdok_2014,
	address = {Berlin; Heidelberg},
	series = {Communications in {Computer} and {Information} {Science}},
	title = {{GraffDok} — {A} {Graffiti} {Documentation} {Application}},
	isbn = {978-3-662-45005-5},
	abstract = {GraffDok is an application helping to maintain an overview over sprayed images somewhere in a city. At the time of writing it aims at vandalism rather than at beautiful photographic graffiti in an underpass. Looking at hundreds of tags and scribbles on monuments, house walls, etc. it would be interesting to not only record them in writing but even make them accessible electronically, including images. 
GraffDok’s workflow is simple and only requires an EXIF-GPS-tagged photograph of a graffito. It automatically determines its location by using reverse geocoding with the given GPS-coordinates and the Gisgraphy WebService. While asking the user for some more meta data, GraffDok analyses the image in parallel with this and tries to detect fore- and background – before extracting the drawing lines and make them stand alone. The command line based tool ImageMagick is used here as well as for accessing EXIF data. 
Any meta data is written to csv-files, which will stay easily accessible and can be integrated in TeX-files as well. The latter ones are converted to PDF at the end of the workflow, containing a table about all graffiti and a summary for each – including the generated characteristic graffiti pattern image.},
	language = {English},
	number = {500},
	booktitle = {Process {Design} for {Natural} {Scientists}: {An} {Agile} {Model}-{Driven} {Approach}},
	publisher = {Springer},
	author = {Holler, Robin},
	editor = {Lamprecht, Anna-Lena and Margaria, Tiziana},
	year = {2014},
	doi = {10.1007/978-3-662-45006-2_19},
	note = {Num Pages: 13},
	keywords = {Graffiti, Graffiti writing, Documentation},
	pages = {239--251},
}

@incollection{holst_blennow_graffiti_2008,
	address = {Stockholm},
	series = {Skrifter utgivna av {Svenska} institutet i {Rom}. 4 ̊},
	title = {The graffiti in the cryptoporticus of the {Horti} {Sallustiani} in the area of the {Embassy} of the {United} {States} of {America} in {Rome}},
	isbn = {978-91-7042-175-4},
	abstract = {The graffiti in the Roman cryptoporticus in the area of the Embassy of the United States of America derive from two main phases, Late Antique and Late Medieval/Renaissance. 
The Late Antique graffiti consist of literal graffiti, some Christian monograms and a Jewish menorah. They all post-date the frescoes, which were created in the early third century AD. The occurrence of a two-stroke E in one of the literal graffiti is somewhat surprising, since this form usually is held to be out of use in the third century. Concerning the Christian monograms, the general chronology of these symbols would prevent a dating as early as the third century; however, given some parallels from the same time, a dating in the late third century should not be seen as impossible. The menorah is dated to the third or fourth century AD. 
The literal graffiti from the second phase, mainly consisting of so-called visitors’ graffiti, are dated to the mid-16th century or beginning of the 17th century. The figurative graffiti from the same phase—including a large representation of warriors with swords involved in a hostile action—are tentatively dated somewhat earlier, based on some iconographic observations.*},
	language = {English},
	number = {59},
	booktitle = {Unexpected voices: {The} graffiti in the cryptoporticus of the {Horti} {Sallustiani} and papers from a conference on graffiti at the {Swedish} {Institute} in {Rome}, 7 {March} 2003},
	publisher = {Svenska Institutet i Rom},
	author = {Holst Blennow, Anna},
	editor = {Brandt, Olof},
	year = {2008},
	note = {Num Pages: 31},
	keywords = {Graffiti, Roman archaeology, Medieval archaeology, Rome, Cryptoporticus, Horti Sallustiani},
	pages = {55--85},
}

@incollection{hoppe_urban_2018,
	address = {Lisbon},
	title = {Urban {Art}: {Creating} the {Urban} {With} {Art}},
	isbn = {978-989-97712-8-4},
	language = {English},
	booktitle = {Urban art: creating the urban with art: {Proceedings} of the international conference at {Humboldt}-{Universitat} {Zu} {Berlin}, 15-16 {July}, 2016},
	publisher = {UrbanCreativity},
	author = {Hoppe, Ilaria},
	editor = {Blanché, Ulrich and Hoppe, Ilaria},
	year = {2018},
	note = {Num Pages: 3},
	keywords = {Graffiti, Street art},
	pages = {10--12},
}

@incollection{hoppe_introduction_2023,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {Introduction},
	isbn = {978-88-9280-129-5},
	language = {English},
	number = {1},
	booktitle = {A question of style: {Graffiti} writing between art/theory and practice},
	publisher = {Edifir edizioni Firenze},
	author = {Hoppe, Ilaria},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 12},
	keywords = {Graffiti, Art, Graffiti writing, Art history},
	pages = {11--22},
}

@incollection{howorth_graffiti_1989,
	address = {New York},
	edition = {Second, revised and enlarged},
	title = {Graffiti},
	isbn = {0-313-27241-7},
	language = {English},
	booktitle = {Handbook of {American} popular culture: {Volume} 1},
	publisher = {Greenwood Press},
	author = {Howorth, Lisa N.},
	editor = {Inge, M. Thomas},
	year = {1989},
	note = {Num Pages: 17},
	keywords = {Graffiti},
	pages = {549--565},
}

@incollection{iljadica_painting_2017,
	address = {New York},
	title = {Painting on walls: street art without copyright?},
	isbn = {978-1-4798-4193-6},
	abstract = {Although graffiti images are copyright eligible in the abstract, the inherently illicit act of spray painting private property without permission complicates efforts to rely on formal law. Marta Iljadica’s empirical research on the graffiti subculture in London demonstrates that despite its illegality, graffiti writing has rules. Those rules address questions of subject matter, originality, and copying common to any expressive work. But they also extend to concerns unique to the graffiti context. Because graffiti is inextricably tied to the physical environment, it raises questions of placement: which structures are appropriate canvasses for graffiti writings and which are off-limits? And because available real estate is limited, graffiti writers must confront scarcity: Under what conditions is it permissible to cover another artist’s work with your own? So while the rules of graffiti writing parallel those of formal copyright law in some ways, they also go beyond it to confront a set of problems graffiti writers are themselves best suited to address.},
	language = {English},
	booktitle = {Creativity without law: {Challenging} the assumptions of intellectual property},
	publisher = {New York University Press},
	author = {Iljadica, Marta},
	editor = {Darling, Kate and Perzanowski, Aaron},
	year = {2017},
	doi = {10.18574/nyu/9781479841936.003.0006},
	note = {Num Pages: 24},
	keywords = {Graffiti, Street art, Copyright, Intellectual property},
	pages = {118--141},
}

@incollection{iljadica_works_2019,
	address = {Cambridge},
	title = {Works and {Walls}: {Graffiti} {Writing} and {Street} {Art} at the {Intersection} of {Copyright} and {Land} {Law}},
	isbn = {978-​1-​108-​48233-​2},
	abstract = {Street art raise interesting issues, all remain within a framework of property relations. Yet the owner of the wall and the author of the work are not the only relevant actors. People will pass these works as they walk down the street and may be moved to photograph them. The work might become so well known, through traditional or social media coverage, or so beloved that it comes to be considered part of the fabric of the local community. If the nature of that community is contested by different groups (i.e. publics), the work may itself become a site of contestation. The removal of a work may not therefore go unnoticed, whether welcome or unwelcome. In placing the author at the centre of this thinly sketched web of conflicting rights and interests amongst different actors and groups the question becomes one, most obviously, of the integrity of property: for the author it is likely to be a question of moral rights as they seek to maintain the integrity of their work.},
	language = {English},
	booktitle = {The {Cambridge} handbook of copyright in street art and graffiti},
	publisher = {Cambridge University Press},
	author = {Iljadica, Marta},
	editor = {Bonadio, Enrico},
	year = {2019},
	doi = {10.1017/9781108563581.007},
	note = {Num Pages: 20},
	keywords = {Graffiti, Street art, Copyright, Law, Legal photography},
	pages = {81--100},
}

@incollection{iljadica_classifying_2020,
	address = {Cheltenham; Northampton},
	title = {Classifying art in diverse legal regimes: the function-aesthetic divide and the public interest},
	isbn = {978-1-78897-147-8},
	language = {English},
	booktitle = {Research {Handbook} on {Art} and {Law}},
	publisher = {Edward Elgar Publishing Limited},
	author = {Iljadica, Marta},
	editor = {McCutcheon, Jani and McGaughey, Fiona},
	year = {2020},
	doi = {10.4337/9781788971478.00025},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, Copyright, Law, Legal photography},
	pages = {209--223},
}

@incollection{iljadica_street_2020,
	address = {Oxford},
	title = {Street {Art} and the {Properties} of {Resistance}},
	isbn = {978-1-910761-07-6},
	language = {English},
	booktitle = {Art, {Law}, {Power}: {Perspectives} on {Legality} and {Resistance} in {Contemporary} {Aesthetics}},
	publisher = {Counterpress},
	author = {Iljadica, Marta},
	editor = {Finchett-Maddock, Lucy and Lekakis, Eleftheria},
	year = {2020},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art, Law},
	pages = {198--219},
}

@incollection{jakob_street_2009,
	address = {Wiesbaden},
	title = {Street {Art}: {Kreativer} {Aufstand} einer {Zeichenkultur} im urbanen {Zwischenraum}},
	isbn = {978-3-531-16212-6},
	abstract = {In diesem Band werden die unterschiedlichsten Ausprägungsformen, welche die Straße als kulturellen Handlungsraum definieren, vorgestellt. Street Art stellt hierbei ein herausragendes Beispiel dar. Warum dies so ist, soll in den folgenden Ausführungen anschaulich gemacht werden und somit ein Verständnis für die urbane künstlerische Ausdrucksform Street Art geschaffen werden.},
	language = {German},
	booktitle = {Straße als kultureller {Aktionsraum}: {Interdisziplinäre} {Betrachtungen} des {Straßenraumes} an der {Schnittstelle} zwischen {Theorie} und {Praxis}},
	publisher = {VS Verlag für Sozialwissenschaften},
	author = {Jakob, Kai},
	editor = {Geschke, Sandra Maria},
	year = {2009},
	doi = {10.1007/978-3-531-91346-9_4},
	note = {Num Pages: 25},
	keywords = {Graffiti, Street art},
	pages = {73--97},
}

@incollection{jenks_prehistoric_2019,
	address = {Santa Fe},
	series = {Papers of the {Archaeological} {Society} of {New} {Mexico}},
	title = {Prehistoric {Rock} {Art} and {Historic} “{Graffiti}”},
	abstract = {In the summer of 2014, the Fort Lewis College (FLC) Archaeological Field School conducted six weeks of ar- chaeological survey, feature documentation, and test excavation at Los Ojitos, a multicomponent site located on the east bank of the Pecos River in Guadalupe County, New Mexico (Figure 1). The primary research goal of this project was to investigate the ways that the Hispanic settlers who established and occupied this community from circa 1865 to 1950 adapted to the new legal requirements of American homestead grants and the new physical environment of the Middle Pecos River. Of secondary concern were tasks relating to site management: the need to revisit and reevaluate features previously recorded in 1992 and to provide more detailed documentation of structures and cemetery features that were being damaged as a result of erosion, cattle grazing, and vandalism.},
	language = {English},
	number = {45},
	booktitle = {Scholar of the {City} {Different}: {Papers} in {Honor} of {Cordelia} {Thomas} {Snow}},
	publisher = {Archaeological Society of New Mexico},
	author = {Jenks, Kelly L.},
	editor = {Brown, Emily J. and Barbour, Matthew J. and Head, Genevieve N.},
	year = {2019},
	note = {Num Pages: 14},
	keywords = {Graffiti, Rock art},
	pages = {109--122},
}

@incollection{kaltenhauser_trolling_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Trolling is {Solidarity}. {Urban} {Art} at the {Identitarian} {Intersection}},
	isbn = {978-3-7799-6448-3},
	language = {English},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Kaltenhäuser, Robert},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 24},
	keywords = {Graffiti},
	pages = {125--148},
}

@incollection{kikol_von_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Von der {Kunst} im {Verbotenen}. {Oder}: {Graffiti} als {Teil} der {Kunstwelt}},
	isbn = {978-3-7799-6448-3},
	language = {German},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Kikol, Larissa},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 15},
	keywords = {Graffiti},
	pages = {149--163},
}

@incollection{kimvall_family_2019,
	address = {Lisbon},
	title = {A {Family} {Affair}? {Framings} of the concepts ‘{Graffiti}’ and ‘{Street} {Art}’ in a diachronic perspective},
	isbn = {978-1-7054-2398-1},
	language = {English},
	booktitle = {Framing {Graffiti} \& {Street} {Art}: {Proceedings} of {Nice} {Street} {Art} {Project}, {International} {Conferences}, 2017 - 2018},
	publisher = {UrbanCreativity},
	author = {Kimvall, Jacob},
	editor = {Comoy Fusaro, Edwige},
	year = {2019},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art},
	pages = {17--27},
}

@incollection{kimvall_hip-hop_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Hip-{Hop} as a {Conceptual} {Assemblage}},
	isbn = {978-3-7799-6448-3},
	language = {English},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Kimvall, Jacob},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 19},
	keywords = {Graffiti},
	pages = {164--182},
}

@incollection{kipfer_graffiti_2021,
	address = {Cham},
	edition = {Second},
	title = {Graffiti},
	isbn = {978-3-030-58291-3},
	language = {English},
	booktitle = {Encyclopedic {Dictionary} of {Archaeology}},
	publisher = {Springer International Publishing},
	author = {Kipfer, Barbara Ann},
	editor = {Kipfer, Barbara Ann},
	year = {2021},
	doi = {10.1007/978-3-030-58292-0_70264},
	note = {Num Pages: 2},
	keywords = {Graffiti},
	pages = {542--543},
}

@incollection{kleele_graffiti_2018,
	address = {Wiesbaden},
	series = {Kunst und {Gesellschaft}},
	title = {Graffiti: Ästhetischer {Widerstand} oder {Widerstand} gegen das Ästhetische?},
	isbn = {978-3-658-18766-8},
	abstract = {Seit ihrer Entstehung im New York der späten 1960er Jahre sind Graffiti immer wieder Gegenstand kontroverser Diskussionen, die sich insbesondere an der oftmals illegalen Anbringung im öffentlichen Raum sowie ihrer besonderen Gestaltung entzünden. Ziel dieses Beitrages ist es, die ästhetische Wirkung von Graffiti in einem ebenfalls ästhetisch gestalteten öffentlichen Raum genauer zu betrachten. Neben der Frage wie Graffiti ihre Wirkung durch Ent- und Umfunktionalisierung bestehender Zeichensysteme sowie der Überschreitung etablierter Sehordnungen entfalten, steht der dabei produzierte, ästhetische Mehrwert im Fokus. Der Beitrag geht davon aus, dass Graffiti nicht nur als Widerstand gegen eine, auf ökonomische Verwertbarkeit abzielende, Ästhetisierung des öffentlichen Raumes verstanden werden können, sondern dass sich dieser Widerstand selbst wiederum auf einer ästhetisierenden Ebene abspielt. Abschließend wird die Frage diskutiert, inwieweit auch bestimmte Formen des Graffiti durch die Populärkultur adaptiert und zur Gestaltung des öffentlichen Raumes und seiner ökonomischen Verwertung eingesetzt werden.},
	language = {German},
	booktitle = {Ästhetischer {Widerstand} gegen {Zerstörung} und {Selbstzerstörung}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Kleele, Sebastian},
	editor = {Bosch, Aida and Pfütze, Hermann},
	year = {2018},
	doi = {10.1007/978-3-658-18767-5_25},
	note = {Num Pages: 17},
	keywords = {Graffiti, Street art, Graffiti writing},
	pages = {393--409},
}

@incollection{koblitz_takeover_2023,
	address = {Lisbon},
	title = {{TAKEOVER} – {Street} {Art} \& {Skateboarding}: {Turning} the {Museum} into an {Urban} {Playground}},
	isbn = {979-8-3946-0127-9},
	abstract = {In the summer of 2019, the ‘old’ Wien Museum opened its doors one last time. The galleries had been emptied for a substantial renovation and expansion project, affording unprecedented opportunities for interaction. Located right in the city centre, more than 2000 m² were turned into a playground for street art and skateboarding. 
The museum invited prominent local protagonists, affording everyone the opportunity to discover the scenes in entirely new ways. The building was split into two zones: on the ground floor, it was DIY and skateboarding; the first floor was a ‘Hall of Fame’ featuring main figures of Vienna’s street art scene. More than 80 artists took possession of the museum’s walls. Old exhibition furniture was turned into a skate park using concrete. There was much to discover and much to do—from breakdancing to workshops on various painting styles. 
Street art and skateboarding still polarise, even though they have the status of pop cultural phenomena with a growing number of exhibitions. Yet the question remains: how can these outdoor practices be brought into a museum without losing their original spirit? 
This case study gives an insight into the making of a collaborative project that became an overwhelming success: How the museum became a meeting spot for street artists, skateboarders and visitors of all ages; the difficulties we faced and the support we got, and especially how we made the first exhibition of Viennese street art.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Koblitz, Christine},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.718},
	note = {Num Pages: 14},
	keywords = {Graffiti, Street art},
	pages = {299--312},
}

@incollection{koloski-ostrow_carpe_2020,
	address = {Leiden},
	title = {{CARPE} {Dirt}, {Disease}, and {Detritus}: {Roman} {Sanitation} and its {Value} {System}},
	isbn = {978-90-8890-921-4},
	language = {English},
	booktitle = {Cleaning and value: {Interdisciplinary} investigations},
	publisher = {Sidestone Press},
	author = {Koloski-Ostrow, Ann Olga},
	editor = {Bredenbröker, Isabel and Hanzen, Christina and Kotzur, Felix},
	year = {2020},
	note = {Num Pages: 22},
	keywords = {Graffiti, Pompeii, Roman archaeology},
	pages = {105--126},
}

@incollection{kraus_dokumentieren_2021,
	address = {Hamburg},
	title = {Dokumentieren, {Publizieren}, {Kommerzialisieren}},
	isbn = {978-3-00-069133-1},
	language = {German},
	booktitle = {Eine {Stadt} wird bunt: {Hamburg} {Graffiti} history 1980-1999},
	publisher = {Double-H Archiv},
	author = {Kraus, Dennis},
	editor = {Nebel, Oliver "Davis" and Petering, Frank and Reisser, Mirko and Timm, Andreas "Cario"},
	year = {2021},
	note = {Num Pages: 13},
	keywords = {Graffiti, Document},
	pages = {497--509},
}

@incollection{kreslehner_graffiti_2023,
	address = {Lisbon},
	title = {Graffiti \& {Bananas}. {Street} {Art} in {Linz}},
	isbn = {979-8-3946-0127-9},
	abstract = {Is this art, or does it go into the bin? Graffiti and street art polarise. Vandalism and damage to property in the eyes of some, added value or even art for the City and its inhabitants for others. Born as a US American subculture in the 1960s, graffiti has today conquered public space all over the world. Since the 1980s, a street art scene has developed in Linz, which came of age and became attractive for tourism and business at the latest with the foundation of the Mural Harbor, ‘Europe’s biggest outdoor graffiti and street art gallery. Covering a wide range from signatures, political slogans, stencil images and stickers on dust bins to large-scale colourful spray paintings, these anti-establishment comments are to be found practically everywhere in Linz’s urban landscape. Unauthorised art invades the City and playfully raises the question of who public space belongs to. Heteronomy, permission culture and self-empowerment as parts of our social structure have significantly been gaining importance in this context, especially since COVID-19 took on pandemic dimensions. The exhibition “Graffiti \& Bananas”, curated by Klaudia Kreslehner, documented for the first time the development of graffiti and street art in Linz. Photos, reports and contemporary works of art testify to an urban movement whose pithy pictorial language paints the social climate on our City’s walls.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Kreslehner, Klaudia},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.717},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Austria, Linz},
	pages = {289--298},
}

@incollection{lasala_conservazione_2022,
	address = {Torino},
	title = {Conservazione dell’arte negli spazi pubblici: la piattaforma didattica {CAPuS}},
	isbn = {978-88-907493-7-7},
	abstract = {La piattaforma didattica (https://elearning.unito.it/mooc/course/index.php?categoryid=6) è tra i prodotti più significativi del progetto CAPuS – Conservation of Art in Public Spaces, co-finanziato dalla Commissione Europea nell’ambito delle azioni Erasmus+ Alleanze per la Conoscenza (www.capusproject.eu). Il progetto, che si è chiuso a giugno 2021, ha preso le mosse dalla carenza di azioni specifiche rivolte alla conservazione della street art e dell’arte negli spazi pubblici e dalla mancanza di percorsi accademici dedicati. Ha quindi contribuito alla diffusione e allo sviluppo della conoscenza su questo tema attraverso l’azione congiunta di ricercatori e docenti appartenenti ai 17 partner del progetto, oltre ai numerosi stakeholders che sono stati attivati durante i 42 mesi di attività. L’”alleanza” ha sviluppato specifici protocolli di studio e intervento, che sono stati la base per lo sviluppo della piattaforma didattica. Sono offerti gratuitamente due percorsi: uno, in autoapprendimento, è rivolto a studenti in conservazione e restauro e a professionisti e operatori del settore; l’altro mette a disposizione degli insegnanti materiali e strategie per produrre lezioni accattivanti ed efficaci sui temi del progetto.},
	language = {Italian},
	booktitle = {Atti del {MoodleMoot} {Italia} 2021},
	publisher = {MediaTouch 2000; Esercito Italiano Associazione Italiana Utenti Moodle A.p.s (AIUM)},
	author = {Lasala, Tina and Vindigni, Floriana and Ricci, Chiara and Scarcella, Arianna and Croveri, Paola and Scalarone, Dominique and Gulmini, Monica},
	editor = {Fiorentino, Giuseppe and Gallo, Pierpaolo and Rabellino, Sergio},
	year = {2022},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art, CAPuS},
	pages = {113--121},
}

@incollection{laurence_written_2013,
	address = {London},
	series = {Classical studies \& archaeology},
	title = {Written {Space}},
	isbn = {978-1-4411-8876-2},
	language = {English},
	booktitle = {Written space in the {Latin} {West}, 200 {BC} to {AD} 300},
	publisher = {Bloomsbury},
	author = {Laurence, Ray and Sears, Gareth},
	editor = {Sears, Gareth and Keegan, Peter and Laurence, Ray},
	year = {2013},
	note = {Num Pages: 9},
	keywords = {Graffiti, Ancient graffiti},
	pages = {1--9},
}

@incollection{lindblad_writing_2023,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {Writing from within: {Art} {History} in the {Field} of {Style} {Writing}},
	isbn = {978-88-9280-129-5},
	language = {English},
	number = {1},
	booktitle = {A question of style: {Graffiti} writing between art/theory and practice},
	publisher = {Edifir edizioni Firenze},
	author = {Lindblad, Tobias Barenthin and Kimvall, Jacob},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 13},
	keywords = {Graffiti, Graffiti writing, Art history},
	pages = {39--51},
}

@incollection{lohmann_warum_2018,
	address = {Stuttgart},
	title = {Warum sich eigentlich mit historischen {Graffiti} beschäftigen – und was sind {Graffiti} überhaupt? {Ein} {Vorwort} zur {Einordnung} und {Bedeutung} der {Materialgattung}},
	isbn = {978-3-515-12204-7},
	language = {German},
	booktitle = {Historische {Graffiti} als {Quellen}: {Methoden} und {Perspektiven} eines jungen {Forschungsbereichs}},
	publisher = {Franz Steiner Verlag},
	author = {Lohmann, Polly},
	editor = {Lohmann, Polly},
	year = {2018},
	note = {Num Pages: 8},
	keywords = {Graffiti},
	pages = {9--16},
}

@incollection{lopez_pichadora_2020,
	address = {Oxford},
	title = {The {Pichadora} {Girl}: {Politics} of {Art} {Institutions}, {Legal} and {Extrajudicial} {Punishment}, and the ‘{Pixo}’ {As} a {Transgressive} {Social} {Practice}},
	isbn = {978-1-910761-07-6},
	language = {English},
	booktitle = {Art, {Law}, {Power}: {Perspectives} on {Legality} and {Resistance} in {Contemporary} {Aesthetics}},
	publisher = {Counterpress},
	author = {López, Alexander Araya},
	editor = {Finchett-Maddock, Lucy and Lekakis, Eleftheria},
	year = {2020},
	note = {Num Pages: 22},
	keywords = {Graffiti, Sociology, Socio-political},
	pages = {176--197},
}

@incollection{luque_rodrigo_arte_2020,
	address = {Valencia},
	title = {El arte urbano como patrimonio inmaterial. {Posibilidades} para su protección y difusión},
	isbn = {978-84-9048-826-3},
	abstract = {Graffiti emerges and develops as an artistic expression in cities' walls and movable heritage in a spontaneous way and as a consequence illegal. Since then, its evolution has led modifications both in its social and academic consideration as a technique. Nowadays, not only graffiti is an artistic expression in the street, but also urban art and related with it, public art which has a commissioned and legal nature. However, there is no consensus in the nomenclature or its genesis. In any case, none of them have any kind of protection. It is true that it is an ephemeral art but the reality is that we are faced with works that the society itself asks to preserve. Therefore, we will reflect on the possible formulas of cataloging and protection to urban art and public art, attending even if there should be differences between them. They could thus avoid facts like pulls without author permission. For that purpose, the survey method will be used.},
	language = {Spanish},
	booktitle = {Actas del {I} {Simposio} anual de {Patrimonio} {Natural} y {Cultural} {ICOMOS} {España}},
	publisher = {Editorial Universitat Politècnica de València},
	author = {Luque Rodrigo, Laura and Moral Ruiz, Carmen},
	editor = {Lerma García, José Luis and López-Menchero Bendicho, Víctor Manuel and Maldonado Zamora, Alfonso},
	year = {2020},
	doi = {10.4995/icomos2019.2020.11593},
	note = {Num Pages: 8},
	keywords = {Graffiti, Public art},
	pages = {57--64},
}

@incollection{luque_rodrigo_cataloguing_2023,
	address = {Lisbon},
	title = {Cataloguing {Works} of {Art} in {Urban} {Spaces}, of an {Extremely} {Ephemeral}, {Performative} {Nature} and/or {Using} {Organic} {Materials}},
	isbn = {979-8-3946-0127-9},
	abstract = {Over the last few years, various research projects presented by institutions in different countries have made significant progress in developing a cataloguing card and protocol for urban art and muralism and even, in some cases, for graffiti (the differences between the three will be explained in the text). As such, essential research has been carried out in this regard thanks to the CAPUS International Project, the GE-IIC Urban and Public Art Group of Spain, the INDIGO research project of Vienna, Austria, the project directed by Professor Adris Díaz that catalogues artworks from the Monterrey Callegenera Festival, or the project “Pintado en la Pared. Estudio de la Pintura sobre muro en la Provincia de Jaén en los siglos XX y XXI” (Painted on the Wall. A study of Wall Painting in the Province of Jaén in the XX and XXI centuries”). However, there are still important issues that deserve further consideration that will be discussed later in this paper, such as, for example, the cataloguing of a type of art that occurs in urban spaces but that is not related to murals, which is the most common form of urban art. These pieces of art usually have a very short lifespan. For this reason, this paper proposes the modification of the urban art cataloguing card based on different experiences in which certain shortcomings have been identified.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Luque Rodrigo, Laura and Moral Ruiz, Carmen},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.707},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, Spain},
	pages = {157--174},
}

@incollection{lyng_edgework_2005,
	address = {New York; London},
	title = {Edgework and the {Risk}-{Taking} {Experience}},
	isbn = {978-0-415-93217-3},
	language = {English},
	booktitle = {Edgework: {The} sociology of risk taking},
	publisher = {Routledge},
	author = {Lyng, Stephen},
	editor = {Lyng, Stephen},
	year = {2005},
	note = {Num Pages: 12},
	keywords = {Graffiti, Sociology, Edgework, Risk},
	pages = {3--14},
}

@incollection{macdowall_graffiti_2015,
	address = {New York; Abingdon},
	series = {Routledge {Advances} in {Art} and {Visual} {Studies}},
	title = {Graffiti, {Street} {Art} and {Theories} of {Stigmergy}},
	isbn = {978-1-138-79760-4},
	abstract = {The chapter explores how graffiti and street art function in public space by considering their relationship to the notion of stigmergy, a theory derived from insect behaviour that explains how the actions of individual agents within populations are coordinated without direct communication. The application of stigmergy highlights a number of neglected aspects of street art, namely its spatial clustering, its incitement of interactions, the active audiences it produces and its existence as a ‘cultural scene,’ based not on fixed art objects but on forms which elicit ongoing, collective contributions.},
	language = {English},
	booktitle = {The uses of art in public space},
	publisher = {Routledge},
	author = {MacDowall, Lachlan John},
	editor = {Lossau, Julia and Stevens, Quentin},
	year = {2015},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art},
	pages = {33--48},
}

@incollection{mallea-olaetxe_basque_2010,
	address = {Oxford},
	series = {{BAR} {International} {Series}; {Studies} in contemporary and historical archaeology;},
	title = {Basque {Aspen} {Carvings}: {The} {Biggest} {Little} {Secret} of {Western} {USA}},
	isbn = {978-1-4073-0635-3},
	language = {English},
	number = {2074; 6},
	booktitle = {Wild signs: {Graffiti} in archaeology and history},
	publisher = {Archaeopress},
	author = {Mallea-Olaetxe, Joxe},
	editor = {Oliver, Jeff and Neal, Tim},
	year = {2010},
	note = {Num Pages: 9},
	keywords = {Graffiti, USA, Arborglyphs},
	pages = {5--13},
}

@incollection{mandescu_archaeology_2015,
	address = {Abingdon; New York},
	title = {Archaeology and {Graffiti} {Carved} in {Carpathian} {Rock}: {The} {Thracian} {Horseman}, or an {Early} {Medieval} {Image} of {Power} and {Authority}?},
	isbn = {978-1-61132-868-4},
	language = {English},
	booktitle = {Understanding graffiti: {Multidisciplinary} studies from prehistory to the present},
	publisher = {Routledge},
	author = {Măndescu, Dragoș},
	editor = {Lovata, Troy R. and Olton, Elizabeth},
	year = {2015},
	note = {Num Pages: 13},
	keywords = {Archaeology, Rock art, Medieval archaeology, Carpathian Rock Graffiti},
	pages = {77--89},
}

@incollection{marchese_art_2015,
	address = {Cham},
	series = {Future {City}},
	title = {The {Art} of {Urban} {Engagement}},
	isbn = {978-3-319-15152-6},
	abstract = {Digital media artists have exploited pervasive technologies to explore urban ecology. Through their interventions, they challenge a city’s inhabitants to consider and experience their local communities in alternate ways that may lead to new approaches by citizens for sustaining and enhancing their living conditions. This chapter reviews a breadth of digital-based work including graffiti, cartography, and security.},
	language = {English},
	number = {5},
	booktitle = {Media {Art} and the {Urban} {Environment}: {Engendering} {Public} {Engagement} with {Urban} {Ecology}},
	publisher = {Springer International Publishing},
	author = {Marchese, Francis T.},
	editor = {Marchese, Francis T.},
	year = {2015},
	doi = {10.1007/978-3-319-15153-3_11},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art},
	pages = {225--246},
}

@incollection{marra_mobile_2015,
	address = {Cham},
	series = {Future {City}},
	title = {Mobile {Maps} of {Chameleonic} {Cities}: {Urban} {Cartographies} and {Methodological} {Procedures} and {Experiences}},
	isbn = {978-3-319-15152-6},
	abstract = {Every day, hundreds of thousands of people circulate throughout the center of Belo Horizonte, the capital city of one of Brazil’s largest states. The physical space of this city changes constantly, and it is the site of conflicts with the government and among the population. Understanding the constant process of change is essential to performing appropriate ethnographic fieldwork. However, difficulties may occur when dealing with the temporal dimension of observation, when working with passersby, and with the current technological nature of recording artifacts. Traditional academic fieldwork has had trouble capturing this chameleonic city’s changing characteristics and its continuous expansion of urban images and representations. This chapter discusses the experiences related by The Urban Cartographies Research Project, a research group who dealt firsthand with such methodological difficulties. First, this research explores how temporality and spatiality are constructed in contemporary cities and tries to evidence the temporal mobility engendered by global capitalist fluxes, especially on developing countries and within the context of mega events, such as the FIFA World Cup. Next, this chapter describes and reviews the specific work of the research group, highlighting its methodological practices. Then it discusses some examples of urban interventions that focus on urban art experiences. Such experiences reveal ways of exploring and making academic findings visible, as well as inviting the city’s inhabitants to take part in participatory knowledge-based construction strategies. Finally, the research discusses the group’s recent experimental methodological procedures and outlines future actions that might allow for a better and more participatory understanding of an ever-changing and mobile city, thus allying the social sciences and various artistic practices.},
	language = {English},
	number = {5},
	booktitle = {Media {Art} and the {Urban} {Environment}: {Engendering} {Public} {Engagement} with {Urban} {Ecology}},
	publisher = {Springer International Publishing},
	author = {Marra, Pedro and Aroztegui Massera, Carmen},
	editor = {Marchese, Francis T.},
	year = {2015},
	doi = {10.1007/978-3-319-15153-3_6},
	note = {Num Pages: 22},
	keywords = {Graffiti, Brasil},
	pages = {117--138},
}

@incollection{mcgarry_introduction_2020,
	address = {Amsterdam},
	series = {Protest and social movements},
	title = {Introduction: {The} {Aesthetics} of {Global} {Protest} : {Visual} {Culture} and {Communication}},
	isbn = {978-94-6372-491-3},
	abstract = {Protest movements are struggles to be seen and to be heard. In the last 60 years protest movements around the world have mobilized against injustices and inequalities to bring about substantial sociocultural, sociopolitical, and socio-economic changes. Whilst familiar repertoires of action persist, such as strikes, demonstrations, and occupations of public space, the landscape is very different from 60 years ago when the so-called ‘new social movements’ emerged. We need to take stock of the terrain of protest movements, including dramatic developments in digital technologies and communication, the use of visual culture by protestors, and the expression of democracy. This chapter introduces the volume and explains how aesthetics of protest are performative and communicative, constituting a movement through the performance of politics.},
	language = {English},
	booktitle = {The aesthetics of global protest: {Visual} culture and communication},
	publisher = {Amsterdam University Press},
	author = {McGarry, Aidan and Erhart, Itir and Eslen-Ziya, Hande and Jenzen, Olu and Korkut, Umut},
	editor = {McGarry, Aidan and Erhart, Itir and Eslen-Ziya, Hande and Jenzen, Olu and Korkut, Umut},
	year = {2020},
	doi = {10.1515/9789048544509-004},
	note = {Num Pages: 21},
	keywords = {Graffiti, Protest},
	pages = {15--35},
}

@incollection{merrill_thinking_2020,
	address = {Abingdon; New York},
	title = {Thinking volumetrically about urban memory: {The} buried memories and networked remembrances of underground railways},
	isbn = {978-0-8153-5426-0},
	language = {English},
	booktitle = {The {Routledge} {Handbook} of {Memory} and {Place}},
	publisher = {Routledge},
	author = {Merrill, Samuel},
	editor = {de Nardi, Sarah and Orange, Hilary and High, Steven and Koskinen-Koivisto, Eerika},
	year = {2020},
	doi = {10.4324/9780815354260-26},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art},
	pages = {223--232},
}

@incollection{merrill_different_2023,
	address = {Lisbon},
	title = {'{Different} folks, different strokes': {goINDIGO} 2022's «{Creators} vs {Academics}» discussion round},
	isbn = {979-8-3946-0127-9},
	abstract = {During the first discussion round of goINDIGO 2022, which took place on Thursday, 12 May and was called Creators vs Academics, four local graffiti creators were invited to consider a series of (potentially provocative) statements in discussion with symposium participants (joining in-person and online). The statements, compiled by Geert Verhoeven in consultation with Samuel Merrill, were: 
Academia CHANGES graffiti 
Graffiti MUST be recorded 
ALL graffiti are archive-worthy 
Decontextualisation MATTERS 
Graffiti NEED categorisation 
Digital media are ESSENTIAL 
The four attending graffiti creators agreed to participate following their contact and invitation via Instagram. When introducing themselves, each conveyed their own, often close, relationship to the Donaukanal as well as their different levels of experience and exposure within Vienna’s wider graffiti scene. JANER ONE (active since 2012), for instance, took hope from doing graffiti in “tough times” and identified the Donaukanal as a really big playground—”it does not have many rules, and the few rules it has, you must pick up by yourself”—and a site of graffiti history. MANUEL SKIRL (active since 2006) meanwhile recounted how the openness and inclusiveness of the Donaukanal offered the chance to begin creating and, in time, to develop a personal style in “more artistic” directions. SERT (active since 2009) highlighted moving to Vienna partly to be close to the Donaukanal after growing up in a “pretty small village” in the countryside. SNUF’s (active since 2012) first piece was at the prestigious Donaukanal, the “best art gallery of the city with almost daily changing exhibitions”. Each of the four brought their personal, ‘inside’ perspectives to the discussion of the selected statements that is recorded in the following text. This text is not, however, a verbatim nor sequential account of that discussion. Firstly, although retaining the ‘feel’ of the discussion has been prioritised, the text has been edited for readability, and some superfluous content removed. Secondly, as is often the way with the most exploratory of dialogues, the main topic of conversation shifted quickly and regularly. Thus, although the six statements were originally detailed by Merrill (in his capacity as moderator) following a preamble at the start of the discussion round, in this text these statements (and their more detailed elaborations) have been chronologically redeployed to structure the text in a manner that might better serve the reader. The reordering of the transcription in this way means that in some places the text does not always flow consecutively in the way it did during the discussion. These places are indicated by […] and they do not only represent hops forward, but also hops backward in time. 
Finally, it is essential to know that all authors—of which none was a minor—have read this text and confirmed in writing that they were fine with their statements. This agreement notwithstanding, one must understand that these statements were raised in a lively discussion and must also be understood and treated this way.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Merrill, Samuel Oliver Crichton and Verhoeven, Geert Julien Joanna and Wild, Benjamin and JANER ONE and MANUEL SKIRL and SERT and SNUF and Carloni, Massimiliano and de la Iglesia, Martin and Fernandez Merino, Francisca and Radošević, Ljiljana and Ricci, Chiara and Schlegel, Jona and Wogrin, Stefan},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.701},
	note = {Num Pages: 20},
	keywords = {Graffiti, Street art, Discussion},
	pages = {25--44},
}

@incollection{mimler_street_2019,
	address = {Cambridge},
	title = {Street {Art}, {Graffiti} and {Copyright}: {A} {German} {Perspective}},
	isbn = {978-​1-​108-​48233-​2},
	abstract = {Germany has a vivid and thriving street art and graffiti scene. 1 Its beginnings can be traced back to the late 1970ies, early 1980ies when hip hop culture became increasingly popular throughout Europe. 2 The Bavarian capital Munich can be seen as the cradle of graffiti and street art in Germany3 though all large cities, such as Frankfurt, Cologne Stuttgart and Leipzig, are all hubs for street art and host interesting art works and active crews. Berlin, of course, has to be mentioned in this context as Germany’s prime location for street art and graffiti attracting many visitors from around the globe. 4 But also, from a copyright perspective which of course is the focus of this chapter, Berlin’s esteem is also unrivalled to other German cities. Many cases which discuss the copyright aspects of street art relate to the city’s most famous canvas: The Berlin Wall.},
	language = {English},
	booktitle = {The {Cambridge} handbook of copyright in street art and graffiti},
	publisher = {Cambridge University Press},
	author = {Mimler, Marc},
	editor = {Bonadio, Enrico},
	year = {2019},
	doi = {10.1017/9781108563581.013},
	note = {Num Pages: 19},
	keywords = {Graffiti, Street art, Copyright, Germany, Law, Berlin Wall},
	pages = {188--206},
}

@incollection{molada-tebar_towards_2023,
	address = {Lisbon},
	title = {Towards colour-accurate documentation of anonymous expressions},
	isbn = {979-8-3946-0127-9},
	abstract = {Colour is a powerful communication element in most forms of cultural heritage. This importance of colour notwithstanding, the documentation of cultural heritage typically captures the geometrical aspects and seldom the spectral dimensions of an artefact. This is partly because the science of colour (called colorimetry) is non-trivial. In addition, capturing accurate colour data with digital cameras remains challenging due to the operating principle of standard imaging sensors and the need for a stable and well-characterised illumination source. Despite these limitations, the heritage science project INDIGO made it one of its central aims to generate colour-accurate photos from graffiti captured with standard digital cameras in varying outdoor illumination conditions. This paper first discusses the importance of colour accuracy in graffiti documentation. Afterwards, the text details (in a non-mathematical manner) essential colorimetric and camera principles that underlie the generation of colour images from raw image sensor data. This in-depth coverage supports clarifying the main hurdles to accurate photo colours. Finally, the paper introduces the open-source COOLPI software resulting from this research. We are confident that COOLPI will benefit any other heritage documentation project, or any application where digital cameras play a fundamental role in acquiring correct colour values.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Molada-Tebar, Adolfo and Verhoeven, Geert Julien Joanna},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.704},
	note = {Num Pages: 45},
	keywords = {Graffiti, Colour, Colorimetry, Python, INDIGO, COOLPI},
	pages = {86--130},
}

@incollection{molle_hic_2012,
	address = {Barcelona},
	series = {Sylloge {Epigraphica} {Barcinonensis}},
	title = {Hic hospitati sunt homi(nes). {Graffiti} parietali antichi a {Villa} {Adriana} ({Tibur})},
	isbn = {978-84-96786-46-2},
	abstract = {A corpus of ancient wall graffiti discovered in the Hadrian’s Villa at Tibur is presented here. These documents give us an unusual perspective on the social environment of the men who attended the villa. Besides many occasional drawings and some sentences of possible poetic content, they provide some interesting lists of names, probably referred to soldiers, as well as evidences of an unguentarius and of an «a mappis», who both must have worked at the court of Hadrian or of his successors.},
	language = {Italian},
	number = {10},
	booktitle = {Instrumenta {Inscripta} {IV}. {Nulla} dies sine littera. {La} escritura cotidiana en la casa romana},
	publisher = {Universidad de Barcelona},
	author = {Molle, Carlo},
	editor = {Baratta, Giulia},
	year = {2012},
	note = {Num Pages: 16},
	keywords = {Graffiti, Roman graffiti, Ancient graffiti, Hadrian's villa, Pretoriani, Tibur, Villa Adriana},
	pages = {389--404},
}

@incollection{moritz_rituelle_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Rituelle {Kommunikation} im {Trainwriting}: {Fluchtgeschichten} zwischen {Kollektivität} und {Individualismus}},
	isbn = {978-3-7799-6448-3},
	language = {German},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Moritz, Florian},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 15},
	keywords = {Graffiti},
	pages = {183--197},
}

@incollection{morstein-marx_political_2012,
	address = {Stuttgart},
	series = {Alte {Geschichte}},
	title = {Political {Graffiti} in the {Late} {Roman} {Republic}:  “{Hidden} {Transcripts}” and “{Common} {Knowledge}”},
	isbn = {978-3-515-10076-2},
	language = {English},
	booktitle = {Politische {Kommunikation} und öffentliche {Meinung} in der antiken {Welt}},
	publisher = {Franz Steiner},
	author = {Morstein-Marx, Robert},
	editor = {Kuhn, Christina T.},
	year = {2012},
	note = {Num Pages: 27},
	keywords = {Graffiti, Politics, Roman archaeology, Antiquity},
	pages = {191--217},
}

@incollection{muller_zwischen_2021,
	address = {Bonn},
	series = {Historische {Archäologie}},
	title = {Zwischen den {Stühlen}, zwischen der {Zeit}: {Graffiti} im {Johanna}-{Mestorf}-{Hörsaal} der {CAU} {Kiel}},
	isbn = {978-3-7749-4282-0},
	abstract = {Graffiti are an everyday part of pre-modern and modern life. Although graffiti have been documented and researched since the 19th century, modern archaeology has only turned to this field since the 1990s. The approximately 1700 graffiti on the 65 seats in a lecture hall at Kiel University provide multi-layered and diverse insights into a predominantly student culture of life from the late 1990s until 2018. The graffiti represent fleeting expressions that do not claim to last forever. They clearly show us that even in eras with a variety of written and pictorial sources and contemporary witnesses, much remains unexplored. Thus, an archaeology of the present brings material expressions to the fore that otherwise receive little attention. The documentation of the graffiti in the lecture hall is a challenge, because the majority of the marks is located on the narrow wooden pencil tray of the seats. The graffiti in black or blue colour, mostly applied with ballpoint and fibre-tip pens, are distributed relatively evenly on the pen trays. Concentrations, however, are found on the right side and in the middle. Among the graffiti, geometric signs and symbols dominate over letters, texts and numbers. In individual cases, it is difficult to identify combinations and analyse stratigraphic relationships. This also applies to additions or deletions. Nevertheless, communications on a shelf can be recorded just as easily as reactions across seats. The distribution of graffiti in the lecture hall seems to be due to peer groups or visual and auditory factors in relation to the visibility of the blackboard and the seat. The graffiti were by no means applied “anonymously”, since, on the one hand, the participants of events likely knew each other and, on the other hand, the seats are very close to each other. The graffiti were created spontaneously, but parallel to attending lectures. Some initial and reactive graffiti can be identified. The semantics of the graffiti are quite different compared to, for example, “toilet graffiti”. Letters, personal names and not always interpretable lettering appear more frequently. Furthermore there are often expressions of astonishment. Hardly represented are sexist or insulting graffiti, and technical contents (e.g. chemistry or mathematics) are also rather rare. The most common acronyms are from sports, the computer scene and media or net culture. These can also be used to date the graffiti. In terms of a social attribution the majority of graffiti producers probably come from the student milieu of the university and their age corresponds to the student average. Further cultural or gender-specific information is not discernible.},
	language = {German},
	number = {Sonderband 2},
	booktitle = {Archäologie der {Moderne}: {Standpunkte} und {Perspektiven}},
	publisher = {Dr. Rudolf Habelt},
	author = {Müller, Ulrich},
	editor = {Jürgens, Fritz and Müller, Ulrich},
	year = {2021},
	doi = {10.18440/ha.2020.123},
	note = {Num Pages: 41},
	keywords = {Graffiti, Kiel, Soccer, Auditorium},
	pages = {459--499},
}

@incollection{munsberg_towards_2017,
	address = {Cham},
	series = {Communications in {Computer} and {Information} {Science}},
	title = {Towards {Graffiti} {Classification} in {Weakly} {Labeled} {Images} {Using} {Convolutional} {Neural} {Networks}},
	isbn = {978-3-319-71010-5},
	abstract = {Graffiti is an urban phenomenon that can be useful as an indicator of social and economic factors of a geographic region or community. Automatically identifying this urban writings can be useful for understanding cities and their communities. In this paper we investigate the use of Convolutional Neural Networks aiming at classifying weakly labeled images to identify the presence or absence of graffiti art in images. We propose the use of a VGG-16 architecture pre-trained on the ImageNet dataset and show a novel approach to fine-tuning the network over graffiti examples extracted from Flickr. Experiments using this approach show accuracy comparable to that of ImageNet classes.},
	language = {English},
	number = {720},
	booktitle = {Computational {Neuroscience}: {Proceedings} of the {First} {Latin} {American} {Workshop}, {LAWCN} 2017, {Porto} {Alegre}, {Brazil}, {November} 22–24, 2017},
	publisher = {Springer International Publishing},
	author = {Munsberg, Glauco R. and Ballester, Pedro and Birck, Marco F. and Correa, Ulisses B. and Andersson, Virginia O. and Araujo, Ricardo M.},
	editor = {Barone, Dante Augusto Couto and Teles, Eduardo Oliveira and Brackmann, Christian Puhlmann},
	year = {2017},
	doi = {10.1007/978-3-319-71011-2_4},
	note = {Num Pages: 10},
	keywords = {Graffiti, ANN (Artificial Neural Network), Deep learning, CNN (Convolutional Neural Networks)},
	pages = {39--48},
}

@incollection{niemann_ingrid_2022,
	address = {Wiesbaden},
	title = {{INGRID} – {Das} {Informationssystem} {Graffiti} in {Deutschland}},
	isbn = {978-3-658-36515-8},
	abstract = {Der Beitrag nimmt das Forschungsprojekt INGRID in den Blick, welches seit 2016 eine Forschungsdatenbank für Graffiti aufbaut. Das Informationssystem Graffiti in Deutschland (INGRID) ist ein interdisziplinäres Kooperationsprojekt des KIT in Karlsruhe und der Universität Paderborn und ermöglicht erstmals eine systematische Erforschung von Graffiti. Im Mittelpunkt des Beitrags stehen dabei die Ontologie und die Nutzung der Datenbank sowie die Annotation und die Erfassung der Graffitis durch die Projektmitarbeiter: innen. Zu Beginn werden die Ziele, die Entstehungsgeschichte und die wissenschaftliche Relevanz des Forschungsprojekts beschrieben. Zum Schluss werden exemplarisch zwei empirische Untersuchungen durchgeführt, die die Bestände in der Datenbank jeweils aus einer soziolinguistischen und einer sprachhistorischen Perspektive untersuchen.},
	language = {German},
	booktitle = {{HipHop} im 21. {Jahrhundert}: {Medialität}, {Tradierung}, {Gesellschaftskritik} und {Bildungsaspekte} einer ({Jugend}-){Kultur}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Niemann, Sven},
	editor = {Wilke, Thomas and Rappe, Michael},
	year = {2022},
	note = {Num Pages: 22},
	keywords = {Graffiti, INGRID (Informationssystem Graffiti in Deutschland)},
	pages = {267--288},
}

@incollection{niemann_ingridarchiving_2023,
	address = {Lisbon},
	title = {{INGRID}—{Archiving} {Graffiti} in {Germany}},
	isbn = {979-8-3946-0127-9},
	abstract = {The article introduces the research project INGRID (Informationssystem Graffiti in Deutschland/ Information System Graffiti in Germany), which was founded in 2016 and provides a scientific database for graffiti. INGRID is an interdisciplinary cooperation project between the Karlsruhe Institute of Technology and the University of Paderborn and offers a systematic registration of graffiti. INGRID contains over 130,000 photographs of graffiti. Different sources provided the images. A large part of the pictures comes from the police departments in Mannheim, Cologne, and Munich. Another part consists of photographs from private collections and public archives. 
This paper focuses on INGRID’s ontology, the usability of the database, and the annotation and acquisition of graffiti. 
Furthermore, there will be a presentation of exemplary studies, which examine the database from a linguistic, a historical and an onomastic perspective. With INGRID, it is possible for the first time to take a look at developments and changes in the phenomenon of graffiti over longer periods based on extensive, secure, and high-quality research data as well as to research its visual aesthetics, its specific scripturality, notational iconicity, grammaticality, urban location as well as its social function and meaning.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Niemann, Sven},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.712},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Ontology, INGRID (Informationssystem Graffiti in Deutschland), Archiving},
	pages = {231--238},
}

@incollection{nierenberg_proverbs_1994,
	address = {New York},
	series = {Garland folklore casebooks},
	title = {Proverbs in {Graffiti}. {Taunting} {Traditional} {Wisdom}},
	isbn = {978-0-8153-0942-0},
	abstract = {The folk have never considered proverbs to be sacrosanct, and the "fun" of parodying, manipulating, and perverting proverbs can be traced back to earliest written records. Especially in the modern age people have delighted in creating puns and wordplays based on proverbs, often only changing a single letter or word. While such parodies might be quite humorous, they also quite often express more serious socio-political satire. Wolfgang Mieder has coined the term "Antisprichwort" (anti­ proverb) for such deliberate proverb innovations, and he has co llected German examples in his three volumes of Antisprichworter (Wiesbaden: Verlag fur deutsche Sprache, 1982, 1985, and 1989). For graffiti that are based on proverbial structures see Allen Walker Read, Classic American Graffiti (Paris: Privately Printed, 1935); and Alan Dundes, "Here I sit-A Study of American Latrinalia," The Kroeber Anthropological Society Papers, no. 34 (1966), 91-105.},
	language = {English},
	number = {6},
	booktitle = {Wise words: {Essays} on the proverb},
	publisher = {Garland Publishing},
	author = {Nierenberg, Jess},
	editor = {Mieder, Wolfgang},
	year = {1994},
	keywords = {Graffiti, Folklore, Proverbs},
	pages = {543--561},
}

@incollection{omodeo_another_2023,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {On {Another} {Level}: “{The} {Fabulous} {Five}: {Calligraffiti} of {Frederick} {Brathwaite}, {Lee} {George} {Quinones}” {Exhibiton} at the {Galleria} {La} {Medusa} in {Rome}},
	isbn = {978-88-9280-129-5},
	language = {English},
	number = {1},
	booktitle = {A question of style: {Graffiti} writing between art/theory and practice},
	publisher = {Edifir edizioni Firenze},
	author = {Omodeo, Christian},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 16},
	keywords = {Graffiti, Graffiti writing, Calligraphy, Frederick Brathwaite, Lee George Quinones},
	pages = {23--38},
}

@incollection{omodeo_book_2015,
	title = {Book show},
	language = {Italian; English},
	booktitle = {The bridges of graffiti},
	publisher = {GDM \& Associati},
	author = {Omodeo, Christian and Rivasi, Pietro},
	editor = {Rivasi, Pietro},
	year = {2015},
	note = {Num Pages: 6},
	keywords = {Graffiti},
	pages = {20--29},
}

@incollection{owen_traces_2010,
	address = {Oxford},
	series = {{BAR} {International} {Series}; {Studies} in contemporary and historical archaeology;},
	title = {Traces of {Presence} and {Pleading}: {Approaches} to the {Study} of {Graffiti} at {Tewkesbury} {Abbey}},
	isbn = {978-1-4073-0635-3},
	language = {English},
	number = {2074; 6},
	booktitle = {Wild signs: {Graffiti} in archaeology and history},
	publisher = {Archaeopress},
	author = {Owen, Kirsty},
	editor = {Oliver, Jeff and Neal, Tim},
	year = {2010},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Tewkesbury Abbey},
	pages = {35--46},
}

@incollection{pachl_korrelationen_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Korrelationen der {Skateboardszene} zu {HipHop}, {Graffiti} und {Streetart} oder die {Frage}, was ein {Skatesticker} mit {HipHop}, {Graffiti} und {Streetart} zu tun haben könnte?},
	isbn = {978-3-7799-6448-3},
	language = {German},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Pachl, Pamela},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 15},
	keywords = {Graffiti},
	pages = {198--212},
}

@incollection{papenbrock_taggen_2017,
	address = {Wien},
	series = {Stimulus: {Mitteilungen} der Österreichischen {Gesellschaft} für {Germanistik}},
	title = {Taggen als {Kunstform}. {Zur} {Stilistik} von {Writer}-{Signaturen}},
	isbn = {978-3-7069-0942-6},
	language = {German},
	number = {24},
	booktitle = {Graffiti: deutschsprachige {Auf}- und {Inschriften} in sprach- und literaturwissenschaftlicher {Perspektive}},
	publisher = {Praesens Verlag},
	author = {Papenbrock, Martin},
	editor = {Lieb, Ludger and Müller, Stephan and Tophinke, Doris},
	year = {2017},
	note = {Num Pages: 22},
	keywords = {Graffiti, Tags},
	pages = {132--153},
}

@incollection{papenbrock_graffiti_2016,
	address = {Berlin; Boston},
	series = {Handbücher {Sprachwissen} ({HSW})},
	title = {Graffiti. {Formen}, {Traditionen}, {Perspektiven}},
	isbn = {978-3-11-029627-3},
	abstract = {Graffiti ist eine künstlerische Form abseits der etablierten Kunstszene, die mit Blick auf Fragen der Kunstkommunikation in verschiedener Hinsicht relevant ist. In ihrer Platzierung im öffentlichen Raum, etwa groß und gut sichtbar an Häuserwänden oder Autobahnbrücken, adressieren Graffitis die Öffentlichkeit und markieren die Präsenz und den Aktionsraum von Graffiti-Sprühern. Oft handelt es sich um Pseudonyme, aber vielfach auch um komplexere, semantische und pragmatisch interpretierbare Formen, die Botschaften vermitteln. Die Sprüher experimentieren mit dem ästhetischen sowie semantischen Potenzial der verfremdenden Stilisierung von Buchstaben- bzw. Wortformen und akzentuieren die Bildlichkeit der Schrift. Graffitis sind fundiert in einer sozial-kommunikativen Praxis. Das Agieren in der Gruppe, die ästhetische und kommunikative Bezugnahme auf vorhandene Graffiti und die Ausprägung von Stiltraditionen sind wichtige Momente der Graffiti-Kultur. Dieser Beitrag bietet einen Aufriss des Themenfeldes aus linguistischer und kunst- bzw. bildwissenschaftlicher Perspektive.},
	language = {German},
	number = {16},
	booktitle = {Handbuch {Sprache} in der {Kunstkommunikation}},
	publisher = {De Gruyter},
	author = {Papenbrock, Martin and Tophinke, Doris},
	editor = {Hausendorf, Heiko and Müller, Marcus},
	year = {2016},
	doi = {10.1515/9783110296273-005},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art, Terminology},
	pages = {88--109},
}

@incollection{pesce_rock_2019,
	address = {Cham},
	title = {Rock {Paintings}: {Primordial} {Graffiti}},
	isbn = {978-3-030-22729-6},
	abstract = {In the history of humanity it may have happened that art came first. Rock paintings in caves are an example. Primitive men imitated nature by observing their environment. Actually, I correct myself, they did not only observe and imitate nature, but they visually interpreted the outside world through representations of figures, animals, people, and also scenes of everyday life, such as hunting and gathering and even dancing. This early art can be seen in caves around the world. It seems to have smoothly led to or was already connected with activities of a “primitive” scientific character.},
	language = {English},
	booktitle = {Close {Encounters} of {Art} and {Physics}: {An} {Artist}'s {View}},
	publisher = {Springer International Publishing},
	author = {Pesce, Laura},
	editor = {Pesce, Laura},
	year = {2019},
	doi = {10.1007/978-3-030-22730-2_1},
	note = {Num Pages: 4},
	keywords = {Graffiti, Stonehenge},
	pages = {3--6},
}

@incollection{philipps_street_2013,
	address = {Roma},
	title = {Street art: more craft than art?},
	isbn = {978-88-909026-0-4},
	language = {English},
	booktitle = {{INOPINATUM}: {The} unexpected impertinence of urban creativity},
	publisher = {INOPINATUM Study Center on Urban Creativity},
	author = {Philipps, Axel and Pilz, Christoph},
	editor = {Borriello, Luca and Ruggiero, Christian},
	year = {2013},
	note = {Num Pages: 14},
	keywords = {Graffiti, Street art},
	pages = {145--158},
}

@incollection{phillips_graffitti_1996,
	address = {New York},
	title = {Graffitti},
	isbn = {1-884446-00-0},
	language = {English},
	booktitle = {The dictionary of art (in thirty-four volumes): {Volume} thirteen: {Goodnough} to {Habsburg}, §{I}: {Austrian} branch},
	publisher = {Grove},
	author = {Phillips, Susan A.},
	editor = {Turner, Jane},
	year = {1996},
	note = {Num Pages: 3},
	keywords = {Graffiti},
	pages = {269--271},
}

@incollection{phillips_bomb_2015,
	address = {Lisbon},
	title = {Bomb the {Canon}: {Re}-{Writing} the {History} of {Graffiti} in {Los} {Angeles}},
	isbn = {978-989-20-5138-3},
	language = {English},
	booktitle = {Lisbon {Street} {Art} \& {Urban} {Creativity}: 2014 {International} {Conference}},
	publisher = {UrbanCreativity},
	author = {Phillips, Susan A.},
	editor = {Soares Neves, Pedro and de Freitas Simões, Daniela V.},
	year = {2015},
	note = {Num Pages: 6},
	keywords = {Graffiti, USA, Los Angeles},
	pages = {96--101},
}

@incollection{plesch_beyond_2015,
	address = {Abingdon; New York},
	title = {Beyond {Art} {History}: {Graffiti} on {Frescoes}},
	isbn = {978-1-61132-868-4},
	language = {English},
	booktitle = {Understanding graffiti: {Multidisciplinary} studies from prehistory to the present},
	publisher = {Routledge},
	author = {Plesch, Véronique},
	editor = {Lovata, Troy R. and Olton, Elizabeth},
	year = {2015},
	note = {Num Pages: 11},
	keywords = {Graffiti, Fresco},
	pages = {47--57},
}

@incollection{radosevic_graffiti_2013,
	address = {Freeland},
	series = {Critical {Issues}},
	title = {Graffiti, {Street} {Art}, {Urban} {Art}: {Terminological} {Problems} and {Generic} {Properties}},
	isbn = {978-1-84888-177-8},
	abstract = {In the last ten years, street art has become a very important factor in the international art scene. It has become a precious object to buy and preserve, and yet there is considerable confusion about the generic properties and definition of street art in academic research. As a rightful part of popular culture and urban culture, street art is not pure and independent. It intertwines with different art forms and urban subcultures, and nurtures spin-off production. Therefore, it is quite hard to trace its borders. Street art is not graffiti. They are different visual expressions and even though they might share the same space, artists, and techniques. They still produce visually and conceptually different art works. This confusion produces many layers of problematic issues which put the street artists both on the police wanted lists and in the most important galleries and museums such as the Tate Modern in London, the Grand Palais in Paris, and MOCA in Los Angeles to name the few. In addition, in some official documents and in auction houses, graffiti and street art are referred to as urban art, a term not used or understood by the members of the subculture. It is not clear what graffiti, street art, and urban art are and how they are positioned within contemporary culture. Therefore, it is necessary to deal with the generic terms first and only after this issue has been addressed, one can look at all these terms from different perspectives. This chapter aims at resolving these problems without offering new definitions, but by explaining the terms used both in subcultures and in academic research.},
	language = {English},
	booktitle = {New {Cultural} {Capitals}: {Urban} {Pop} {Cultures} in {Focus}},
	publisher = {Inter-Disciplinary Press},
	author = {Radošević, Ljiljana},
	editor = {Koos, Leonard R.},
	year = {2013},
	doi = {10.1163/9781848881778_002},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Terminology, INDIGO},
	pages = {3--13},
}

@incollection{radosevic_art_2023,
	address = {Lisbon},
	title = {Art in the {Streets} in the {Virtual} {World}: {A} {Case} {Study} of the {First} {Graffiti} and {Street} {Art} {VR} {Exhibition} in {Serbia}},
	isbn = {979-8-3946-0127-9},
	abstract = {Art in the streets, especially if unsanctioned, might be the most liberal art in the art world today. Yet such art is full of controversy because of its status as potential vandalism. For those who do not participate in the art world, it is important to see that there is a choice, and it sometimes comes in the form of street art. The choice. The option. Different perspective. Accessibility. 
Starting from this premise, the Urban Heritage Hub project set a goal to make art in the streets of Belgrade, Serbia, more visible and even more accessible by using digital technology. Apparently, we were made to believe that everything was possible using new technologies. However, it became clear at the beginning of the project that while this might be true in some cases, it was not for ours. This paper aims to map the process of creating an exhibition that, firstly, deals with digital preservation and presentation of more than 50-year-old art form that has not yet been acknowledged as cultural heritage, and secondly, with the fact that it is not so easy to transfer unpredictability of the streets into a virtual reality which is imagined for the controlled environments of galleries or museums.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Radošević, Ljiljana},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.716},
	note = {Num Pages: 13},
	keywords = {Graffiti, Street art},
	pages = {276--288},
}

@incollection{rahrig_multispectral_2022,
	address = {Valencia},
	title = {Multispectral imaging for the documentation of graffiti in an urban environment},
	isbn = {978-84-9048-979-6},
	abstract = {Multispectral imaging (MSI) is increasingly used for the documentation and analysis of cultural heritage. It provides conservators a powerful non-destructive technique (NDT) and non-contact tool for detecting damage, hidden features and material-specific characteristics. Hereby multispectral documentation of wall paintings in an urban environment poses special challenges for the art expert. For example, these are often large works of art located outdoors on building façades. Excitation with artificial light in well-defined spectral ranges, as should ideally be the case in MSI, is therefore often not possible. In the following, low-cost variants of MSI (ultraviolet reflectography, visible light imaging and infrared reflectography) in combination with 3D photogrammetry and statistical methods for analysing image data are tested and discussed. Hereby, a metrically correct, large-scale documentation of wall paintings with accurate superimposed images of different spectral ranges will be generated by linking the MSI data in a photogrammetric image cluster to create individual texture maps for each spectral band. Furthermore, Principal Component Analysis (PCA) is used to extract additional information from the MSI data. The case studies are located on the campus of the Universitat Politècnica de València.},
	language = {English},
	booktitle = {Proceedings of the 5th {Joint} {International} {Symposium} on {Deformation} {Monitoring} - {JISDM} 2022},
	publisher = {Editorial de la Universitat Politècnica de València},
	author = {Rahrig, Max and Lerma, José Luis},
	month = jun,
	year = {2022},
	doi = {10.4995/JISDM2022.2022.13942},
	note = {Num Pages: 8},
	keywords = {Graffiti, PCA (Principal Component Analysis), Photography, IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), NIR (Near-InfraRed), NUV (Near-UltraViolet), RTI (Reflectance Transformation Imaging), Multispectral, Spain, València},
	pages = {495--502},
}

@incollection{ralph_graffiti_2014,
	address = {New York},
	series = {Springer reference},
	title = {Graffiti {Archaeology}},
	isbn = {978-1-4419-0426-3},
	language = {English},
	booktitle = {Encyclopedia of global archaeology},
	publisher = {Springer},
	author = {Ralph, Jordan},
	editor = {Smith, Claire},
	year = {2014},
	doi = {10.1007/978-1-4419-0465-2_551},
	note = {Num Pages: 6},
	keywords = {Graffiti},
	pages = {3102--3107},
}

@incollection{ralph_graffiti_2020,
	address = {Cham},
	title = {Graffiti {Archaeology}},
	isbn = {978-3-030-30016-6},
	language = {English},
	booktitle = {Encyclopedia of {Global} {Archaeology}},
	publisher = {Springer International Publishing},
	author = {Ralph, Jordan},
	editor = {Smith, Claire},
	year = {2020},
	doi = {10.1007/978-3-030-30018-0_551},
	note = {Num Pages: 6},
	keywords = {Graffiti},
	pages = {4660--4665},
}

@incollection{ricci_tools_2023,
	address = {Lisbon},
	title = {Tools to {Document} and {Disseminate} the {Conservation} of {Urban} {Art}: the {Experience} of the {CAPuS} {Project}},
	isbn = {979-8-3946-0127-9},
	abstract = {The Conservation of Art in Public Spaces project (CAPuS), realised under the European Programme Erasmus+ Knowledge Alliances, aimed to develop a shared approach to the conservation of artworks in public spaces. The project involved 17 partners from 5 European countries, most of which focused on street art and contemporary murals. The final goal was the dissemination of knowledge to all stakeholders involved and the implementation of e-learning and training modules for conservation students and professionals. In addition to sharing best practices, the CAPuS partnership recognised the need to set a common and unambiguous vocabulary referring to the most relevant issues in the study of graffiti and street art for conservation purposes, such as style, execution technique, deterioration processes and conservation treatments. This encouraged the creation of a multilingual glossary, divided into two sections entitled “Street Art \& Graffiti” and “Conservation”, with each definition accompanied by an illustrative picture. In addition to that, an open-source database, the CAPuS Digital Repository, was created to archive, organise and disseminate the wide range of information and documentation that was collected and produced about the artworks studied within the project (materials and artistic techniques, artworks’ socio-cultural context, photographic documentation, interviews with artists, condition reports etc.). Both the CAPuS Multilingual Illustrated Glossary and the CAPuS Digital Repository can support teaching and learning activities. They may also be of great help for future conservation interventions on the examined artworks and may serve as a starting point for the study and treatment of other public works of art.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Ricci, Chiara and Croveri, Paola and Scarcella, Arianna and Sunara, Sagita Mirjam and Tabak, Toni and Bertasa, Moira and Scalarone, Dominique},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.709},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, CAPuS},
	pages = {188--202},
}

@incollection{richards_one_2023,
	address = {Lisbon},
	title = {One {Ontology} to {Rule} {Them} {All}—{CIDOC} {CRM} in the {Humanities} and {Its} {Use} in {OpenAtlas}},
	isbn = {979-8-3946-0127-9},
	abstract = {The CIDOC Concept Reference Model (CRM, https://www.cidoc-crm.org), developed by the International Council of Museums’ International Committee for Documentation (CIDOC), is a widespread ontology in the field of digital humanities. Its version 7.1.1, used within OpenAtlas (https://www.cidoc-crm.org/version/version-7.1.1), consists of classes that can be connected via properties to structure data in a standardised way and create entity-relationship models. 
Mapping one’s research data using an ontology that is accepted and widely used in the community is consistent with the FAIR Principles (https://www.go-fair.org/fair-principles). Using CIDOC CRM on the INDIGO dataset enables the recombination with already existing research data in this structure as well as the contentious use in new projects is easily possible. This significantly extends the life cycle of the data and prevents the laboriously collected data from remaining unused after the end of the project. 
However, the use of ontologies including the CIDOC CRM, requires a certain training period and the time and resources to learn how to use it. OpenAtlas (https://openatlas.eu), as an open-source database system, allows for easy input of research data without prior knowledge of ontologies or other digital humanities applications. The stored data are mapped to the CIDOC CRM model in the background of the application without the user needing to engage with it.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Richards, Nina and Eichert, Stefan and Watzinger, Alexander},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.711},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Ontology, CIDOC CRM, FAIR},
	pages = {220--230},
}

@incollection{rivasi_spontaneous_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Spontaneous urban art and institutions: challenging a 50 years old relationship – {An} italian based case study},
	isbn = {978-3-7799-6448-3},
	language = {English},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Rivasi, Pietro},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 21},
	keywords = {Graffiti},
	pages = {213--233},
}

@incollection{rivasi_act_2023,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {The {Act} of {Graffiti}: {Does} the fluid relationship between photography and graffiti writing play a role in the evolution of the practice?},
	isbn = {978-88-9280-129-5},
	language = {English},
	number = {1},
	booktitle = {A question of style: {Graffiti} writing between art/theory and practice},
	publisher = {Edifir edizioni Firenze},
	author = {Rivasi, Pietro},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 11},
	keywords = {Graffiti, Graffiti writing, Photography},
	pages = {85--95},
}

@incollection{ross_introduction_2016,
	address = {Abingdon; New York},
	series = {Routledge international handbooks},
	title = {Introduction: sorting it all out},
	isbn = {978-1-315-76166-4},
	abstract = {Graffiti has existed since the dawn of civilization (McCormick, 2011), however, since the mid1980s, most large urban centers throughout the world have experienced an increase in unique styles of graffiti and street art (Ferrell, 1995). Naturally this has led to several efforts to understand this phenomenon. Indeed, the world of graffiti and street art is complicated and includes numerous subtypes and participants. Thus, it is not surprising that multiple, sometimes complementary and at other times competing, definitions and interpretations of what constitutes “graffiti” and “street art” exist. Much of this debate stems from the viewpoints by which practitioners, social control agents, and scholars examine and/or locate this phenomenon. The purpose of this introductory chapter is to briefly outline the definitional challenges of graffiti/street art, comment on the general state of scholarly research, and provide a brief history of graffiti/ street art.},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Ross, Jeffrey Ian},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art},
	pages = {1--10},
}

@incollection{ross_foreword_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Foreword: {On} the importance of edited books to the scholarly study of graffiti and street art},
	isbn = {978-3-7799-6448-3},
	language = {English},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {Ross, Jeffrey Ian},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 5},
	keywords = {Graffiti},
	pages = {7--11},
}

@incollection{rowlands_preface_2020,
	address = {Oxford},
	series = {{BAR} {International} {Series}},
	title = {Preface},
	isbn = {978-1-4073-5714-0},
	language = {English},
	number = {2999},
	booktitle = {Shepherds who write: {Pastoral} graffiti in the uplands of {Europe} from prehistory to the modern age},
	publisher = {BAR Publishing},
	author = {Rowlands, Michael J.},
	editor = {Bazzanella, Marta and Kezich, Giovanni},
	year = {2020},
	note = {Num Pages: 2},
	keywords = {Graffiti, Rock art},
	pages = {xix--xx},
}

@incollection{ryan_political_2020,
	address = {Amsterdam},
	series = {Protest and social movements},
	title = {Political {Street} {Art} in {Social} {Mobilization}: {A} {Tale} of {Two} {Protests} in {Argentina}},
	isbn = {978-94-6372-491-3},
	abstract = {Separated by almost two decades, the large-scale social mobilizations known as El siluetazo and El argentinazo have been understood by some scholars as watershed moments in Argentine politics. At these times of heightened political contestation, it has been possible to observe a dissolution of the status quo and the emergence of new or alternative political paradigms. Less recognized, however, is the central role that ‘the aesthetic’ has played within such processes of political transformation. By focusing on the spectacular outpouring of street art that accompanied these two protest events, the chapter aims to illuminate some of the analytical gaps and grey areas that exist between art, aesthetics and social movement studies today.},
	language = {English},
	booktitle = {The aesthetics of global protest: {Visual} culture and communication},
	publisher = {Amsterdam University Press},
	author = {Ryan, Holly Eva},
	editor = {McGarry, Aidan and Erhart, Itir and Eslen-Ziya, Hande and Jenzen, Olu and Korkut, Umut},
	year = {2020},
	doi = {10.1515/9789048544509-008},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art, Political graffiti, Argentina},
	pages = {99--120},
}

@incollection{saiz_jimenez_painted_2010,
	address = {Washington},
	title = {Painted materials},
	isbn = {978-1-55581-476-2},
	language = {English},
	booktitle = {Cultural heritage microbiology: {Fundamental} studies in conservation science},
	publisher = {ASM Press},
	author = {Sáiz Jiménez, Cesáreo},
	editor = {Mitchell, Ralph and McNamara, Christopher J.},
	year = {2010},
	note = {Num Pages: 11},
	keywords = {Graffiti, Rock art},
	pages = {3--13},
}

@incollection{santamarina-campos_potential_2019,
	address = {Cham},
	series = {Springer {Proceedings} in {Business} and {Economics}},
	title = {The {Potential} of {Street} {Art}. {Obstacles} to the {Commercialization} of {Street} {Art} and {Proposed} {Solutions}},
	isbn = {978-3-030-03909-7},
	abstract = {The recent commercialization of public art in Europe has placed Street art in one of the most powerful artistic sectors of the creative industry. The contracting of street artist for wall paintings by the public, private and academic sectors, has promoted the artist itself, and has generated a public acceptance of these creative resources. This institutionalization of the urban art movement in Europe has led to a museum recognition status of these spaces, which has resulted in the official declaration of outdoor museums such as Brussels, Portugal or Paris. Moreover, it can be seen as the development of public art proposals that give color to neighborhoods, providing Europe with uncountable, highly creative and innovative public spaces. As a result, the European Union street art industry produces annually over 180.000 new works, playing an active and vibrant role in urban environments by modifying the perception of its surroundings. The unique style, energy and innovation of street art has also a huge potential to be re-used and inspire other Cultural and Creative Industries, being in fact a vital economic driver for most CCIs. However, the numerous online collections of street art photographs are poorly managed and inefficiently catalogued, making content difficult to repurpose and reuse by potential users for their needs. Besides, street art photographs do not truly reflect the transformative nature of the wall paintings surrounding environment.},
	language = {English},
	booktitle = {Smart {Tourism} as a {Driver} for {Culture} and {Sustainability}: {Fifth} {International} {Conference} {IACuDiT}, {Athens} 2018},
	publisher = {Springer International Publishing},
	author = {Santamarina-Campos, Virginia and de-Miguel-Molina, María and de-Miguel-Molina, Blanca and Segarra-Oña, Marival},
	editor = {Katsoni, Vicky and Segarra-Oña, Marival},
	year = {2019},
	doi = {10.1007/978-3-030-03910-3_13},
	note = {Num Pages: 13},
	keywords = {Graffiti, Street art, Tourism},
	pages = {179--191},
}

@incollection{santopuoli_utilizzo_2007,
	address = {Milano},
	title = {Utilizzo di procedure informatiche come supporto per l’interpretazione di graffiti pompeiani},
	isbn = {978-88-6130-225-9},
	language = {Italian},
	booktitle = {Pompei: {Via} dell'{Abbondanza} : ricerche, restauri e nuove tecnologie},
	publisher = {Skira},
	author = {Santopuoli, Nicola and Seccia, Leonardo and Varone, Antonio},
	editor = {Curuni, Spiridione Alessandro and Santopuoli, Nicola},
	year = {2007},
	note = {Num Pages: 3},
	keywords = {Graffiti, Pompeii, Roman archaeology, Roman graffiti},
	pages = {175--177},
}

@incollection{schiaffini_foreword_2023,
	address = {Firenze},
	series = {Art in the city / {Arte} e città},
	title = {Foreword},
	isbn = {978-88-9280-129-5},
	language = {English},
	number = {1},
	booktitle = {A question of style: {Graffiti} writing between art/theory and practice},
	publisher = {Edifir edizioni Firenze},
	author = {Schiaffini, Ilaria},
	editor = {Bianco, Egidio Emiliano and Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 2},
	keywords = {Graffiti},
	pages = {9--10},
}

@incollection{schlegel_making_2023,
	address = {Lisbon},
	title = {Making a mark—{Towards} a graffiti thesaurus},
	isbn = {979-8-3946-0127-9},
	abstract = {What does it mean to create graffiti? What exactly is (or are) graffiti? Graffiti and street art differ, right? Almost everyone has an opinion on what constitutes (modern) graffiti. Consequently, the term has taken on the most varied meanings in the conversations of academics, in media coverage, or in daily life. So how can one be sure about the meaning of the term (or any graffiti-related term, for that matter)? This is why glossaries, dictionaries, and other types of lists with definitions exist on websites, at the beginning or end of coffee-table books, and in scientific articles. However, there is currently no generally available, updateable, broadly accepted and easy-to-expand list of graffiti-related terms. Therefore, in order to meet the need for systematisation and consistency required for a more comprehensive study of graffiti, project INDIGO embarked on the journey to create a graffiti thesaurus. Being a finite set of terms (i.e. a controlled vocabulary) with hierarchical relations, this thesaurus will make INDIGO’s graffiti classification explicit and hopes to serve as a reference for the broader (academic) graffiti community.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Schlegel, Jona and Carloni, Massimiliano and Wogrin, Stefan and Graff, Ann M. and Verhoeven, Geert Julien Joanna},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.710},
	note = {Num Pages: 17},
	keywords = {Graffiti, Thesaurus, INDIGO},
	pages = {203--219},
}

@incollection{schneickert_graffiti-writing_2015,
	address = {Wiesbaden},
	series = {Kunst und {Gesellschaft}},
	title = {Graffiti-{Writing} als {Distinktion} von ›unten‹: {Zum} {Verhältnis} von sozialem {Raum}, subkulturellen {Feldern} und legitimer {Kultur}},
	isbn = {978-3-658-01833-7},
	abstract = {Graffiti ist kein reines ›Unterschichtenphänomen‹, kann aber explizit nicht in der bürgerlichen Kultur und Ästhetik verortet werden. Dennoch verfügt diese kulturelle Praxis aufgrund ihrer Abstraktheit über ein hohes Distinktionspotential auf ästhetischer Ebene. Dies verweist auf eine zentrale Schwachstelle der These klassenspezifischer Urteile im sozialen Raum Bourdieus: die adäquate Anerkennung der Autonomie subkultureller Felder. In ihrem Beitrag zeigen die Autoren anhand ästhetischer Prinzipien des Graffiti-Writings, dass es zur Erklärung subkultureller Praktiken einer Erweiterung der Bourdieuschen Theorie des sozialen Raums bedarf.},
	language = {German},
	booktitle = {Kunst und Öffentlichkeit},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Schneickert, Christian and Schumacher, Florian},
	editor = {Danko, Dagmar and Moeschler, Olivier and Schumacher, Florian},
	year = {2015},
	doi = {10.1007/978-3-658-01834-4_11},
	note = {Num Pages: 24},
	keywords = {Graffiti, Street art, Art},
	pages = {211--234},
}

@incollection{semenov_reiterating_2020,
	address = {Iași},
	title = {Reiterating the {Message} in {Graffiti} {Art}},
	isbn = {978-83-66675-19-3},
	abstract = {The term Graffiti comes from the Latin being the plural of the verb graffiare (to scratch), it reminds of the way in which the Roman or Greek "vandals" recorded their political beliefs, love statements or even simple protests, on the walls of buildings. This practice is of course common in other civilizations, with more or less the same goal. Printing a text using colored spays and repeating it in a contemporary context, acquires an independent force. The association of casual letters, that seem to be accidental and implicitly their obsessive repetition have an exponential visual impact, but at the same time they contribute decisively to the general ensemble of the public space. Graffiti Art does not require the permission of civil society or the authorities, it is not associated with an ideology or belief but impregnates in the public consciousness a suite of characters that over time become part of it.},
	language = {English},
	booktitle = {Art and {Research} – {Contemporary} {Challenges}},
	publisher = {Sciendo; Artes Publishing House},
	author = {Semenov, Sorin Constantin},
	editor = {Ciobotaru, Anca Doina and Enescu, George},
	year = {2020},
	doi = {10.2478/9788366675193-029},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art},
	pages = {318--324},
}

@incollection{siegl_kulturphanomen_2009,
	address = {Wien},
	series = {Graffiti-{News}},
	title = {Kulturphänomen {Graffiti}. {Das} {Wiener} {Modell} der {Graffiti}-{Forschung}},
	isbn = {978-3-901927-19-5},
	language = {German},
	number = {20},
	booktitle = {Der {Graffiti}-{Reader}: {Essays} internationaler {Experten} zum {Kulturphänomen} {Graffiti}},
	publisher = {Graffiti Edition},
	author = {Siegl, Norbert},
	editor = {Schaefer-Wiery, Susanne and Siegl, Norbert},
	year = {2009},
	keywords = {Graffiti},
}

@incollection{solin_introduzione_2008,
	address = {Stockholm},
	series = {Skrifter utgivna av {Svenska} institutet i {Rom}. 4 ̊},
	title = {Introduzione allo studio dei graffiti parietali},
	isbn = {978-91-7042-175-4},
	abstract = {On the definition of graffiti. The term graffiti refers to a class of inscriptions traced upon a hard substance such as stone, plaster, tile, marble, lead, but also chalk, with a sharp writing instrument, called in Greek bpqöaµvg, in Latin stilus or graphium. The instrument could be any object with a sharp point, e.g. nail, even a fingernail. Writing of this kind can be described by the verb scarifare, scariphare (xhqpiöq]vtqi, xhqpiöaä]m). 
There is a wide variety of inscriptions written with a stylus. This kind of writing was used particularly in less official and solemn circumstances. However, there are also numerous sepulcral inscriptions written with a stylus in Roman columbaria. 
Prototypically, the term graffiti refers to a particular type of inscription, namely one traced upon walls, columns, etc. as an impromptu act. The function of these inscriptions was to exchange greetings, or perpetuate the writer’s own name, for instance. As regards their content, the scratchings ranged from confessions of love and obscenities to bills and notes of various kinds. 
In Italy graffiti (and dipinti) have been found especially from Pompeii and the other cities covered by the eruption of Vesuvius, but also from Rome and Ostia, to mention only a couple of places where a large number of graffiti have been preserved. 
A sample of otherwise unpublished graffiti from Rome (Casa di Augusto) and Ostia (Caseggiato del mitreo delle pareti dipinte and Sacello delle tre navate) are presented and discussed.},
	language = {Italian},
	number = {59},
	booktitle = {Unexpected voices: {The} graffiti in the cryptoporticus of the {Horti} {Sallustiani} and papers from a conference on graffiti at the {Swedish} {Institute} in {Rome}, 7 {March} 2003},
	publisher = {Svenska Institutet i Rom},
	author = {Solin, Heikki},
	editor = {Brandt, Olof},
	year = {2008},
	note = {Num Pages: 26},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Rome, Ancient graffiti, Ostia},
	pages = {99--124},
}

@incollection{stahl_mein_1992,
	title = {Mein {Name} in {Leuchtschrift} - Über die {Auswirkungen} des {American} {Graffiti} auf {Europa}},
	isbn = {3-86070-348-X},
	language = {German},
	booktitle = {Coming from the subway: {New} {York} {Graffiti} {Art}: {Geschichte} und {Entwicklung} einer außergewöhnlichen {Bewegung}},
	publisher = {Karl Müller},
	author = {Stahl, J.},
	editor = {Hoekstra, Froukje},
	year = {1992},
	note = {Num Pages: 6},
	keywords = {Graffiti},
	pages = {26--31},
}

@incollection{tedeschi_i_2014,
	address = {Roma},
	series = {Bollettino dei {Classici}. {Supplemento}},
	title = {I graffiti, una fonte scritta trascurata},
	isbn = {978-88-218-1082-4},
	language = {Italian},
	number = {29},
	booktitle = {Storia della scrittura e altre storie},
	publisher = {Accademia Nazionale dei Lincei},
	author = {Tedeschi, Carlo},
	editor = {Bianconi, Daniele},
	year = {2014},
	note = {Num Pages: 19},
	keywords = {Graffiti},
	pages = {363--381},
}

@incollection{tenschert_scratches_2018,
	address = {Vienna},
	title = {Scratches? {Scribbles}? {Scripture}! {Revealing} the unseen – {3D} scanning of {Glagolitic} graffiti of the 10th {Century} at the {Monastery} of {St}. {Naum}},
	url = {https://archiv.chnt.at/ebook_chnt23_tenschert},
	abstract = {The Monastery of Saint Naum in Macedonia is part of the UNESCO World Heritage Site “Natural and Cultural Heritage of the Ohrid region”. The area is unique not only for its architecture but also its outstanding linguistic heritage. The monastery was named after Saint Naum and founded at the end of the 9th century and is visited by many tourists every day. In the transition from the narthex to the central church, the visitor immediately notices two shiny white marble columns. These columns carry unique inscriptions/graffiti, which represent some of the earliest evidence of the Glagolitic alphabet, a precursor of the Cyrillic alphabet. During the project, previously unseen inscriptions were revealed on the columns. The huge number of tourists poses a danger to the historic surfaces of the columns, as the constant touching and rubbing of the inscriptions is causing deterioration. Therefore, there is an urgent need to image and archive the inscriptions. Using macrophotography with raking light did not work well as the columns’ curvature and shiny surface caused blurring in the images, and some of the graffiti were not visible. Therefore, a structured light scanner with a 3D point resolution of 30 µm or less was used to record the columns, to both preserve and reveal these unique graffiti. The recording of the surfaces was deliberately carried out without texture information to exclude errors caused by the shiny and discoloured marble of the columns. The resulting high-resolution 3D model can be virtually illuminated from any angle, for example using raking light, allowing detailed observations and analysis. In addition to digitally preserving and archiving the inscriptions, the resulting surface models can be easily accessed by Slavistic and linguistic experts for a variety of research purposes.},
	language = {English},
	booktitle = {Proceedings of the 23rd {International} {Conference} on {Cultural} {Heritage} and {New} {Technologies} ({CHNT} 23)},
	publisher = {Museen der Stadt Wien – Stadtarchäologie},
	author = {Tenschert, Ruth and Rahrig, Max and Drewello, Rainer and Kempgen, Sebastian},
	editor = {Börner, Wolfgang},
	year = {2018},
	note = {Num Pages: 11},
	keywords = {Graffiti, Medieval archaeology, UNESCO, 3D scanning, Macedonia, Monastery, St. Naum},
}

@incollection{ter_haar_temporares_2021,
	address = {Weinheim},
	series = {{HipHop} {Studies}},
	title = {Temporäres für die {Ewigkeit}. {Graffiti} in öffentlichen {Kunstmuseen} und {Sammlungen}},
	isbn = {978-3-7799-6448-3},
	language = {German},
	booktitle = {Graffiti: {Interdisziplinäre} und kontemporäre {Perspektiven}},
	publisher = {Beltz Juventa},
	author = {ter Haar, Lene},
	editor = {Häuser, Friederike},
	year = {2021},
	note = {Num Pages: 31},
	keywords = {Graffiti},
	pages = {82--112},
}

@incollection{thirumaran_managing_2013,
	address = {Singapore},
	title = {Managing {Graffiti} at {Tourist} {Attractions}},
	isbn = {978-981-4560-60-3},
	abstract = {The study of vandalism, particularly graffiti at tourist attractions is dispersed across several academic disciplines; within the field of tourism itself, vandalism has received limited attention. This paper examines vandalism prevention methods employed at the Borobudur Temple in Indonesia to suggest alternative approaches to heritage management that takes into account tourists’ desires to deface attractions through graffiti. Drawing on fieldwork observations and examples of graffiti deterrence found in North America and Asia, this study suggests that managing attractions in Asia has to consider tourists desires as much as placing emphasis on traditional punitive actions and preventative measures.},
	language = {English},
	booktitle = {Proceedings of the {International} {Conference} on {Managing} the {Asian} {Century} ({ICMAC} 2013)},
	publisher = {Springer},
	author = {Thirumaran, K.},
	editor = {Mandal, Purnendu},
	year = {2013},
	doi = {10.1007/978-981-4560-61-0_64},
	note = {Num Pages: 7},
	keywords = {Graffiti, Heritage, Indonesia, Tourism},
	pages = {575--581},
}

@incollection{thomas_preventing_2020,
	address = {Abingdon; New York},
	series = {Routledge {Studies} in {Rural} {Criminology}},
	title = {Preventing crime against cultural and archaeological sites},
	isbn = {978-0-367-48366-1},
	abstract = {Heritage crime encompasses a wide range of acts that negatively affect the cultural historic environment – acts that break existing laws, but also those which are considered to be harmful, if not illegal. Examples of the former may be arson, theft and criminal damage; examples of the latter may include redevelopment of ancient cities, or the displacement of peoples with associated loss of their cultural heritage, including intangible cultural heritage. Definitions of heritage crime are therefore varied. The focus of this chapter is on damage resulting from an illegal act against physical heritage assets in rural areas. The chapter considers some examples of rural heritage crime internationally and how crime prevention measures may be utilised. It critically assesses some successes and failures of heritage crime prevention, and reflects on what lessons can usefully be drawn from current knowledge. The Head of Heritage Crime Strategy for Historic England provides a practitioner’s perspective, outlining a number of practical initiatives being deployed to prevent heritage crime, and highlighting challenges and future directions for heritage crime prevention.},
	language = {English},
	booktitle = {Rural {Crime} {Prevention}: {Theory}, {Tactics} and {Techniques}},
	publisher = {Routledge},
	author = {Thomas, Suzie and Nicholas, Louise E.},
	editor = {Harkness, Alistair},
	year = {2020},
	note = {Num Pages: 249-260},
	keywords = {Graffiti, Archaeology, Crime},
	pages = {12},
}

@incollection{thurau_reverse_2010,
	address = {Piscataway},
	title = {Reverse {Indexing} for {Reading} {Graffiti} {Tags}},
	isbn = {978-1-4244-7542-1},
	abstract = {In this paper, we consider the problem of automatically reading graffiti tags. As a preparatory step, we create a large set of synthetic graffiti-like characters, generated from publicly available true type fonts. For each character in the database, we extract a number of scale independent local binary descriptors. Then, using binary non negative matrix factorization, a sufficient number of basis functions are learned. Basis function coefficients of novel images can then be directly used for hashing characters from the database of prototypes. Finally, graffiti tags are recognized by means of a localized, spatial voting scheme.},
	language = {English},
	booktitle = {Proceedings of the 20th {International} {Conference} on {Pattern} {Recognition} ({ICPR} 2010)},
	publisher = {IEEE Computer Society},
	author = {Thurau, Christian and Bauckhage, Christian},
	editor = {Guerrero, Juan E.},
	year = {2010},
	doi = {10.1109/ICPR.2010.740},
	note = {Num Pages: 4},
	keywords = {Graffiti, Machine learning, Pattern recognition},
	pages = {3021--3024},
}

@incollection{tinwell_3d_2013,
	address = {Roma},
	title = {{3D} {Graffiti}: {Virtuality} to the {Streets}},
	isbn = {978-88-909026-0-4},
	language = {English},
	booktitle = {{INOPINATUM}: {The} unexpected impertinence of urban creativity},
	publisher = {INOPINATUM Study Center on Urban Creativity},
	author = {Tinwell, Angela},
	editor = {Borriello, Luca and Ruggiero, Christian},
	year = {2013},
	note = {Num Pages: 15},
	keywords = {Graffiti, 3D, 3D graffiti},
	pages = {199--213},
}

@incollection{tombari_graffiti_2008,
	address = {Berlin; Heidelberg},
	series = {{LNCS} sublibrary: {SL} 6 - {Image} processing, computer vision, pattern recognition, and graphics},
	title = {Graffiti {Detection} {Using} a {Time}-{Of}-{Flight} {Camera}},
	isbn = {978-3-540-88457-6},
	abstract = {Time-of-Flight (TOF) cameras relate to a very recent and growing technology which has already proved to be useful for computer vision tasks. In this paper we investigate on the use of a TOF camera to perform video-based graffiti detection, which can be thought of as a monitoring system able to detect acts of vandalism such as dirtying, etching and defacing walls and objects surfaces. Experimental results show promising capabilities of the proposed approach, with improvements expected as the technology gets more mature.},
	language = {English},
	number = {5259},
	booktitle = {Advanced {Concepts} for {Intelligent} {Vision} {Systems}: {Proceedings} of the 10th {International} {Conference}, {ACIVS} 2008, {Juan}-les-{Pins}, {France}, {October} 20-24, 2008},
	publisher = {Springer},
	author = {Tombari, Federico and Di Stefano, Luigi and Mattoccia, Stefano and Zanetti, Andrea},
	editor = {Blanc-Talon, Jacques and Bourennane, Salah and Philips, Wilfried and Popescu, Dan and Scheunders, Paul},
	year = {2008},
	doi = {10.1007/978-3-540-88458-3_58},
	note = {Num Pages: 10},
	keywords = {Graffiti, Change detection, ToF (Time-of-Flight), ToF camera},
	pages = {645--654},
}

@incollection{van_der_vliet_inscribing_2021,
	address = {Turnhout},
	series = {Contextualizing the {Sacred}},
	title = {Inscribing {Space} in {Christian} {Egypt}},
	isbn = {978-2-503-59311-1},
	language = {English},
	number = {2},
	booktitle = {Cultic graffiti in the {Late} {Antique} {Mediterranean} and beyond},
	publisher = {Brepols},
	author = {van der Vliet, Jacques},
	editor = {Felle, Antonio Enrico and Ward-Perkins, Bryan},
	year = {2021},
	note = {Num Pages: 12},
	keywords = {Graffiti, Egypt},
	pages = {91--102},
}

@incollection{veit_archaeology_2020,
	address = {Leiden},
	title = {Archaeology and {Cleaning}: {Some} reflections on the archaeological process},
	isbn = {978-90-8890-921-4},
	language = {English},
	booktitle = {Cleaning and value: {Interdisciplinary} investigations},
	publisher = {Sidestone Press},
	author = {Veit, Ulrich},
	editor = {Bredenbröker, Isabel and Hanzen, Christina and Kotzur, Felix},
	year = {2020},
	note = {Num Pages: 14},
	keywords = {Graffiti},
	pages = {41--54},
}

@incollection{verhoeven_finding_2023,
	address = {Lisbon},
	title = {Finding listeners for walls that speak},
	isbn = {979-8-3946-0127-9},
	abstract = {This is the editorial of the conference proceedings.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Verhoeven, Geert Julien Joanna and Carloni, Massimiliano and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.699},
	note = {Num Pages: 10},
	keywords = {Graffiti, Vienna},
	pages = {6--15},
}

@incollection{verhoeven_facing_2023,
	address = {Lisbon},
	title = {Facing a chameleon—{How} project {INDIGO} discovers and records new graffiti},
	isbn = {979-8-3946-0127-9},
	abstract = {Graffiti are studied by, amongst many others, archaeologists, sociologists, (art) historians, linguists, ethnographers, architects, anthropologists, librarian scientists, geographers, criminologists, conservators, lawyers and architects. Although most of these professions rely on a digital representation of graffiti at a particular stage of their research, there has been strikingly little attention to how graffiti can effectively be monitored and digitally documented. And this is precisely one of the gaps that the heritage science project INDIGO is trying to fill. Through collaboration between geomatics, photography, data management and graffiti specialists, INDIGO aims to develop technical and logistical solutions that facilitate the systematic documentation, monitoring, and analysis of extensive graffiti-scapes. This paper focuses on the graffiti-discovering and data acquisition strategies INDIGO has been applying during its first project year. At the same time, the text explores new avenues for improving the existing approaches.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Verhoeven, Geert Julien Joanna and Wogrin, Stefan and Schlegel, Jona and Wieser, Martin and Wild, Benjamin},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.703},
	note = {Num Pages: 23},
	keywords = {Graffiti, IBM (Image-Based Modelling), SfM (Structure from Motion), Vienna, INDIGO, Masking},
	pages = {63--85},
}

@incollection{volpe_i_1982,
	address = {Leiden},
	series = {Études préliminaires aux religions orientales dans l'{Empire} romain},
	title = {I graffiti isiaci nell'area di {S}. {Sabina} a {Roma}},
	isbn = {978-90-04-06501-7},
	language = {Italian},
	number = {92},
	booktitle = {La soteriologia dei culti orientali nell' {Impero} {Romano}: {Atti} del {Colloquio} {Internazionale} su {La} soteriologia dei culti orientali nell'{Impero} {Romano}. {Roma} 24-28 settembre 1979},
	publisher = {Brill},
	author = {Volpe, Rita},
	editor = {Bianchi, Ugo and Vermaseren, Maarten Jozef},
	year = {1982},
	note = {Num Pages: 11},
	keywords = {Graffiti, Roman archaeology, Rome, Ancient graffiti},
	pages = {145--155},
}

@incollection{wallace_gordon_2017,
	address = {Urbana},
	title = {Gordon {Matta}-­{Clark}’s {Anarchitecture}},
	isbn = {978-0-252-08254-2},
	language = {English},
	booktitle = {Radical {Gotham}: {Anarchism} in {New} {York} city from {Schwab}'s saloon to occupy {Wall} {Street}},
	publisher = {University of Illinois Press},
	author = {Wallace, Erin},
	editor = {Goyens, Tom},
	year = {2017},
	note = {Num Pages: 21},
	keywords = {Graffiti, New York, USA, Gordon Matta-Clark},
	pages = {180--200},
}

@incollection{weyer_gekratzte_2019,
	address = {Petersberg},
	series = {Arbeitshefte zur {Denkmalpflege} in {Niedersachsen}},
	title = {Gekratzte {Bilder}},
	isbn = {978-3-7319-0802-9},
	abstract = {Unter Sgraffito versteht man – grob gesagt - Dekorationen im Putz, die durch die Abnahme von Teilen der oberen Putz- oder Tüncheschichten entstehen.  
Sgraffito-Dekorationen sind durch eine große Bandbreite an Materialien, Techniken, Themen und Erhaltungsproblematiken gekennzeichnet. Es gibt die Technik in Italien ab Beginn des 14. Jahr-hunderts, ab dem 16. Jahrhundert auch in Österreich, Süddeutschland, Böhmen, Mähren, Pommern und Schlesien. Im 17. und 18. Jahrhundert findet man sie nur noch in Spanien und im Alpenraum, bis sie dann Mitte des 19. Jahrhundert in Deutschland "wiederentdeckt" wird und sich bis Anfang des 20. Jahrhunderts verstärkt über größere Teile Europas ausbreitet, um dann nach dem Zweiten Weltkrieg wieder verstärkt genutzt zu werden. Der Tagungsort Hildesheim ist ein Beispiel dafür. Die in Sgraffito-Technik dargestellten Sujets reichen von architektonischen, figürlichen und ornamentalen Darstellungen bis hin zum politischen Manifest: Dies liegt nicht zuletzt daran, dass sich Sgraffito-Dekorationen aufgrund ihrer vermeintlich sehr haltbaren Technik weitgehend nur an Außenfassaden finden. 
Die Einführung gibt einen kurzen Einblick in den europäischen Forschungstand und erläutert Konzept und Zielsetzung der Tagung sowie die Auswahl der Referent/inn/en und Poster. Schließlich soll ein Ausblick gegeben werden, wie die wissenschaftlichen Erkenntnisse zur Erhaltung von Sgraffito-Dekorationen und seiner kulturellen und kulturpolitischen Bedeutung über die nationalen Grenzen hinweg vorangetrieben werden könnten. 
--- 
The Merriam-Webster dictionary defines Sgraffito as "decoration by cutting away parts of a surface layer (as of plaster or clay) to expose a different colored ground." 
Sgraffito decorations are characterized by a wide range of materials, techniques, themes, and conservation problems. First used in Italy at the beginning of the fourteenth century, this technique is found from the sixteenth century onwards also in Austria, Southern Germany, Bohemia, Moravia, Pomerania and Silesia. During the seventeenth and eighteenth centuries, Sgrafitto was produced only in Spain and the Alps until its "rediscovery" in Germany in the middle of the nineteenth century. It spread over larger parts of Europe until the beginning of the twentieth century and again after the Second World War—indeed, the conference location Hildesheim provides characteristic examples of this. 
The themes carried out in Sgraffito technique range from architectural, figurative and ornamental motifs to political manifestos. This is partly due to the perception of Sgraffito decorations as a particularly durable technique, which was mainly used on external façades. 
The introduction gives a brief insight into European research and explains the concept and objectives of the conference as well as the selection of the speakers and posters. The text concludes with an outlook on how scientific research findings on the preservation of Sgraffito decorations and their cultural significance could be advanced beyond national borders.},
	language = {German},
	number = {51},
	booktitle = {Sgraffito im {Wandel}. {Materialien}, {Techniken}, {Themen} und {Erhaltung}: {Tagungsband} der internationalen {Tagung} der {HAWK} {Hochschule} für {Angewandte} {Wissenschaft} und {Kunst} in {Hildesheim} in {Kooperation} mit dem {Niedersächsischen} {Landesamt} für {Denkmalpflege}, 2.-4. {November} 2017 in {Hildesheim}},
	publisher = {Michael Imhof Verlag GmbH \& Co},
	author = {Weyer, Angela},
	editor = {Weyer, Angela and Klein, Kerstin},
	year = {2019},
	doi = {10.5165/hawk-hhg/460},
	note = {Num Pages: 16},
	keywords = {Graffiti, Sgraffito},
	pages = {12--27},
}

@incollection{wild_imagine_2023,
	address = {Lisbon},
	title = {'{Imagine} being a racist': {goINDIGO} 2022's «{Ethics} \& legality in graffiti (research)» discussion round},
	isbn = {979-8-3946-0127-9},
	abstract = {During the second discussion round of goINDIGO 2022, which took place on Friday, 13 May and was called Ethics \& legality in graffiti (research), three out of many invited graffiti creators joined a discussion on (potentially provocative) statements with symposium participants (joining in-person and online). The statements, compiled by Geert Verhoeven in consultation with Benjamin Wild and Norbert Pfeifer, were: 
objectivity OVER morals 
objectivity OVER consequences 
graffiti INCLUDES exploitation 
copyright DOES NOT matter 
Donaukanal graffiti IGNORES the origins 
The three attending graffiti creators agreed to participate following their contact and invitation via Instagram. When introducing themselves, each conveyed their relationship to the Donaukanal and their different levels of experience and exposure within Vienna’s wider graffiti scene. DEADBEAT HERO (active in Vienna since 2014) is a Texan artist mainly focusing on street art while “dabbling in graffiti”. He owns an art studio and regularly interviews Viennese graffiti creators in his Artcade podcast. FUNKY (active intermittently since 2005) is a Bosnian, but Vienna-raised creator practising graffiti “with ups and downs and a lot of breaks like in life”. He was close to the Donaukanal a decade ago, but his central activity zone is now more to the north of Vienna. MANUEL SKIRL (active since 2006) is a Vienna-based creator currently known for his organic structures formed by black and blue lines. The openness and inclusiveness of the Donaukanal scene offered him the chance to begin creating and, in time, to develop his personal style in “more artistic” directions. 
Each of the three brought their own perspectives to the discussion of the selected statements, recorded in the following text. However, this text is not a verbatim or sequential account of that discussion. First, although retaining the ‘feel’ of the discussion has been prioritised, the text has been slightly edited for readability, and superfluous content got removed. Second, as is often the way with the most exploratory of dialogues, the main topic of conversation shifted quickly and regularly. Although the five statements were individually framed by Norbert Pfeifer (after which Enrico Bonadio took on the moderator role), the first four statements and their more detailed elaborations have been reduced to two sections to structure the text in a manner that might better serve the reader. This reordering of the transcription means that, in some places, the text does not always flow consecutively in the way it did during the discussion. These places are indicated by […], and they do not only mark hops forward but also hops backward in time. 
Finally, it is essential to know that all authors—of which none was a minor—have read this text and confirmed in writing that they were okay with their statements. This agreement notwithstanding, one must understand that these statements were raised in a lively discussion and must also be understood and treated this way.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Wild, Benjamin and Verhoeven, Geert Julien Joanna and Pfeifer, Norbert and Bonadio, Enrico and DEADBEAT HERO and FUNKY and JANER ONE and MANUEL SKIRL and Carloni, Massimiliano and Ricci, Chiara and Koblitz, Christine and Niemann, Sven and Radošević, Ljiljana and Schlegel, Jona and Watzinger, Alexander and Wogrin, Stefan},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.702},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, Discussion},
	pages = {45--62},
}

@incollection{wild_graffiti-dokumentation_2023,
	address = {Berlin},
	title = {Graffiti-{Dokumentation}: {Projekt} {INDIGO}},
	isbn = {978-3-87907-739-7},
	abstract = {Kurzlebig und doch allgegenwärtig, bewundert und gehasst, legal und illegal: Graffiti sind polarisierend. Manche sehen in Graffiti schützenswertes kulturelles Erbe, andere Vandalis-mus. Graffiti sind Teil des öffentlichen Raums und damit Teil unseres öffentlichen Lebens, unserer Gesellschaft. Ganz besonders wird dies an den Wänden des Wiener Donaukanal deutlich, wo die Kreation eines neuen Graffito meist die irreversible Zerstörung eines darun-terliegenden Graffitos bedeutet. So verschwinden täglich viele Graffiti unbemerkt und und-okumentiert vom Donaukanal. INDIGO, ein Graffiti-zentriertes Forschungsprojekt, ver-sucht dem Rechnung zu tragen und schafft die Basis für eine systematische Dokumentati-on und Analyse der 13 km langen Graffiti-Landschaft am Donaukanal. Grundlage der Dokumentation bilden zehntausende Fotos, die im Laufe der 2-jährigen Projektphase auf-genommen, prozessiert und in einem digitalen 3D-Modell des Donaukanals dargestellt werden. Dieser Beitrag gibt einen Überblick über das Projekt INDIGO mit einem Fokus auf die photogrammetrische Auseinandersetzung mit dem Thema Graffiti.},
	language = {English},
	booktitle = {22. {Internationale} {Geodätische} {Woche} {Obergurgl} 2023},
	publisher = {Wichmann},
	author = {Wild, Benjamin and Verhoeven, Geert Julien Joanna and Wieser, Martin and Ressl, Camillo and Otepka-Schremmer, Johannes and Pfeifer, Norbert},
	editor = {Weinold, Thomas},
	year = {2023},
	doi = {10.5281/zenodo.7715655},
	note = {Num Pages: 4},
	keywords = {Graffiti, 3D, IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), Vienna, Austria, INDIGO, Donaukanal, Direct georeferencing, GNSS, IMU},
	pages = {322--325},
}

@incollection{wild_urban_2023,
	address = {Lisbon},
	title = {Urban creativity meets engineering. {Automated} graffiti mapping along {Vienna}'s {Donaukanal}},
	isbn = {979-8-3946-0127-9},
	abstract = {Graffiti are polarising. Some consider them vandalism, others part of our cultural heritage. If we consider graffiti to be part of our cultural heritage, we should also treat them as such. However, long-term and detailed graffiti documentation initiatives are sparse, so many of the existing archives with graffiti records are biased and incomplete. In addition, graffiti records usually suffer from decontextualisation, that is the lack of environmental information (be it spatially, temporally, but also smell and weather conditions). This means that graffiti documentation might not reflect the intended setting or meaning by the creator. INDIGO, a graffiti-centred academic project, largely overcomes the issue of decontextualisation by designing and implementing photogrammetric engineering approaches that support the ongoing documentation of an extensive graffiti-scape. The latter is situated along the Donaukanal, Vienna’s central waterway and one of the most prominent graffiti hotspots worldwide. One innovation developed in the framework of INDIGO is a freely available Metashape add-on called AUTOGRAF. AUTOGRAF employs photogrammetric computer vision techniques to automatically create ortophotographs from all photographed graffiti. Orthophotographs or orthophotomaps are distortion-free images, combining photographs’ visual qualities with characteristics of maps. They allow embedding the graffiti in their native, albeit virtual, 3D environment and can thus largely overcome decontextualisation. 
In this contribution, we showcase the significant advantages of orthophotomaps over conventional photographs and introduce the AUTOGRAF-based workflow that allows the automated derivation of graffiti orthophotos. INDIGO will use this tailor-made tool to enable graffiti analysis in unprecedented detail by mapping and displaying graffiti in their original setting along the Donaukanal.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Wild, Benjamin and Verhoeven, Geert Julien Joanna and Wogrin, Stefan and Wieser, Martin and Ressl, Camillo and Otepka-Schremmer, Johannes and Pfeifer, Norbert},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.705},
	note = {Num Pages: 15},
	keywords = {Graffiti, Cultural heritage, IBM (Image-Based Modelling), SfM (Structure from Motion), Metashape, INDIGO, AUTOGRAF, Georeferencing, Orthorectification},
	pages = {131--145},
}

@incollection{wogrin_spraycityatgraffiti_2023,
	address = {Lisbon},
	title = {Spraycity.at—{Graffiti} {Archive} and {Online} {Map}},
	isbn = {979-8-3946-0127-9},
	abstract = {Spraycity is a documentation archive dedicated to the graffiti writing movement in Austria. The archive was founded in 2001 by art historian Stefan Wogrin to react to the transience that goes hand in hand with writing. The works of the graffiti writing movement are usually ephemeral and not destined to last forever. The ‘Spraycity’ archive aims to record, archive and catalogue the resulting works as photographs and makes them accessible to the public for a longer period. While some works have already disappeared from the public, photographs are often the only possibility to let them remain. The archive currently includes about 300,000 image documents from all over Europe (mainly in Austria), Asia and the USA. The ‘Spraycity’ website (https://www.spraycity.at) forms an interface through which a selection of around 100,000 photos can be accessed online. Each photo contains metadata and is also searchable through its categorisation and keywords.},
	language = {English},
	booktitle = {document {\textbar} archive {\textbar} disseminate graffiti-scapes. {Proceedings} of the {goINDIGO} 2022 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Wogrin, Stefan},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan and Carloni, Massimiliano},
	year = {2023},
	doi = {10.48619/indigo.v0i0.713},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Spraycity},
	pages = {239--249},
}

@book{rees_graffiti_1984-1,
	address = {London},
	title = {Graffiti 1},
	isbn = {0-04-827119-5},
	language = {English},
	publisher = {Unwin Paperbacks},
	author = {Rees, Nigel},
	year = {1984},
	keywords = {Graffiti},
}

@book{rees_graffiti_1984-2,
	address = {London},
	title = {Graffiti 3},
	isbn = {0-04-827121-7},
	language = {English},
	publisher = {Unwin Paperbacks},
	author = {Rees, Nigel},
	year = {1984},
	keywords = {Graffiti},
}

@book{martinez_graff_2009,
	address = {Cincinnati},
	title = {Graff: {The} art \& technique of graffiti},
	isbn = {978-1-60061-071-4},
	abstract = {Once viewed as merely a blemish on the urban landscape, graffiti today has evolved into a legitimate art form in its own right, influencing entertainment, advertising, fashion and other creative industries worldwide.

In this unprecedented book, master graffiti artist Scape Martinez shows how he does his thing, offering streetwise advice to help other "writers" create maximum-impact, legally sanctioned work. Step by step, he lays out the philosophies and realities of the genre. From picking a "tag" and developing letterforms, to the logistics of prepping a wall and working a spray can in a painterly fashion, Graff will help you find your style and leave your mark—large and loud.

• A breakdown of the fundamental elements of graffiti-style—letters, character, backgrounds—and how they work together and intermingle with arrows, symbols, quotes and tags

• From paper to wall, a start-to-finish approach for creating graffiti in various styles

• 5 on-site step-by-step demonstrations show the creation of various types of compositions, from throw ups to full-blown pieces

Complete with a glossary and a timeline tracing graffiti history, Graff is the bible for street artists looking to elevate their work, graphic designers wanting to expand their vocabulary, and anyone interested in giving their work an edgy, urban look.},
	language = {English},
	publisher = {Impact Books},
	author = {Martinez, Scape},
	year = {2009},
	keywords = {Graffiti, Style, Technique},
}

@book{wood_urban_2015,
	address = {New York},
	series = {But is it art?},
	title = {Urban street art},
	isbn = {978-1-4824-2295-5},
	abstract = {Not all art is displayed in a museum. For example, yarn bombing or guerilla knitting grew out of a movement in Texas to use up old yarn. Today, city dwellers might walk outside to find trees, bike racks, or even mail boxes covered by intricately knitted covers. The result is colorful, fun, and easily removed. However, other street art--such as graffiti--isn't seen as so harmless. Through fact boxes and pointed questions, the main content asks readers to consider whether such displays are, in fact, art. Full-color photographs and a lively layout enhance the artistic concepts addressed.},
	language = {English},
	publisher = {Gareth Stevens Publishing},
	author = {Wood, Alix},
	year = {2015},
	keywords = {Graffiti, Street art, Art, Sculpture, Yarnbombing, Projection},
}

@article{ahmed_graffiti_1981,
	title = {Graffiti of {Canadian} {High} {School} {Students}},
	volume = {49},
	issn = {0033-2941},
	doi = {10.2466/pr0.1981.49.2.559},
	abstract = {This study classified sex and cultural differences as reflected by inscriptions in washrooms and confirmed hypotheses that (1) females will write more graffiti than males, (2) there will be no sex differences in the proportion of sex-related graffiti to the total number of graffiti between males' and females' washrooms, (3) female students will write more sex-romantic graffiti than males, and male students will write more sex-erotic graffiti than females, and (4) French Canadians will write more political than any other graffiti than English Canadians. Two English and two French high schools were selected for the purpose. Wales and Brewers' (1973) scheme to classify the graffiti was used. The results are strikingly different from earlier studies. These differences might be explained in the terms of changes in prevailing attitudes and values of the society. Canadian data show more political graffiti than comparable American data.},
	language = {English},
	number = {2},
	journal = {Psychological Reports},
	author = {Ahmed, S. M. S.},
	year = {1981},
	keywords = {Graffiti, Sex, Canada, Students},
	pages = {559--562},
}

@article{brewer_hip_1992,
	title = {Hip {Hop} {Graffiti} {Writers}' {Evaluations} of {Strategies} to {Control} {Illegal} {Graffiti}},
	volume = {51},
	issn = {0018-7259},
	doi = {10.17730/humo.51.2.875365l17n884h02},
	language = {English},
	number = {2},
	journal = {Human Organization},
	author = {Brewer, Devon},
	year = {1992},
	keywords = {Graffiti, Hip hop, Preventive},
	pages = {188--196},
}

@book{braziel_street_2023,
	address = {New York; Abingdon},
	series = {Routledge {Research} in {Art} and {Politics}},
	title = {Street art in the greater {Caribbean}: {Impossible} states, virtual publics},
	isbn = {978-1-032-24772-4},
	abstract = {Foregrounding street art in the capital cities of Cuba, Haiti, and Puerto Rico, this book argues that Antillean street artists diagnose the “impossible state” of the arrested present (colonized, occupied, or under dictatorship) while simultaneously imagining liberated futures and fully sovereign states.

Jana Evans Braziel launches a comparative study of art, politics, history, urban street cultures, engaged citizenships, and social transformations in three Antillean capital cities—Havana, Cuba; Port-au-Prince, Haiti; and San Juan, Puerto Rico—of the Greater Caribbean. The book includes a photo documentary archive of street art, murals, and installations by key muralists in these cities: Yulier Rodriguez Pérez, "Jerry" Rosembert Moïse, and Colectivo Moriviví (Chachi González Colón, Raysa Rodríguez García, and Salomé Cortés). Braziel offers art historical and geopolitical analyses of the urban street art in their cities of production, underscoring street art as political, economic, and environmental engagements (and not as exclusively aesthetic ones) with urban space and street life.

The book will be of interest to scholars working in art history, Caribbean studies, Latin American studies, and urban studies.},
	language = {English},
	publisher = {Routledge},
	author = {Braziel, Jana Evans},
	year = {2023},
	keywords = {Graffiti, Street art, Politics, Carribean},
}

@book{martinez_graff_2011,
	address = {Cincinnati},
	title = {Graff 2: {Next} {Level} {Graffiti} {Techniques}},
	isbn = {978-1-4403-0827-7},
	abstract = {The original book, Graff, put you in touch with your creative style. Graff 2 is here to help you find your creative soul. Is it wildstyle or bubble letters? Flat or three-dimensional? Black and white or full color? Delving deeper into the elements covered in his first book, graffiti artist Scape Martinez brings you into his world, sharing his approach to letters, color and design. From working it out with paper and pens to working large (and legally) on walls, Graff 2 reveals the nuts and bolts of graffiti style along with ideas and techniques for bringing those styles to life. Preparation, technique, expression and meaning 5 full-scale demonstrations show the creation of wall pieces from start to finish Heavily illustrated with examples and step-by-step instruction throughout Includes an expanded glossary of graffiti terms not covered in the first book Artists and fans alike will appreciate this rare inside perspective on graffiti art. Take it to your wall. You have something to say. Put it out there for the world to see.},
	language = {English},
	publisher = {Impact Books},
	author = {Martinez, Scape},
	year = {2011},
	keywords = {Graffiti, Style, Technique},
}

@article{taylor_addicted_2012,
	title = {Addicted to the {Risk}, {Recognition} and {Respect} that the {Graffiti} {Lifestyle} {Provides}: {Towards} an {Understanding} of the {Reasons} for {Graffiti} {Engagement}},
	volume = {10},
	issn = {1557-1874},
	doi = {10.1007/s11469-010-9301-6},
	abstract = {This paper, details from an educational perspective the reasons graffitists give for their involvement in graffiti. Data gathered from interviews, web-blogs and newspaper reports were analysed within the grounded theory tradition allowing the core category of, addicted to the risk, recognition and respect that the graffiti lifestyle provides to emerge. In this regard, adolescent graffiti-writers contend that sustained involvement in graffiti-writing provides a rush experience, which over time becomes addictive as it rewards them with a non-conforming social identity, recognitional status, and the highly-prized graffiti-writer reputation. However, as they move out of adolescence into early adulthood, the addictive rushes previously gained from engagement in illegal high-risk acts of graffiti tagging, they claim, morphs into an obsessive desire for obtaining community respect. Thus, the outcome of the study suggests that the issue of graffiti-proliferation goes beyond the confines of educational/criminological research and enters the sphere of mental health, opening up different treatment options for recidivist graffiti-writers.},
	language = {English},
	number = {1},
	journal = {International Journal of Mental Health and Addiction},
	author = {Taylor, Myra Frances},
	year = {2012},
	keywords = {Graffiti, Risk},
	pages = {54--68},
}

@article{corbett_forger_1955,
	title = {A {Forger} of {Graffiti}},
	volume = {50},
	issn = {0068-2454},
	doi = {10.1017/S0068245400018670},
	abstract = {A Recent number of this Annual (BSA XLVIII 191 ff.) included an account of a lengthy graffito, which was tentatively interpreted as a product of the political ferment in Athens in 411 B.C. The graffito was on a fragment of a fish-plate, and round the rim was a second inscription, part of a dedication, the latest possible date for which appeared to be c. 435 B.C.; however, the evidence at present available indicates that plates of this form were not produced before the fourth century. This discrepancy was pointed out, but as the content and execution of the graffito seemed to exclude the likelihood of forgery, the only remaining explanation appeared to be that the evidence for the chronology of Attic pottery had been misinterpreted; more specifically, that fish-plates were in fact already being made in the third quarter of the fifth century, and that the shape remained stable, without any perceptible variations for over forty years. A conclusion of this kind would have far-reaching implications, since the dating of buildings or objects in an excavation often has to be inferred from the pottery discovered with them; accordingly when further material came to light which proved beyond all doubt that the graffito concerned must be rejected as a forgery, it was felt that the subject is of sufficiently general concern to warrant a detailed exposition.},
	language = {English},
	journal = {The Annual of the British School at Athens},
	author = {Corbett, P. and Woodhead, G.},
	year = {1955},
	keywords = {Graffiti, Ancient graffiti},
	pages = {251--265},
}

@book{ganter_graffiti_2013-2,
	address = {Milano},
	title = {Graffiti school: {Il} manuale dello studente},
	isbn = {978-88-6722-044-1},
	abstract = {Rivolto a studenti e insegnanti, questo manuale scritto e illustrato da Christ Ganter, conosciuto tra i writer con lo pseudonimo "Jeroo", illustra in dettaglio l'aspetto teorico, pratico, artistico e morale della forma d'arte più apprezzata dalla cultura giovanile. Il libro si apre con una panoramica delle origini e della storia dei graffiti, da Pompei alla rivoluzione dell'hip-hop, seguita da un pratico vademecum sul comportamento da osservare per restare nella legalità. Si prosegue con una carrellata dei ferri del mestiere oggi a disposizione dei writer e con una descrizione della terminologia in uso, per conoscere tutti i segreti che si celano dietro la progettazione dei graffiti. Ganter passa quindi a illustrare le diverse tecniche d'uso della bomboletta e i metodi e virtuosismi che consentono di realizzare graffiti di livello artistico pregevole. Il libro si conclude con un manuale di istruzioni rivolto agli insegnanti, contenente spunti per lo svolgimento di lezioni pratiche e teoriche e suggerimenti su vari aspetti di contorno, come la valutazione dei lavori svolti e idee per le uscite con la classe. Tag, throw-up, le sfumature e i riempimenti, i one-liner e lo stile "lingotto", burner, sfondi, bubblestyle e wildstyle: i graffiti sbarcano in classe.},
	language = {Italian},
	publisher = {L'ippocampo},
	author = {Ganter, Chris Jeroo},
	year = {2013},
	keywords = {Graffiti, Street art, Tags, Manual, Throw-up},
}

@book{shilton_art_2021,
	address = {Cambridge},
	series = {The global {Middle} {East}},
	title = {Art and the {Arab} {Spring}: {Aesthetics} of revolution and resistance in {Tunisia} and beyond},
	isbn = {978-1-108-84252-5},
	abstract = {The revolutions that began to sweep across countries in North Africa and the Middle East in December 2010 – like other revolutions in diverse modern historical contexts – have often been articulated, internally and externally, in black and white terms of success or failure, liberation or constraint, for or against, friend or enemy. These internal and external clichés are perpetuated by what Jellel Gasteli has called 'icons of revolutionary exoticism'. Paying particular attention to works from the Tunisian Revolution of 2011, this book examines a diverse body of art including photography, sculpture, graffiti, performance, video and installation by over twenty-five artists. Examining how art can evoke the idea of revolution, Art and the Arab Spring reveals a new way of understanding these revolutions, their profound cultural impact, and of the meaning of the term 'revolution' itself.},
	language = {English},
	publisher = {Cambridge University Press},
	author = {Shilton, Siobhán},
	year = {2021},
	keywords = {Graffiti, Art, Tunesia, Arab Spring},
}

@book{collins_graffiti_2018,
	address = {New York},
	series = {Eye on {Art}},
	title = {Graffiti: {Vandalism} or art?},
	isbn = {978-1-5345-6112-0},
	abstract = {Debate has long raged over whether graffiti can be considered an art form. Its illegal nature has caused many people to denounce it, while others contend that a work does not have to be legal to be art. The heart of the question is, what defines art? Informative text discusses competing views on the issue, presenting all sides of the debate to help readers form their own opinions. Engaging sidebars spotlight graffiti artists such as the famous Banksy, while eye-catching photographs provide examples of some of the most original graffiti designs.},
	language = {English},
	publisher = {Lucent Press},
	author = {Collins, Anna},
	year = {2018},
	keywords = {Graffiti, Vandalism},
}

@book{eastmond_viewing_2015,
	address = {New York},
	title = {Viewing inscriptions in the late antique and medieval world},
	isbn = {978-1-107-09241-9},
	abstract = {Inscriptions convey meaning not just by their contents but also by other means, such as choice of script, location, scale, spatial organisation, letterform, legibility and clarity. The essays in this book consider these visual qualities of inscriptions, ranging across the Mediterranean and the Near East from Spain to Iran and beyond, including Norman Sicily, Islamic North Africa, Byzantium, medieval Italy, Georgia and Armenia. While most essays focus on Late Antiquity and the Middle Ages, they also look back at Achaemenid Iran and forward to Mughal India. Topics discussed include real and pseudo-writing, multilingual inscriptions, graffiti, writing disguised as images and images disguised as words. From public texts set up on mountainsides or on church and madrasa walls to intimate craftsmen's signatures, barely visible on the undersides of precious objects, the inscriptions discussed in this volume reveal their meanings as textual and visual devices.},
	language = {English},
	publisher = {Cambridge University Press},
	editor = {Eastmond, Antony},
	year = {2015},
	keywords = {Graffiti, Medieval, Ancient graffiti, Late Antiquity, Arabic},
}

@incollection{yasin_prayers_2015,
	address = {New York},
	title = {Prayers on {Site}: {The} {Materiality} of {Devotional} {Graffiti} and the {Production} of {Early} {Christian} {Sacred} {Space}},
	isbn = {978-1-107-09241-9},
	language = {English},
	booktitle = {Viewing inscriptions in the late antique and medieval world},
	publisher = {Cambridge University Press},
	author = {Yasin, Ann Marie},
	editor = {Eastmond, Antony},
	year = {2015},
	keywords = {Graffiti, Christianity, Religious graffiti},
	pages = {36--60},
}

@book{van_treeck_graffiti_1993,
	address = {Neumarkt},
	title = {Graffiti {Lexikon}: {Street}-art - legale und illegale {Kunst} im öffentlichen {Raum}},
	isbn = {978-3-924690-88-5},
	language = {German},
	publisher = {Edition Aragon},
	author = {van Treeck, Bernhard},
	year = {1993},
	keywords = {Graffiti, Street art},
}

@book{moses__taps_topsprayer_2021,
	address = {Mainaschaff},
	edition = {Second},
	title = {{TOPSPRAYER} {EXPIRED}™},
	isbn = {978-3-939566-57-1},
	abstract = {In 2007 the German writers MOSES \& TAPS™ decided to swap their names. Within the next 1000 days they tried to paint 1000 trains with their new aliases. The resulting INTERNATIONAL TOPSPRAYER™ book instantly became a milestone in the field of monographic graffiti publications. Ten years after its release the duo published TOPSPRAYER EXPIRED™ in 2021, an updated and extended version with yet unpublished photos, new stories and insights into their project. With 176 extra pages it comes as a completely new publication.},
	language = {English; German},
	publisher = {Publikat Publishing},
	author = {{MOSES \& TAPS™}},
	year = {2021},
	note = {Copyright year is a year span: 2007-2021},
	keywords = {Graffiti, Train},
}

@book{williams_cambridge_2015,
	address = {Cambridge},
	title = {The {Cambridge} {Companion} to {Hip}-{Hop}},
	isbn = {978-1-107-64386-4},
	abstract = {It has been more than thirty-five years since the first commercial recordings of hip-hop music were made. This Companion, written by renowned scholars and industry professionals reflects the passion and scholarly activity occurring in the new generation of hip-hop studies. It covers a diverse range of case studies from Nerdcore hip-hop to instrumental hip-hop to the role of rappers in the Obama campaign and from countries including Senegal, Japan, Germany, Cuba, and the UK. Chapters provide an overview of the 'four elements' of hip-hop - MCing, DJing, break dancing (or breakin'), and graffiti - in addition to key topics such as religion, theatre, film, gender, and politics. Intended for students, scholars, and the most serious of 'hip-hop heads', this collection incorporates methods in studying hip-hop flow, as well as the music analysis of hip-hop and methods from linguistics, political science, gender and film studies to provide exciting new perspectives on this rapidly developing field.},
	language = {English},
	publisher = {Cambridge University Press},
	editor = {Williams, Justin A.},
	year = {2015},
	keywords = {Hip-hop},
}

@incollection{miller_hip-hop_2015,
	address = {Cambridge},
	title = {Hip-hop visual arts},
	isbn = {978-1-107-64386-4},
	language = {English},
	booktitle = {The {Cambridge} {Companion} to {Hip}-{Hop}},
	publisher = {Cambridge University Press},
	author = {Miller, Ivor},
	editor = {Williams, Justin A.},
	year = {2015},
	keywords = {Graffiti, Hip-hop},
	pages = {32--41},
}

@book{danysz_style_2011,
	address = {Rome},
	edition = {Second},
	title = {From style writing to art: {A} {Street} {Art} anthology},
	isbn = {978-88-88493-66-4},
	abstract = {This street art anthology explores the reasons why style-writing, or graffiti, is turning out to be a major art movement. This collection offers 50 complete biographies of top street artists along with examples of each artist's work.},
	language = {English},
	publisher = {Drago},
	author = {Danysz, Magda and Dana, Mary-Noëlle},
	year = {2011},
	keywords = {Graffiti, Street art},
}

@book{danysz_style_2010,
	address = {Rome},
	title = {From style writing to art: {A} {Street} {Art} anthology},
	isbn = {978-88-88493-52-7},
	abstract = {This street art anthology explores the reasons why style-writing, or graffiti, is turning out to be a major art movement. This collection offers 50 complete biographies of top street artists along with examples of each artist's work.},
	language = {English},
	publisher = {Drago},
	author = {Danysz, Magda and Dana, Mary-Noëlle},
	year = {2010},
	keywords = {Graffiti, Street art},
}

@book{van_treeck_wandzeichnungen_1995,
	address = {Moers},
	title = {Wandzeichnungen},
	isbn = {978-3-89535-424-3},
	language = {German},
	publisher = {Edition Aragon},
	author = {van Treeck, Bernhard and {Forty} and Krips, Marcus and Naegeli, Harald and Zlotykamien, Gérard},
	year = {1995},
	keywords = {Graffiti},
}

@book{niemand_suddeutschland_1995,
	address = {Berlin},
	series = {Graffiti {Art}},
	title = {Süddeutschland und {Schweiz}},
	isbn = {978-3-89602-036-9},
	abstract = {It all started when the Academy of Fine Arts in Berlin started to prepare the exhibition "Spray City" in the included in "X94 - young art and culture." Within the research for this event the authors discovered the unbelievable variety of this phenomenon called Grafitti. A fantastic world of pictures, complex, multi-layered philosophies and massive prejudices in all classes of the people were only some of the problems and contrasts that were met. This led to the idea to continue researches in the field this uncommon, transitory and still so vast new expression of art. The result is a kind of an ongoing encyclopedia of Grafitti containing 14 volumes so far.},
	language = {German},
	number = {2},
	publisher = {Schwarzkopf \& Schwarzkopf},
	author = {Niemand, Nikolaus and Schwarzkopf, Oliver and Mailänder, Ulf},
	year = {1995},
	keywords = {Graffiti, Street art, Germany, Switzerland},
}

@book{youkhana_grafficity_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Grafficity: {Visual} practices and contestations in urban space},
	isbn = {978-3-7705-5909-1},
	abstract = {Graffiti has its roots in urban youth and protest cultures. However, in the past decades it has become an established visual art form. This volume investigates how graffiti oscillates between genuine subversiveness and a more recent commercialization and appropriation by the (art) market. At the same time it looks at how graffiti and street art are increasingly used as an instrument for collective re-appropriation of the urban space and so for the articulation of different forms of belonging, ethnicity, and citizenship. The focus is set on the role of graffiti in metropolitan contexts in the Spanish-speaking world but also includes glimpses of historical inscriptions in ancient Rome and Mesoamerica, as well as the graffiti movement in New York in the 1970s and in Egypt during the Arab Spring.},
	language = {English; German},
	number = {28},
	publisher = {Wilhelm Fink},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti},
}

@book{jaworski_semiotic_2010,
	address = {London},
	series = {Advances in sociolinguistics},
	title = {Semiotic landscapes: {Language}, image, space},
	isbn = {978-1-84706-182-9},
	abstract = {Semiotic Landscapes is an exciting addition to the study of linguistic landscapes.

It looks at how landscape generates meaning and combines three major areas of scholarly interest each concerned with central dimensions of contemporary life: language and visual discourse, spatial practices, and also the changes bought about by global capitalism and ever increasing mediatization.

The editors look at: the textual/discursive construction of place; the use of space as a semiotic resource; the extent to which these processes are shaped by wider economic and political re-orderings of post-industrial or advanced capitalism; changing patterns of human mobility and transnational flows of ideas and images.

The collection demonstrates the way written discourse interacts with all other discursive modalities: visual images, nonverbal communication, architecture and the built environment. From the red light districts of Switzerland to the transgressive public art of graffiti, all landscape can be seen to generate meaning. Semiotic Landscapes looks at how and why, and places this meaning generation in an interdisciplinary and thoroughly modern cross-section of global trends.},
	language = {English},
	publisher = {Continuum},
	editor = {Jaworski, Adam and Thurlow, Crispin},
	year = {2010},
	keywords = {Graffiti, Semiotics},
}

@incollection{jaworski_introducing_2010,
	address = {London},
	series = {Advances in sociolinguistics},
	title = {Introducing {Semiotic} {Landscapes}},
	isbn = {978-1-84706-182-9},
	language = {English},
	booktitle = {Semiotic landscapes. {Language}, image, space},
	publisher = {Continuum},
	author = {Jaworski, Adam and Thurlow, Crispin},
	editor = {Jaworski, Adam and Thurlow, Crispin},
	year = {2010},
	keywords = {Graffiti, Semiotics},
	pages = {1--40},
}

@incollection{pennycook_spatial_2010,
	address = {London},
	series = {Advances in sociolinguistics},
	title = {Spatial {Narrations}: {Graffscapes} and {City} {Souls}},
	isbn = {978-1-84706-182-9},
	language = {English},
	booktitle = {Semiotic landscapes. {Language}, image, space},
	publisher = {Continuum},
	author = {Pennycook, Alastair},
	editor = {Jaworski, Adam and Thurlow, Crispin},
	year = {2010},
	keywords = {Graffiti, Graffiti-scape, Semiotics},
	pages = {137--150},
}

@incollection{pennycook_linguistic_2009,
	address = {New York; Abingdon},
	title = {Linguistic landscapes and the transgressive semiotics of graffiti},
	isbn = {978-0-415-98873-5},
	abstract = {Graffiti is a transgressive global art. An element of worldwide hip-hop culture, it is part of both global transcultural flows and local subcultural practices of place. As the most visible element of hip-hop culture, it is viewed by many as inherently anti-social and thus is transgressive in two important ways: First, since it is often viewed as little more than vandalism, inconsiderate doodling on the bourgeois façades of society, it is seen as transgressive social behavior. Second, because hip-hop graffiti is aimed not at the conveying of messages to a broader community (as common graffiti texts may do) but rather at the creation of a subcultural community, its use of language as style rather than communication may be seen as semiotically transgressive. This chapter argues that an understanding of graffiti as transgressive urban semiotics opens up important directions for an understanding of linguistic landscapes (LL) more generally. By looking at current theories of urban space, time and semiotics, this chapter argues that we need to understand how graffiti writing is about space, naming and style; it is about place, pride, rebellion and appropriation. And, as a vicar of a local Anglican church recently put it, graffiti may be the stained glass windows of the twenty-first century.},
	language = {English},
	booktitle = {Linguistic landscape. {Expanding} the scenery},
	publisher = {Routledge},
	author = {Pennycook, Alastair},
	editor = {Shohamy, Elana Goldberg and Gorter, Durk},
	year = {2009},
	doi = {10.4324/9780203930960-29},
	keywords = {Graffiti, Semiotics},
	pages = {302--312},
}

@book{reisser_daim_2006,
	address = {Mainaschaff},
	edition = {Second},
	title = {{DAIM}},
	isbn = {978-3-939566-02-1},
	language = {English},
	publisher = {Publikat Verlags- und Handels GmbH \& Co.},
	author = {Reisser, Mirko DAIM},
	year = {2006},
	keywords = {Graffiti, DAIM},
}

@incollection{morton_sticking_2018,
	address = {Oakland},
	title = {Sticking with the {German} {Antify} in {Berlin}},
	isbn = {978-1-62963-387-9},
	language = {English},
	booktitle = {Signal: 06. {A} journal of international political graphics \& culture},
	publisher = {PM Press},
	author = {Morton, Joel},
	editor = {Dunn, Alec and MacPhee, Josh},
	year = {2018},
	keywords = {Graffiti, Street art, Germany, Stickers, Antify},
	pages = {104--115},
}

@incollection{langner_ancient_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Ancient {Street} {Signs}, {Posters}, and {Graffiti}. {Walls} as {Means} of {Urban} {Communication} in {Pompeii} and {Beyond}},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Langner, Martin},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Italy, Urban space, Pompeii, Roman graffiti, Ancient graffiti},
	pages = {21--54},
}

@incollection{preller_fall_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Fall of {Presence}(s). {The} {Art} {Projects} ¡{Ay}, {Sudamérica}! and ‘{Poem} {Rain}’},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Preller, Teobaldo Lagos},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Urban space, Chili, South America},
	pages = {141--169},
}

@incollection{schierz_governing_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Governing {Graffiti} {NYC} {Style}. {Zum} {Ort} von {Graffiti} in der kriminalpolitischen {Ordnung} der {Dinge}},
	isbn = {978-3-7705-5909-1},
	language = {German},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Schierz, Sascha},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Urban space, Criminalistics},
	pages = {85--117},
}

@incollection{abaza_graffiti_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Graffiti and the {Reshaping} of the {Public} {Space} in {Cairo}. {Tensions} between {Political} {Struggles} and {Commercialization}},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Abaza, Mona},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Egypt, Politics, Urban space, Cairo},
	pages = {267--294},
}

@incollection{ventura_graffiti_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Graffiti {Practices} in {Rio} de {Janeiro} and {Berlin}. {A} {Comparative} {Perspective}},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Ventura, Tereza},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Berlin, Germany, Brazil, Urban space, Rio de Janeiro},
	pages = {121--140},
}

@incollection{gretzki_graffiti_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Graffiti, {Street} {Art} und {Culture} {Jamming} zwischen urbanem {Protest} und {Kommerzialisierung}},
	isbn = {978-3-7705-5909-1},
	language = {German},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Gretzki, Allan},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Street art, Urban space, Culture jamming},
	pages = {235--265},
}

@incollection{abarca_graffiti_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Graffiti, {Street} {Art}, and {Gentrification}},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Abarca, Javier},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Street art, Gentrification, Urban space},
	pages = {221--233},
}

@incollection{abaza_interview_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Interview on the {Graffiti} {Scene} in {Cairo}},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Abaza, Mona and Morayef, Soraya},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Egypt, Urban space, Cairo},
	pages = {295--306},
}

@incollection{youkhana_introduction_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Introduction},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Youkhana, Eva and Förster, Larissa},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Street art, Urban space},
	pages = {7--17},
}

@incollection{clados_pre-hispanic_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Pre-{Hispanic} {Graffiti} and {Social} {Organization} in {Peru}},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Clados, Christiane},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Urban space, Peru, Pre-Hispanic},
	pages = {55--83},
}

@incollection{carillo_stencil_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Stencil {Ixtlilxóchitl}. {Demián} {Flores}, {La} {Curtiduría}, and the {Visual} {Guerilla} in {Oaxaca}},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Carillo, Sofía and Barriendos, Joaquín},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Urban space, Mexico, Guerrilla, Demián Flores, La Curtiduría, Oaxaca},
	pages = {171--192},
}

@incollection{kaltmeier_urban_2015,
	address = {Paderborn},
	series = {Morphomata},
	title = {Urban {Cultural} {Politics} of {Graffiti}. {City}-{Marketing}, {Protests}, and the {Arts} in the {Production} of {Urban} {Imaginaries} in {Vancouver} and {Oaxaca}},
	isbn = {978-3-7705-5909-1},
	language = {English},
	number = {28},
	booktitle = {Grafficity. {Visual} practices and contestations in urban space},
	publisher = {Wilhelm Fink},
	author = {Kaltmeier, Olaf},
	editor = {Youkhana, Eva Shamiran and Förster, Larissa},
	year = {2015},
	keywords = {Graffiti, Urban space, Canada, Mexico, Oaxaca, Vancouver},
	pages = {193--217},
}

@misc{getty_research_institute_art_2021,
	title = {Art \& {Architecture} {Thesaurus}® {Online}},
	url = {https://www.getty.edu/research/tools/vocabularies/aat/},
	language = {English},
	urldate = {2021-01-25},
	author = {{Getty Research Institute}},
	year = {2021},
	keywords = {Graffiti, Thesaurus, AAT (Art \& Architecture Thesaurus)},
}

@book{vasari_terza_1550,
	address = {Firenze},
	title = {La terza et ultima parte delle vite de gli architectori pittori et scultori},
	language = {Italian},
	publisher = {Lorenzo Torrentino},
	author = {Vasari, Giorgio},
	year = {1550},
	keywords = {Italy, Vasari},
}

@book{vasari_vite_1550,
	address = {Firenze},
	title = {Le vite de' più eccellenti architetti, pittori, et scultori italiani, da {Cimabue} insino a' tempi nostri},
	language = {Italian},
	publisher = {Lorenzo Torrentino},
	author = {Vasari, Giorgio},
	year = {1550},
	keywords = {Italy, Vasari},
}

@book{vasari_vite_1568,
	address = {Firenze},
	title = {Le vite de' più eccellenti pittori, scultori, e architettori: {Prima} parte e seconda parte},
	language = {Italian},
	publisher = {i Giunti},
	author = {Vasari, Giorgio},
	year = {1568},
	keywords = {Italy, Vasari},
}

@book{vasari_vite_1568-1,
	address = {Firenze},
	title = {Le vite de' più eccellenti pittori, scultori, e architettori: {Primo} volume della terza parte},
	language = {Italian},
	publisher = {i Giunti},
	author = {Vasari, Giorgio},
	year = {1568},
	keywords = {Italy, Vasari},
}

@book{vasari_vite_1568-2,
	address = {Firenze},
	title = {Le vite de' più eccellenti pittori, scultori, e architettori: {Secondo}, et ultimo {Volume} della {Terza} {Parte}},
	language = {Italian},
	publisher = {i Giunti},
	author = {Vasari, Giorgio},
	year = {1568},
	keywords = {Italy, Vasari},
}

@book{moses__taps_international_2011,
	address = {Mainaschaff},
	title = {{INTERNATIONAL} {TOPSPRAYER}™},
	isbn = {978-3-939566-35-9},
	abstract = {Taps \& Moses have been two of the post prolific graffiti writers in Europe for years. More recently, between 2008 to 2010, using their collective moniker Topsprayer, they painted 1000 trains in 1000 days. It’s not only the volume of production for which they’re known, but the quality of their work. As friends of the world famous Brazilian duo Os Gemeos, they even painted trains in South America. So far only about 5\% of their work as Topsprayer has made its way into the public’s eye, making this one of the most coveted Black Books for 2011. In addition to an astounding variety of pieces executed in known graffiti forms, some very unusual productions are featured in the book.},
	language = {English; German},
	publisher = {Publikat},
	author = {{MOSES \& TAPS™}},
	year = {2011},
	keywords = {Graffiti, Train},
}

@book{moses__taps_graffiti_2020,
	address = {Paris},
	title = {{GRAFFITI} {AVANTGARDE}™},
	isbn = {978-619-7267-04-4},
	abstract = {Nine years after their legendary book INTERNATIONAL TOPSPRAYER™, which is out of print long-since and traded for hundreds of euros by now, MOSES \& TAPS™ release a brick twice as thick: GRAFFITI AVANTGARDE™

GRAFFITI AVANTGARDE™ is a heavyweight! With 544 pages, more than 2000 photos in ten chapters as well as a variety of exciting and subtle texts, it gives a deep insight into MOSES \& TAPS™ broad work as graffiti artist since 2011. The book shows how they managed the balancing act between bombing trains and being accepted artists and explains why these two worlds are not mutually exclusive.

The monograph begins with an interview with MOSES \& TAPS™ by the criminologist Ike, in which she explores the question of what actually constitutes the graffiti avant-garde, who it is, what goals it has and what it drives.

The TOPSPRAYER™ chapter, in which MOSES \& TAPS™ lead us through various stops on trains from Russia to the USA, is followed by the SPLASH™ chapter, in which you learn on which places you can leave colorful traces with spray cans without using a fatcap and letters.

Afterwards the scepter is handed over to ALIAS™, whose professed 1001 trains in 999 days on 176 pages are rounded off by his stories and the action photos of Edward Nightingale.

In SCRATCHITI™ MOSES™ shows why he paints glass panes in order to clean them, how he brings them from the train yards to the museum and back again and we learn why he hates Mickey Mouse.

In the chapter CORPORATE IDENTITY™ Robert Kaltenhäuser then deciphers how all chapters can be connected via MOSES \& TAPS™ CI codes, why yellow-blue works better than Banksy and what ́s behind the TM.

In IMAGE OF GRAFFITI™ TAPS™ makes clear, why Graffiti must be illegal and reveals how one can create an image of it on canvases nevertheless.

While the chapter SCHÖPFERISCHE ZERSTÖRUNG™ („creative destruction“) deals with the complexity of MOSES \& TAPS™’ works, which are expressed in collage pieces, the part KONZEPT-VANDALISMUS™ is dedicated to their unique conceptual works on trains – and sometimes also the walls inside.

To round the book off, MOSES \& TAPS™ explain and illustrate in two separate chapters their very personal approach of developing their styles},
	language = {English; German},
	publisher = {The Grifters Publishing},
	author = {{MOSES \& TAPS™}},
	year = {2020},
	keywords = {Graffiti, Train, Bombing},
}

@book{moses__taps_graffiti_2020-1,
	address = {Mainaschaff},
	edition = {Second},
	title = {{GRAFFITI} {AVANTGARDE}™},
	isbn = {978-3-939566-54-0},
	abstract = {Nine years after their legendary book INTERNATIONAL TOPSPRAYER™, which is out of print long-since and traded for hundreds of euros by now, MOSES \& TAPS™ release a brick twice as thick: GRAFFITI AVANTGARDE™

GRAFFITI AVANTGARDE™ is a heavyweight! With 544 pages, more than 2000 photos in ten chapters as well as a variety of exciting and subtle texts, it gives a deep insight into MOSES \& TAPS™ broad work as graffiti artist since 2011. The book shows how they managed the balancing act between bombing trains and being accepted artists and explains why these two worlds are not mutually exclusive.

The monograph begins with an interview with MOSES \& TAPS™ by the criminologist Ike, in which she explores the question of what actually constitutes the graffiti avant-garde, who it is, what goals it has and what it drives.

The TOPSPRAYER™ chapter, in which MOSES \& TAPS™ lead us through various stops on trains from Russia to the USA, is followed by the SPLASH™ chapter, in which you learn on which places you can leave colorful traces with spray cans without using a fatcap and letters.

Afterwards the scepter is handed over to ALIAS™, whose professed 1001 trains in 999 days on 176 pages are rounded off by his stories and the action photos of Edward Nightingale.

In SCRATCHITI™ MOSES™ shows why he paints glass panes in order to clean them, how he brings them from the train yards to the museum and back again and we learn why he hates Mickey Mouse.

In the chapter CORPORATE IDENTITY™ Robert Kaltenhäuser then deciphers how all chapters can be connected via MOSES \& TAPS™ CI codes, why yellow-blue works better than Banksy and what ́s behind the TM.

In IMAGE OF GRAFFITI™ TAPS™ makes clear, why Graffiti must be illegal and reveals how one can create an image of it on canvases nevertheless.

While the chapter SCHÖPFERISCHE ZERSTÖRUNG™ („creative destruction“) deals with the complexity of MOSES \& TAPS™’ works, which are expressed in collage pieces, the part KONZEPT-VANDALISMUS™ is dedicated to their unique conceptual works on trains – and sometimes also the walls inside.

To round the book off, MOSES \& TAPS™ explain and illustrate in two separate chapters their very personal approach of developing their styles},
	language = {English; German},
	publisher = {Publikat},
	author = {{MOSES \& TAPS™}},
	year = {2020},
	keywords = {Graffiti, Train, Bombing},
}

@book{crystal_cambridge_2010,
	address = {Cambridge},
	edition = {Third},
	title = {The {Cambridge} encyclopedia of language},
	isbn = {978-0-521-51698-3},
	abstract = {This new, thoroughly revised edition of the acclaimed Cambridge Encyclopedia of Language incorporates the major developments in language study which have taken place since the mid 1990s. Two main new areas have been added: the rise of electronic communication in all its current forms from email to texting, and the crisis affecting the world's languages, of which half are thought to be so seriously endangered that they will die out this century. • All language statistics have been updated, and additional information provided about their linguistic affiliation • All topics involving technology have been revised to take account of recent developments, notably in phonetics, language disability, and computing • Maps have been revised to include new countries or country names • Special attention has been paid to fast-moving areas such as language teaching and learning • The text design has been completely updated with many new illustrations throughout},
	language = {English},
	publisher = {Cambridge University Press},
	author = {Crystal, David},
	year = {2010},
	keywords = {Graffiti, Encyclopedia, English, Language},
}

@book{crystal_cambridge_2019,
	address = {Cambridge},
	edition = {Third},
	title = {The {Cambridge} encyclopedia of the {English} language},
	isbn = {978-1-108-43773-8},
	language = {English},
	publisher = {Cambridge University Press},
	author = {Crystal, David},
	year = {2019},
	doi = {10.1017/978110852893},
	keywords = {Graffiti, Encyclopedia, English, Language},
}

@book{goffriller_joseph_2009,
	address = {Salzburg},
	title = {Joseph {Kyselak}, {Skizzen} einer {Fußreise} durch Österreich},
	isbn = {978-3-902497-52-9},
	abstract = {"Im Sommer 1825 bricht der junge Wiener Josef Kyselak zu einer Wanderung auf, die ihn vier Monate lang durch Österreich, Bayern, Südtirol und Slowenien führt. Geleitet von romantischer Natursehnsucht, Wissensdurst und seinem weißen Wolfshund Duna, erforscht Kyselak Burgen und Ruinen, sucht nach Sehenswürdigkeiten wie dem letzten Versteck Andreas Hofers, beschreibt liebreizende Plätze und vollbringt dabei alpinistische Höchstleistungen. Abenteuerlich ist die zu Wasser bewältigte Heimreise nach Wien, interessant und berührend die Schilderungen von Menschen, denen er begegnet. Erstmals seit seiner ersten Veröffentlichung 1829 wird nun das seit Langem vergriffene Buch ungekürzt publiziert. Obwohl seine Erzählung zu den originellsten Werken der Reiseliteratur des österreichischen Biedermeier zählt, war der Grund von Kyselaks Berühmtheit ein anderer: Auf seinen Wanderungen pflegte er seinen Namen in großen Buchstaben aus schwarzer Ölfarbe zu hinterlassen – einige dieser Signaturen existieren noch heute.".},
	language = {German},
	publisher = {Jung und Jung},
	editor = {Goffriller, Gabriele},
	collaborator = {Klein, Chico},
	year = {2009},
	keywords = {Graffiti, Austria, Kyselak},
}

@incollection{goldstein_taking_2023,
	address = {Abingdon; New York},
	title = {Taking {Inventory}. {Digital} public art collections and the challenge of physical distance},
	isbn = {978-0-367-75182-1},
	language = {English},
	booktitle = {The failures of public art and participation},
	publisher = {Routledge},
	author = {Goldstein, Lori},
	editor = {Cartiere, Cameron and Schrag, Anthony},
	year = {2023},
	doi = {10.4324/9781003161356-8},
	note = {Num Pages: 24},
	keywords = {Street art, Murals, Murals and Street Art database (MASA)},
	pages = {92--115},
}

@book{knight_public_2008,
	address = {Malden},
	title = {Public {Art}: {Theory}, {Practice} and {Populism}},
	isbn = {978-1-4051-5558-8},
	abstract = {This book takes a bold look at public art and its populist appeal, offering a more inclusive guide to America's creative tastes and shared culture. It examines the history of American public art – from FDR's New Deal to Christo's The Gates – and challenges preconceived notions of public art, expanding its definition to include a broader scope of works and concepts.

Expands the definition of public art to include sites such as Boston's Big Dig, Las Vegas' Treasure Island, and Disney World

Offers a refreshing alternative to the traditional rhetoric and criticism surrounding public art

Includes insightful analysis of the museum and its role in relation to public art},
	language = {English},
	publisher = {Blackwell Publishing},
	author = {Knight, Cher Krause},
	year = {2008},
	keywords = {Graffiti, Public art},
}

@book{loeb_city_2022,
	address = {London},
	title = {The city as subject. {Public} art and urban discourse in {Berlin}},
	isbn = {978-1-350-25860-0},
	abstract = {In The City as Subject, Carolyn S. Loeb examines distinctive bodies of public art in Berlin: legal and illegal murals painted in West Berlin in the 1970s and 1980s, post-reunification public sculptures, and images and sites from the street art scene. Her careful analyses show how these developed new architectural and spatial vocabularies that drew on the city's infrastructure and daily urban experience. These works challenged mainstream urban development practices and engaged with citizen activism and with a wider civic discourse about what a city can be.



Loeb extends this urban focus to her examination of the extensive outdoor installation of the Berlin Wall Memorial and its mandate to represent the history of the city's division. She studies its surrounding neighborhoods to show that, while the Memorial adopts many of the urban-oriented vocabularies established by the earlier works of public art she examines, it truncates the story of urban division, which stretches beyond the Wall's existence. Loeb suggests that, by embracing more multi-vocal perspectives, the Memorial could encourage the kind of participatory and heterogeneous construction of the city championed by the earlier works of public art.},
	language = {English},
	publisher = {Bloomsbury Visual Arts},
	author = {Loeb, Carolyn S.},
	year = {2022},
	keywords = {Graffiti, Berlin, Germany, City, Urban art, Berlin Wall},
}

@misc{lorenz_concerning_2015,
	title = {Concerning {Kyselak}},
	url = {https://michaelorenz.blogspot.com/2015/07/concerning-kyselak.html},
	language = {English},
	urldate = {2022-11-23},
	author = {Lorenz, Michael},
	month = jul,
	year = {2015},
	keywords = {Graffiti, Kyselak},
}

@article{malafouris_mark_2021,
	title = {Mark {Making} and {Human} {Becoming}},
	volume = {28},
	issn = {1072-5369},
	doi = {10.1007/s10816-020-09504-4},
	abstract = {This is a paper about mark making and human becoming. I will be asking what do marks do? How do they signify? What role do marks play in human becoming and the evolution of human intelligence? These questions cannot be pursued effectively from the perspective of any single discipline or ontology. Nonetheless, they are questions that archaeology has a great deal to contribute. They are also important questions, if not the least because evidence of early mark making constitutes the favoured archaeological mark of the 'cognitive' (in the 'modern' representational sense of the word). In this paper I want to argue that the archaeological predilection to see mark making as a potential index of symbolic representation often blind us to other, more basic dimensions of the cognitive life and agency of those marks as material signs. Drawing on enactive cognitive science and Material Engagement Theory I will show that early markings, such as the famous engravings from Blombos cave, are above all the products of kinesthetic dynamics of a non-representational sort that allow humans to engage and discover the semiotic affordances of mark making opening up new possibilities of enactive material signification. I will also indicate some common pitfalls in the way archaeology thinks about the 'cognitive' that needs overcome.},
	language = {English},
	number = {1},
	journal = {Journal of Archaeological Method and Theory},
	author = {Malafouris, Lambros},
	year = {2021},
	note = {Num Pages: 25
PMC7889684},
	keywords = {Mark-making},
	pages = {95--119},
}

@incollection{maskaly_broken_2014,
	address = {Chichester},
	series = {The {Wiley} series of encyclopedias in criminology and criminal justice},
	title = {Broken {Windows} {Theory}},
	isbn = {978-0-470-65844-4},
	abstract = {The broken windows theory originated from a 1982 Atlantic Monthly article of the same name written by James Q. Wilson and George Kelling. They postulated that broken windows and other unchecked social and physical disorder are direct antecedents to criminal behavior. The article led to the development of popular broken windows policing or zero-tolerance policing strategies that targeted minor offenses, such as panhandling, public drunkenness, and vandalism as a mechanism to reduce more serious offenses. This style of policing has been credited with reducing crime in several major cities including New York City. Broken windows theory and the associated policing policies have been heavily criticized. Opponents of the theory argue that social and physical disorder are symptoms of the same underlying problems that lead to crime under a social disorganization theory framework, including poverty and high rates of residential mobility. Opponents of broken windows policing argue that it unfairly targets the homeless, the poor, and minorities.},
	language = {English},
	booktitle = {The encyclopedia of theoretical criminology},
	publisher = {Wiley Blackwell},
	author = {Maskaly, Jon and Boggess, Lyndsay N.},
	editor = {Miller, J. Mitchell},
	year = {2014},
	doi = {10.1002/9781118517390.wbetc127},
	note = {Num Pages: 4},
	keywords = {Graffiti, Criminology, Broken window theory},
	pages = {1--4},
}

@book{miles_art_1989,
	address = {Winchester},
	series = {Winchester {Studies} in {Art} and {Criticism}},
	title = {Art for public places. {Critical} essays},
	isbn = {0-9506783-8-4},
	language = {English},
	publisher = {Winchester School of Art Press},
	author = {Miles, Malcolm},
	collaborator = {Adams, Hugh and Cork, Richard and Ghosh, Amal and Steyn, Juliet and Stone, David and Vines, Louise and Burton, Richard},
	year = {1989},
	keywords = {Graffiti, Public art},
}

@book{miles_art_1997,
	address = {London; New York},
	title = {Art, space and the city: {Public} art and urban futures},
	isbn = {0-415-13943-0},
	abstract = {Public art - the making, management and mediation of art outside its conventional location in museums and galleries, and the livable city - a concept involving user-centred strategies for urban planning and design, are both socially produced but have emerged from different fields and tend to be discussed in isolation.

This book applies a range of critical perspectives which have emerged from different disciplines - art criticism, urban design, urban sociology, geography and critical theory - to examine the practice of art for urban public spaces, seeing public art from positions outside those of the art world to ask how it might contribute to possible urban futures. Exploring the diversity of urban politics, the functions of public space and its relation to the structures of power, the roles of professionals and users in the construction of the city, the gendering of space and the ways in which space and citizen are represented, the book explains how these issues are as relevant to architecture, urban design and urban planning as they are to public art. Drawing on a wealth of images from across the UK and Europe and the USA, in particular, the author questions the effectiveness of public art in achieving more convivial urban environments, whilst retaining the idea that imagining possible futures is as much part of a democratic society as using public space.},
	language = {English},
	publisher = {Routledge},
	author = {Miles, Malcolm},
	year = {1997},
	keywords = {Graffiti, Art, Urban art, Urban},
}

@book{pianigiani_vocabolario_1907,
	address = {Roma; Milano},
	title = {Vocabolario etimologico della lingua italiana: {A}-{L}},
	language = {Italian},
	publisher = {Società editrice Dante Alighieri},
	editor = {Pianigiani, Ottorino},
	year = {1907},
	keywords = {Language, Etymology, Graffito},
}

@book{radice_urban_2017,
	address = {Chicago},
	series = {The culture of cities},
	title = {Urban encounters: {Art} and the public},
	isbn = {978-0-7735-5006-3},
	abstract = {Public art is on the urban agenda. Given recent claims about the importance of creativity to urban prosperity, opportunities for installing or performing art in the city have multiplied. As cities strive to appear culturally dynamic, the stakes of artistic production rise higher than ever. Exploring the interactions between art and the public in Canadian cities, Urban Encounters features writing by artists, architects, curators, anthropologists, geographers, and urban studies specialists. They show how people and places affect the structure and content of public artworks, what kinds of urban spaces and socialities are generated through art, and how to investigate and interpret encounters between art and its viewers in the city. Discussing a variety of art forms, including mobile cinemas, street improvisation, audiovisual investigations, and assembled objects, the contributors treat public artworks not just as aesthetic installations, but as agents that participate in the social and cultural evolution of cities. Using original, hands-on approaches, Urban Encounters reveals how art in the urban public generates encounters that can transform both the city itself and the ways that people relate to it.},
	language = {English},
	publisher = {McGill-Queen's University Press},
	editor = {Radice, Martha and Boudreault-Fournier, Alexandrine},
	year = {2017},
	keywords = {Graffiti, Urban art},
}

@article{rivaroli_mural_2021,
	title = {Mural {Art} {Conservation} {Data} {Recording} ({SCIMA}): {The} {Graart} {Project}},
	volume = {4},
	issn = {2571-9408},
	doi = {10.3390/heritage4040232},
	abstract = {Urban art in Italy is experiencing a remarkable evolution that has quickly modified urban spaces, especially in suburban areas. More and more often, we are witnessing the birth of works of art that have been commissioned by festivals, or institutional projects next to spontaneous street artworks. These large projects, often defined as “urban renewal”, when carried out through a well-thought-out design, can become real open-air museums. The proliferation of these creative and legal projects has raised the question of whether street art should be preserved over time. The conservation, or even restoration, of urban art has recently become a controversial topic in scientific debate. In Italy, different associations of researchers are developing new methodologies for preserving street artworks; everyone agrees on the importance of the implementation of good conservation practices. The documentation of the existing condition of a work of art is the first step to start taking care of it. In this article we introduce SCIMA (Scheda Conservativa Informatizzata Mural Art), a digitizing conservation data report that is specific for mural art. The aim of SCIMA was to define the existing condition of the work of art, starting with the socio-cultural and artistic importance, to describe its environment, to define the materials used and its deterioration problems, to suggest conservative interventions. It was born as an analogical tool (sheet) but we are working on digitizing it (database) in order to maintain access to the data recorded for the future.},
	language = {English},
	number = {4},
	journal = {Heritage},
	author = {Rivaroli, Laura and Moretti, Paola and Caricchio, Antonio and Macchia, Andrea},
	year = {2021},
	note = {Num Pages: 11},
	keywords = {Graffiti, Cultural heritage, Documentation, Murals, Dissemination, Recording, Glossary, Graart project, Mural art},
	pages = {4222--4232},
}

@book{ronchi_eculture_2009,
	address = {Berlin, Heidelberg},
	title = {{eCulture}: {Cultural} content in the digital age},
	isbn = {978-3-540-75273-8},
	language = {English},
	publisher = {Springer},
	author = {Ronchi, Alfredo M.},
	year = {2009},
	doi = {10.1007/978-3-540-75276-9},
	keywords = {Ontology, Cultural heritage, 3D, VR (Virtual Reality), Museum, Data visualisation, Rendering, Virtual reconstruction, Anaglyph, Simulation, Stereoscopy},
}

@book{shipley_routledge_2023,
	address = {New York; Abingdon},
	title = {The {Routledge} companion to art and activism in the twenty-first century},
	isbn = {978-1-003-15969-8},
	abstract = {The Routledge Companion to Art and Activism in the Twenty-First Century brings together a wide range of geographical, cultural, historical, and conceptual perspectives in a single volume of new essays that facilitate a deeper understanding of the field of art activism as it stands today and as it looks towards the future.

The book is a resource for multiple fields, including art activism, socially engaged art, and contemporary art, that represent the depth and breadth of contemporary activist art worldwide. Contributors highlight predominant lines of inquiry, uncover challenges faced by scholars and practitioners of activist art, and facilitate dialogue that might lead to new directions for research and practice. The editors hope that the volume will incite further conversation and collaboration among the various participants, practitioners, and researchers concerned with the relationship between art and activism.

The audience includes scholars and professors of modern and contemporary art, students in both graduate and upper-level undergraduate programs, as well as artists, curators, and museum professionals. Each chapter can stand on its own, making the companion a flexible resource for students and educators working in art history, museum studies, community practice/socially engaged art, political science, sociology, and ethnic and cultural studies.},
	language = {English},
	publisher = {Routledge},
	editor = {Shipley, Lesley and Moriuchi, Mey-Yen},
	year = {2023},
	keywords = {Graffiti, Street art, Art, Activism},
}

@article{sturdy_colls_proof_2019,
	title = {Proof of {Life}: {Mark}-{Making} {Practices} on the {Island} of {Alderney}},
	volume = {22},
	issn = {14619571},
	doi = {10.1017/eaa.2018.71},
	abstract = {Currently, mark-making practices as a form of identification and proof of life are an unrealized resource. Over a three-year period, systematic walkover surveys were conducted on and within fortifications and other structures on the island of Alderney to locate historic and modern marks. The investigations presented in this article demonstrate the importance of non-invasive recording and examination of marks to identify evidence connected to forced and slave labourers, and soldiers present on the island of Alderney during the German occupation in World War II. Names, hand and footwear impressions, slogans, artworks, dates, and counting mechanisms were recorded electronically and investigated by using international databases, archives, and translation services. We discuss the value and challenges of interpreting traces of human life in the contexts of conflict archaeology and missing person investigations and underline the need for greater recognition of marks as evidence of past lives.},
	language = {English},
	number = {2},
	journal = {European Journal of Archaeology},
	author = {Sturdy Colls, Caroline and Bolton-King, Rachel and Colls, Kevin and Harris, Tim and Weston, Czelsie},
	year = {2019},
	note = {Num Pages: 23},
	keywords = {Graffiti, WWII, Mark making, Island of Alderney},
	pages = {232--254},
}

@book{tapies_banksy_2018,
	address = {Berlin},
	edition = {Genehmigte deutschsprachige Sonderausgabe},
	title = {Banksy: 1999-2018},
	isbn = {978-3-945330-52-4},
	language = {German},
	publisher = {Frölich \& Kaufmann},
	author = {Tapies, Xavier A.},
	translator = {Fehrmann, Dominik},
	year = {2018},
	keywords = {Graffiti, Street art},
}

@misc{schlegel_acdh-chdariah_2023,
	title = {{ACDH}-{CH}/{DARIAH} {Vocabularies}: {INDIGO} {Graffiti} {Thesaurus} v1.0.0},
	url = {https://vocabs.acdh.oeaw.ac.at/indigo/Thesaurus},
	abstract = {Contemporary graffiti terminology with a spatial focus on the Danube Canal, Vienna, Austria.},
	language = {English},
	urldate = {2023-09-20},
	author = {Schlegel, Jona and Wogrin, Stefan and Carloni, Massimiliano and Verhoeven, Geert Julien Joanna},
	year = {2023},
	keywords = {Thesaurus, INDIGO},
}

@book{mayer_dictionary_1969,
	address = {New York},
	title = {A dictionary of art terms and techniques},
	isbn = {0-690-23673-5},
	abstract = {This dictionary of art terms and techniques is designed to appeal to anyone interested in the visual arts. The book's coverage includes all forms of easel and mural paintings, drawing, sculpture, the graphic arts, ceramics, mosaics, gilding and enamelling as well as related fields such as conservation and paint technology. Over 3200 definitions are included with materials defined in terms of composition, source, use and characteristic properties and processes and techniques defiend in terms of their practical application and results. Entries on schools, styles and periods is also included.},
	language = {English},
	publisher = {Thomas Y. Crowell Company},
	author = {Mayer, Ralph},
	year = {1969},
	keywords = {Art, Archaeology, Graffito, Dictionary},
}

@article{emden_graffiti_1922,
	title = {Graffiti of mediæval ships.: from the {Church} of {St}. {Margaret}'s-at-{Cliffe}, {Kent}},
	volume = {8},
	issn = {0025-3359},
	doi = {10.1080/00253359.1922.10655116},
	language = {English},
	number = {6},
	journal = {The Mariner's Mirror},
	author = {Emden, A. B.},
	year = {1922},
	note = {Num Pages: 7},
	keywords = {Church, England, Ships, Medieval graffiti, Ship graffiti, Church of St. Margaret's-at-Cliffe, Kent},
	pages = {167--173},
}

@article{van_buren_graffiti_1923,
	title = {Graffiti at {Ostia}},
	volume = {37},
	issn = {0009-840X},
	doi = {10.1017/S0009840X00085206},
	language = {English},
	number = {7-8},
	journal = {The Classical Review},
	author = {van Buren, A. W.},
	year = {1923},
	note = {Num Pages: 2},
	keywords = {Roman graffiti, Ancient graffiti, Ostia},
	pages = {163--164},
}

@book{prinzhorn_bildnerei_1926,
	address = {Berlin},
	title = {Bildnerei der {Gefangenen}. {Studie} zur bildnerischen {Gestaltung} {Ungeübter}},
	abstract = {»Bildnerei der Gefangenen« (1926) war das zweite Buch Hans Prinzhorns (1886-1933), mit welchem der Berliner Verleger Axel Juncker an den Erfolg von Prinzhorns Studie »Bildnerei der Geisteskranken« (1922) anzuknüpfen hoffte, welche besonders bei Künstlern und Kunstinteressierten großes Interesse und entsprechenden Absatz fand.

Hier blieb jeoch der große Erfolg aus. Während Prinzhorns Erstling schon 1923 eine verbesserte Zweitauflage erfuhr und in den Jahrzehnten danach und bis heute auf der Basis dieser 2. Auflage immer wieder neu aufgelegt und in mehrere Sprachen übersetzt wurde, blieb es bei der "Bildnerei der Gefangenen" bei dieser ersten Ausgabe, welche entsprechend selten ist.

Dabei betrat auch diese Publikation Neuland. Damals waren kaum Abbildungen künstlerischer Werke aus Gefängnissen und Zuchthäusern bekannt, die Kreativität von Gefangenen wurde ebenso wenig geschätzt wie die von Anstaltspatienten. Prinzhorn präsentierte in 88, zum Teil farbigen Abbildungen nicht nur eine beeindruckende Auswahl von Bildern, Zeichnungen, Reliefs, Skulpturen sowie Kunsthandwerk aus deutschen Haftanstalten, sondern auch eine Reihe von Tätowierungen, die damals noch exotisch und anrüchig waren.},
	language = {German},
	publisher = {Axel Juncker Verlag},
	author = {Prinzhorn, Hans},
	year = {1926},
	doi = {10.11588/diglit.11508},
	keywords = {Graffiti, Prison, Tattoo, Scratch, Tattooing},
}

@book{van_treeck_writer_1995,
	address = {Moers},
	title = {Writer {Lexikon}: {American} {Graffiti}},
	isbn = {3-89535-428-7},
	language = {German},
	publisher = {Edition Aragon},
	author = {van Treeck, Bernhard},
	year = {1995},
	keywords = {Graffiti, Street art, Lexicon},
}

@book{mai_writing_2003,
	address = {Berlin},
	title = {Writing - {Urban} calligraphy and beyond},
	isbn = {3-89955-003-X},
	abstract = {Is there life after spray paint? Long condemned as vandalism, the public’s perception of graffiti is slowly changing. Ubiquitous and with a natural affinity to architecture, this form of expression has not only established itself as a part of youth culture but has also become a fundamental aspect of the modern city. 
An offspring of this scene, writing has become no less than contemporary urban calligraphy. While the classic New York style of writing was once limited to the world of street gangs, it has now left its mark on virtually all visual disciplines. Strictly speaking the arrangement of spaces by outlines, writing has become an invaluable influence and inspiration, especially in the realms of graphic design, motion graphics, fashion, packaging and architecture. 
Compiled by Berlin activists and designers Markus Mai and Arthur Remke, the book Writing surveys this appropriation of public space and examines the detailed fusion of analogue writing and digital design as well as post-graffiti concepts. Broken down into the chapters tags, throw-ups, lettering, objects, graphic design and street art, the content documents the current, changing influences of writing, art and graphics. The featured work ranges from designs done in pencil, marker and spray paint to architectural models, which implement writing’s calligraphy as three-dimensional objects or buildings.},
	language = {English;},
	publisher = {Die Gestalten Verlag},
	author = {Mai, Markus and Remke, Arthur},
	editor = {Klanten, Robert},
	translator = {Commentz, Sonja and Beck, Helga},
	year = {2003},
	keywords = {Graffiti, Calligraphy, Tags, Style, Technique},
}

@article{crisp_battlefield_2014,
	title = {Battlefield or gallery? {A} comparative analysis of contemporary mark-making practices in {Sydney}, {Australia}},
	volume = {78},
	doi = {10.1080/03122417.2014.11682003},
	abstract = {In this paper we present an analysis of the differences and similarities in the spatial distribution of graffiti in two Sydney suburbs: Newtown and Miranda. The research examines the extent to which factors of surveillance, location and legislation affect the range, production and spatial distribution of graffiti. Through the application of conventional archaeological field methods to the contemporary landscape this study has shown how an archaeological approach can test, and thereby validate or refute, general assumptions and proposals generated through other disciplinary frameworks. Results show that the amount of graffiti across the landscape does not follow the simple distinction whereby high visibility locations have low amounts of graffiti, while secluded locations have high amounts. Rather, within each landscape, the intricate interactions of human intention, graffiti policy and the characteristics of the built environment differentially shape graffiti distribution. Furthermore, this study shows that the influence of local community approaches to graffiti management on the typology and distribution of graffiti cannot be underestimated.},
	language = {English},
	number = {1},
	journal = {Australian Archaeology},
	author = {Crisp, Andrew and Clarke, Anne and Frederick, Ursula},
	year = {2014},
	note = {Num Pages: 9},
	keywords = {Graffiti, Australia, Sydney, Mark making},
	pages = {84--92},
}

@incollection{benefiel_documenting_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Documenting {Ancient} {Graffiti}: {Text}, {Image}, {Support} and {Access}},
	isbn = {978-3-11-132630-6},
	abstract = {This chapter discusses how the method for documenting ancient graffiti, including both what to document and how, has changed over the centuries. With a focus on the inscriptions of first century Pompeii, we stress that graffiti are epigraphic artefacts, thus requiring both epigraphic and archaeological consideration. We present a historical overview explaining how graffiti have been documented, from early publications in the nineteenth century to technological innovations in the twenty-first. We then discuss the aims, methods and results of the Ancient Graffiti Project, a current project to document graffiti and a publicfacing scholarly resource. Based on a decade of epigraphic research and archaeological fieldwork, AGP offers a digital platform and tools to support a richer understanding of ancient graffiti from the early Roman Empire in their archaeological context.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Benefiel, Rebecca R. and Sypniewski, Holly M.},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-014},
	note = {Num. Pages: 41},
	keywords = {Ancient graffiti, Ancient Graffiti Project},
	pages = {425--465},
}

@book{skrabal_graffiti_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Graffiti scratched, scrawled, sprayed: {Towards} a cross-cultural understanding},
	isbn = {978-3-11-132630-6},
	abstract = {Over the last two decades, the study of graffiti has emerged as a bustling field, invigorated by increased appreciation for their historical, linguistic, sociological, and anthropological value and propelled by ambitious documentation projects. The growing understanding of graffiti as a perennial, universal phenomenon is spurring holistic consideration of this mode of graphic expression across time and space. Graffiti Scratched, Scrawled, Sprayed: Towards a Cross-Cultural Understanding complements recent efforts to showcase the diversity in creation, reception, and curation of graffiti around the globe, throughout history and up to the present day. reflecting on methodology, concepts, and terminology as well as spatial, social, and historical contexts of graffiti, the book’s fourteen chapters cover ancient Egypt, Rome, Northern Arabia, Persia, India, and the Maya; medieval Eastern Mediterranean, Turfan, and Dunhuang; and contemporary Tanzania, Brazil, China, and Germany. As a whole, the collection provides a comprehensive toolkit for newcomers to the field of graffiti studies and appeals to specialists interested in viewing these materials in a cross-cultural perspective.},
	language = {English},
	number = {35},
	publisher = {De Gruyter},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306},
	keywords = {Graffiti, History, Ancient graffiti, Literary studies},
}

@incollection{araya_lopez_graffiti_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Graffiti and the {Media}: {Between} {Politics}, {Art} and {Vandalism}},
	isbn = {978-3-11-132630-6},
	abstract = {In this chapter, the diversity of contemporary graffiti practices is studied by exploring the main media narratives that shape the public debate on ‘graffiti’. Firstly, a typology of graffiti practices is proposed based on the motivation and circumstances of their production. Both the communicative and non-communicative aspects of these practices are examined, while addressing the role of spatial politics, power and the public sphere in the sociological analysis of these cultural products. Secondly, five media discourses apropos of graffiti practices are discussed, namely the medical-epidemiological, legal, criminogenic, social value and artistic value narratives. Unauthorized forms of graffiti – which include political graffiti, tagging and pichação/pixação – are perceived as damaging to the social body, as compared to more ‘aesthetic’ forms of graffiti, such as street art and hip-hop graffiti.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Araya López, Alexander},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-005},
	note = {Num. Pages: 27},
	keywords = {Graffiti, Vandalism, Pixação},
	pages = {143--169},
}

@incollection{bregler_chinese_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Chinese {Graffiti} in {Dunhuang}?},
	isbn = {978-3-11-132630-6},
	abstract = {This contribution looks at materials from Dunhuang that are relevant to the study of graffiti. As can be observed from statements in poems preserved on the verso of one Dunhuang scroll, the practice of scratching names into cave walls was not always welcomed, regardless of the skills of the writer. An analysis of the textual structure of nine inscriptions from Mogao Cave 108 reveals telling differences between the inscriptions, which were likely done by persons of different social standings. Among them, one inscription is also found as one of several mnemonic lines on as many as ten Dunhuang manuscripts. This suggests similar functions for the blank spaces on walls and manuscripts. Since the mnemonic lines on the manuscripts indicate an educational context, it is very likely that students also scratched these lines onto the walls.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Bregler, Nadine},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-007},
	note = {Num. Pages: 18},
	keywords = {Graffiti, China, Dunhuang},
	pages = {215--232},
}

@incollection{cereti_graffiti_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Graffiti in {Middle} {Iranian}: {Some} {Preliminary} {Notes}},
	isbn = {978-3-11-132630-6},
	abstract = {This article aims to present a limited selection of Middle Iranian graffiti while proposing a definition of the term ‘graffito’ in the Iranian area. Middle Ira-nian languages were spoken over a vast region that stretches from Mesopotamia to Central Asia. Traditionally, scholars in our field consider the Middle Iranian pe-riod to cover the fourth century BCE to the end of the first millennium CE. The number of known written artefacts dating from this period has progressively in-creased and today we possess a sizeable epigraphic corpus, of which languages such as Middle Persian, Parthian and Sogdian take the lion’s share. Here the author presents a selection of written artefacts that, on material and linguistic grounds, seem to better fit the idea of ‘graffito’, and briefly focuses on a few drawings scratched into palace walls in ancient Persepolis. Furthermore, the article aims at contributing to the growing debate on graffiti across different traditions, while re-maining well aware that the definition of ‘graffiti’ in the Iranian area is still an open question and requires further discussion to establish a shared classification.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Cereti, Carlo G.},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-011},
	note = {Num. Pages: 28},
	keywords = {Graffiti, Iran, Persepolis},
	pages = {327--354},
}

@incollection{dai_old_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Old {Uyghur} {Graffiti} {Inscriptions} from {Central} {Asia}},
	isbn = {978-3-11-132630-6},
	abstract = {This paper introduces the results of recent research on Old Uyghur-Turkic graffiti inscriptions from Central Asia. Most of these, written on the walls of Buddhist sanctuary cave temples (in Turfan, Xinjiang, and in Dunhuang, Gansu), consist of the memorial writings of pilgrims and visitors. These graffiti inscriptions demonstrate the diversity of Old Uyghur literary culture and Buddhist cults, as well as various aspects of their daily lives that are undetectable from the enormous Buddhist religious canons; examples of religious practices conducted by visitors and pilgrims at cave temples; and the nodes and terminals of their geographical network.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Dai, Matsui},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-006},
	note = {Num. Pages: 42},
	keywords = {Graffiti, Asia, Uyghur},
	pages = {173--214},
}

@incollection{ewald_spray_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {The {Spray} {Can} as an {Attitude} to {Life} between {Illegal} {Action} and {Commercial} {Art}: {A} {Conversation} on the {Emergence} of a {Modern} {Graffiti} {Form} with the {Artist} {Mirko} {Reisser} alias {DAIM}},
	isbn = {978-3-11-132630-6},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Ewald, Sanja and Reisser, Mirko},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-009},
	note = {Num. Pages: 17},
	keywords = {Graffiti, Interview, DAIM},
	pages = {267--283},
}

@incollection{macdonald_voices_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Voices in the {Wilderness}: {Some} {Unexpected} {Uses} of {Graffiti}},
	isbn = {978-3-11-132630-6},
	abstract = {In this paper I discuss the wide range of personal inscriptions found in the deserts of North Arabia: tags, graffiti, ‘public notices’, what I have called ‘personal records’, and ‘prayers’. There is inevitably an overlap between some of these categories, for instance a tag (a personal name) may be followed by a prayer (‘Personal Name and O Divine Name grant security’), or may be contained within a prayer (‘O Divine Name help Personal Name’). I then go on to describe and discuss some of the more unexpected types of personal inscriptions found in these deserts. Among these are the uses of literacy by members of non-literate societies of nomads, the ‘swapping’ of scripts and languages by nomads and people from settled societies, and conquerors – and even kings – carving graffiti and tags in the scripts and languages of the peoples they have conquered.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Macdonald, Michael C. A.},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-012},
	note = {Num. Pages: 28},
	keywords = {Graffiti, Arabia},
	pages = {355--382},
}

@incollection{markle_spray_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {‘{Spray} {It} {Loud}’: {Hip} {Hop} {Graffiti} {Culture} and {Politics} in {Dar} es {Salaam}, 2003–2018},
	isbn = {978-3-11-132630-6},
	abstract = {This essay is a critical examination of the origins and evolution of hip hop-influenced graffiti in Dar es Salaam, Tanzania (East Africa). It sets out to explore questions of identity, criminality, visual aesthetics, independent entrepreneurship, social group dynamics, mentorship, and grassroots community organizing. Informed largely by multi-sited ethnographic research conducted between 2003 and 2018, ‘Spray It Loud’ seeks to show how the embrace and practice of graffiti writing among urban Tanzanians in a hip hop cultural context can shed significant light on processes of transnational identity formation and community building in Africa’s neoliberal era. While hip hop has given Tanzanian graffiti writers a sense of purpose and belonging, economic motivations and the lack of competition and rivalry among and between the low number of hip hop graffiti artists and crews have stagnated the movement’s growth and expansion in Tanzania’s most populated city.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Markle, Seth M.},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-003},
	note = {Num. Pages: 29},
	keywords = {Graffiti, Africa, Dar es Salaam, Tanzania},
	pages = {77--105},
}

@incollection{skrabal_towards_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Towards a {Cross}-{Cultural} {Understanding} of {Graffiti}: {Terminology}, {Context}, {Semiotics}, {Documentation}},
	isbn = {978-3-11-132630-6},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-001},
	note = {Num. Pages: 43},
	keywords = {Graffiti, Terminology},
	pages = {1--43},
}

@incollection{strauch_graffiti_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Graffiti in {Ancient} {India}: {Towards} the {Definition} of a {Genre} of {Indian} {Epigraphy}},
	isbn = {978-3-11-132630-6},
	abstract = {The paper examines the use of the term graffiti in Indian epigraphy. In discussing the different categories of objects commonly associated with this term, it argues for a more differentiated approach that takes into account the function of these texts in their material and cultural context. Based on this approach, pottery inscriptions should preferably be excluded from the category of graffiti. Instead, most of the inscriptions that are often referred to as ‘pilgrims’ and travelers’ records’ do seem to fall into this category. The paper aims at a more precise characterisation of the varieties of graffiti in an Indian cultural environment using four exemplary cases from different geographical and historical contexts. Since most of the corpora of graffiti have not yet been researched even fundamentally, a future study will primarily have a comprehensive documentation of the existing sites as its task.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Strauch, Ingo},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-010},
	note = {Num. Pages: 39},
	keywords = {Graffiti, Epigraphy, India},
	pages = {287--325},
}

@incollection{trentin_medieval_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Medieval and {Early} {Modern} {Graffiti} in {Eastern} {Mediterranean}: {A} {New} {Methodological} {Approach}},
	isbn = {978-3-11-132630-6},
	abstract = {In the last decades, an increasing number of studies on medieval and early modern graffiti has consolidated the importance of this medium in collecting new details about the practices and socio-cultural aspects of writing and communication. On the other hand, it has also highlighted methodological gaps deriving from the lack of a uniform and inclusive approach in the relevant fields. This paper identifies these gaps and illustrates how they have been addressed by specific research projects carried out at the Cyprus Institute’s Science and Technology in Archaeology and Culture Research Center (STARC). The ongoing work of these projects entails a specific methodological approach for documenting, analysing, and interpreting graffiti in the Eastern Mediterranean between the Middle Ages and the early modern period. Moreover, the approach intends to support and promote the study of historic graffiti as an independent discipline, not depending solely on palaeography, epigraphy, or archaeology, but joining them in the analysis of graffiti material.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Trentin, Mia},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-013},
	note = {Num. Pages: 40},
	keywords = {Graffiti, Medieval graffiti},
	pages = {383--422},
}

@incollection{valjakka_transcribed_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Transcribed {Flows} and {Arrhythmias}: ‘{Graffiti}’ in {Relation} to {Epigraphic} and {Artistic} {Trajectories} in {Today}’s {Mainland} {China}},
	isbn = {978-3-11-132630-6},
	abstract = {Chinese culture is characterized by an affluence of practices, well-elaborated methods and refined aesthetics in the domain of writing – independently of and in relation to the visual arts, religion and socio-political objectives. Given the prominence of such intricate forms of agency, aims and appreciation criteria, denoting anything written, inscribed, brushed or sprayed in public spaces as ‘graffiti’ confuses more than it clarifies. Based on long-term research in and beyond the major cities of mainland China, the aim of this paper is to shed light on the main characteristics of the varied and even contradictory notions of ‘graffiti’, and the challenges this concept highlights for understanding the intersections of writing, art, social status, public space, politics and policy. Through diachronic and synchronic, locally embedded and cross-cultural analysis, I propose a more flexible framing based on investigating the resonances, discrepancies and confluences of ‘graffiti’ and its related practices. This approach illuminates the continuously changing interrelations and undercurrents of ‘graffiti’ by a continuous un- and remapping of the constellation of concepts, their significations and the manner in which they are defined by cultural policies and socio-political norms. It can also enable the investigation of forthcoming manifestations and their interactions through local, regional and international settings.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Valjakka, Minna},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-008},
	note = {Num. Pages: 31},
	keywords = {Graffiti, China},
	pages = {233--263},
}

@incollection{verhoeven_writing_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Writing {Wherever} {Possible} and {Meaningful}: {Graffiti} {Culture} in {Ancient} {Egypt}. {Context}, {Terminology}, {Documentation}},
	isbn = {978-3-11-132630-6},
	abstract = {After an introduction about scribes, writing culture, scripts and literacy in Ancient Egypt, the close relationship between text and image in many domains, including graffiti, is addressed. Several text genres are found in graffiti, as well as on mobile artefacts, because such texts belonged to the didactic curriculum and cultural knowledge. The various evidence of graffiti-like inscriptions on landscape formations, tombs, and temples over more than three millennia can be characterized only briefly and selectively. The use and definitions of the term ‘graffiti’ and similar labels in Egyptology are presented and discussed with reference to various criteria. In the end, the evolution of the documentation techniques is sketched, and the author reflects on her own experiences with inked graffiti (dipinti) inside a rock tomb in Asyut.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Verhoeven, Ursula},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-002},
	note = {Num. Pages: 30},
	keywords = {Graffiti, Egypt, Dipinti},
	pages = {47--76},
}

@incollection{vieth_curating_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Curating {Graffiti}: {The} {Exhibition} {Wände}│{Walls} in the {Kunstmuseum} {Stuttgart}},
	isbn = {978-3-11-132630-6},
	abstract = {This paper gives an insight into my curatorial experiences regarding the comprehensive exhibition WÄNDE│WALLS, which for the first time took the wall in its diversity of meanings as the starting point for an exhibition. In addition to the theoretical considerations and concepts, I report on the discussion with the sprayers, who exhibited that graffiti is a unique and thoroughly ambivalent art form. The project traced the artistic examination of the spatial boundary of walls at three central locations in Stuttgart. While wall works were realised in the interior at the Kunstmuseum, the focus at the StadtPalais – Museum für Stuttgart and Stuttgart’s central station was on graffiti as an artform, which dealt with the design of walls in public spaces. The exhibition Graffiti in the City (Graffiti im Kessel, StadtPalais) provided a comprehensive overview of the history of graffiti in Stuttgart, based on photographic and archive material. The impact of graffiti in public spaces could be experienced in the Bonatzbau, the main building of Stuttgart’s central station. More than seventy artists from the Stuttgart sprayer scene transformed the interior of the historic hall into a huge temporary graffiti gallery, the Secret Walls Gallery. It became clear within the multi-perspective project that in addition to its visual manifestation, graffiti is also a socio-cultural phenomenon with its own mechanisms, rules, intentions and slang. It is an art form that has a decisive influence on public space and, thus, on our everyday culture. Graffiti is a global, universal and historically evolved phenomenon which needs to be researched, exhibited and communicated.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Vieth, Anne},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-015},
	note = {Num. Pages: 20},
	keywords = {Graffiti, Germany, Exhibition, Stuttgart},
	pages = {467--486},
}

@incollection{zralka_incised_2023,
	address = {Berlin and Boston},
	series = {Studies in {Manuscript} {Cultures}},
	title = {Incised {Images} among the {Palaces} and {Temples}: {The} {Content} and {Meaning} of {Pre}-{Columbian} {Maya} {Graffiti}},
	isbn = {978-3-11-132630-6},
	abstract = {The pre-Columbian Maya civilisation flourished in the jungles of Central America, where many monumental centres developed with examples of sophisticated architectural complexes, such as pyramids, temples, palaces and ball courts. The interiors of some of these buildings were inscribed or painted with depictions that escape the canons of classic Maya art and are usually described as ‘graffiti’. Maya graffiti constitute one of the most fascinating but still poorly studied aspects of pre-Columbian art. This chapter deals with several different aspects of pre-Columbian Maya graffiti, such as their architectural and archaeological contexts, dating and meaning. We will also elaborate on the subject of an exact definition of graffiti in the scientific discourse of Maya and Mesoamerican studies. As we will demonstrate, the style and content of graffiti are highly complex and may reflect different authors and diverse motivations behind their creation. This contribution will also deal with the iconographic diversity of the ancient Maya graffiti corpus, pointing out differences and similarities to graffiti from other pre-industrial societies.},
	language = {English},
	number = {35},
	booktitle = {Graffiti scratched, scrawled, sprayed},
	publisher = {De Gruyter},
	author = {Źrałka, Jarosław},
	editor = {Škrabal, Ondřej and Mascia, Leah and Osthof, Ann Lauren and Ratzke, Malena},
	year = {2023},
	doi = {10.1515/9783111326306-004},
	note = {Num. Pages: 34},
	keywords = {Graffiti, Columbia, Maya},
	pages = {109--142},
}

@article{tokuda_spatial_2021,
	title = {Spatial distribution of graffiti types: a complex network approach},
	volume = {94},
	issn = {1434-6028},
	doi = {10.1140/epjb/s10051-021-00202-y},
	abstract = {Urban art constitutes an important issue in urbanism. Previous studies on the spatial distribution of graffiti rarely consider visual categories and how the city topology can impact graffiti production. In this work, after assigning graffiti occurrences to three categories, we analyzed their spatial distribution while searching for possible biases. Concepts from complex networks were adopted. First, communities defined by the connectivity profiles of the city network were obtained and the prevalence of each type of graffiti over these regions was analyzed. Next, to study the relationship between the density of graffiti occurrences with the visibility of specific city localities, a measurement (accessibility) based on the dynamics of the network was related to the distribution of the occurrences of graffiti of each type. Our case study considered the city of São Paulo, Brazil. The results showed good agreement of the detected communities with the main city areas and no biases between the relative density of each type of graffiti. Relatively high correlations were obtained between the density of graffiti and the accessibility when calculated inside each of the identified communities, suggesting that graffiti tends to appear more frequently in certain regions of the city with high accessibility.},
	language = {English},
	number = {9},
	urldate = {2023-11-30},
	journal = {The European Physical Journal B},
	author = {Tokuda, Eric K. and de Arruda, Henrique F. and Comin, Cesar H. and Cesar, Roberto M. and Silva, Claudio T. and Da F. Costa, Luciano},
	year = {2021},
	note = {Num. Pages: 8},
	keywords = {Graffiti, Urban art, Spatial distribution},
	pages = {192},
}

@article{chmielewska_framing_2007,
	title = {Framing [{Con}]text: {Graffiti} and {Place}},
	volume = {10},
	issn = {1206-3312},
	doi = {10.1177/1206331206298545},
	abstract = {Suggesting that the form of signature graffiti presents a number of vital insights into the complex relationship between place and practices of writing, this paper centers on the visual space of two cities, Montréal and Warsaw. By recovering some neglected and pointing to little-known theoretical references, the essay proposes a framework for studying graffiti, a method of examining urban surface manifestations that supports a close reading of inscriptions in situ. This close reading engages with the iconographic, spatio-temporal and linguistic dimensions of wall writing in its specific locale—within the urban context as well as the discursive and graphic space of writing on graffiti. By foregrounding the place of graffiti in these varied contexts, the essay also aims to reconcile the often separate treatments afforded to images and text, representational and discursive forms.},
	language = {English},
	number = {2},
	journal = {Space and Culture},
	author = {Chmielewska, Ella},
	year = {2007},
	note = {Num Pages: 25},
	keywords = {Graffiti, Place},
	pages = {145--169},
}

@article{parker_creative_2022,
	title = {Creative writing: {Urban} renewal, the creative city and graffiti in {Johannesburg}},
	issn = {1464-9365},
	doi = {10.1080/14649365.2022.2134580},
	abstract = {Graffiti has flourished in the post-apartheid period in Johannesburg, South Africa, in a context where investment in the inner city carries large risks and the city struggles to support arts and culture. In the Maboneng precinct, graffiti and street art have become prolific alongside the recent redevelopment of the neighbourhood. Embracing the global creative city discourse, property developers in Maboneng have co-opted public art, street art and graffiti to brand space and make place, echoing instances of artwashing in other cities around the world. However, Maboneng’s first street art festival was initiated by artists among several other artist-led creative activities. Using mapping and photography, we combine visual and spatial analyses to show the variety and concentration of creative visual inscriptions in Maboneng. Our analysis demonstrates how artists have responded to the opportunities for increased visibility generated through the process of redevelopment. Mapping graffiti and street art reveals a hybrid space that combines both sanctioned and unsanctioned visual inscriptions and shows how urban redevelopment can enable a platform and audience for creative endeavours. Our research shows we need a more nuanced understanding of the potential impacts of implementing the creative city discourse in cities such as Johannesburg in the global South.},
	language = {English},
	journal = {Social \& Cultural Geography},
	author = {Parker, Alexandra and Khanyile, Samkelisiwe},
	year = {2022},
	note = {Journal number and issue not knows so far.
Num. Pages: 21},
	keywords = {Graffiti, South Africa, Johannesburg},
	pages = {1--21},
}

@incollection{bengtsen_site_2013,
	address = {New York and Abingdon},
	title = {Site {Specificity} and {Street} {Art}},
	isbn = {978-0-415-87794-7},
	language = {English},
	booktitle = {Theorizing visual studies: {Writing} through the discipline},
	publisher = {Routledge},
	author = {Bengtsen, Peter},
	editor = {Elkins, James and McGuire, Kristi and Burns, Maureen and Chester, Alicia and Kuennen, Joel},
	year = {2013},
	doi = {10.4324/9780203079232-57},
	note = {Num Pages: 4},
	keywords = {Street art},
	pages = {250--253},
}

@article{carver_graffiti_2018,
	title = {Graffiti {Writing} as {Urban} {Narrative}},
	volume = {4},
	abstract = {Perhaps more than any other kind of writing, graffiti writing embodies what Sheila Hones called text as ‘spatial event’ (2008: 1307). It thrives in urban spaces that are simultaneously “under-programmed” and highly visible. It is ever-changing, and can represent a kind of “future narrative,” disrupting the typical expectations of literary arc. And because graffiti is public speech and occupies space, it is inherently political. To illustrate the opportunities of graffiti as material for critical literary geographers, I focus on a heavily painted site in the Kreuzberg neighborhood of Berlin, Germany. After years of standing as emblems of Kreuzberg’s leftist-anarchist identity, some of the pieces at the site were painted over by the artists, to prevent them being appropriated by developers as a marketing tool. But subjecting the site to a close reading reveals more than a simple clash over gentrification. I argue that the interplay between text and context at the site shows it emerging as what Sennett has called ‘narrative space’—a ‘more humane urban design’ that allows spaces to ‘become full of time when they permit certain properties of narratives to operate in everyday life’ (1992: 190). Not only does this reading complicate the traditional categorizations of what is “literary” and what is “geographic,” it shows how a multi-authored text written directly onto the surfaces of the city can adaptively articulate social identity, resist powers that would inscribe a single legibility on urban space, and allow citizens to recognize the power – and responsibility – that comes with co-creating public space.},
	language = {English},
	number = {2},
	journal = {Literary Geographies},
	author = {Carver, Evan Hennessy},
	year = {2018},
	note = {Num Pages: 16},
	keywords = {Graffiti, Graffiti writing},
	pages = {188--203},
}

@mastersthesis{ermolaeva_towards_2014,
	address = {Tartu},
	title = {Towards the semiotics of political graffiti: the example of {Samara}},
	language = {English},
	school = {University of Tartu},
	author = {Ermolaeva, Ekaterina},
	year = {2014},
	keywords = {Graffiti, Political graffiti, Semiotics, Samara},
}

@article{li_evoking_2023,
	title = {Evoking {Nostalgia}: {Graffiti} as {Medium} in {Urban} {Space}},
	volume = {13},
	issn = {2158-2440},
	doi = {10.1177/21582440231216600},
	abstract = {Plain Language Summary Nostalgia and Graffitti This study examines the role of graffiti as a medium in urban spaces, particularly in the context of Macau. Graffiti, seen as a form of artistic expression, has the potential to invigorate and enliven public spaces. Utilizing visual ethnography methods and analyzing cultural policies, the paper aims to examine the presence of graffiti in various neighborhoods within Macau. The concept of nostalgia also serves as a theoretical framework to understand how graffiti can evoke memories and create an emotional connection to the past. By investigating hotspots like Largo do Estaleiro, Rua de S. Tiago da Barra, and the vicinity surrounding Ruins of St. Paul’s through interviews with residents and an examination of distribution patterns, we aim to comprehend how these graffiti sites can establish a link to history and contribute to a shared memory and sense of locality. The findings of this research have important implications for urban planning and cultural policy in Macau, as they highlight the significance of incorporating graffiti as a legitimate form of public art that can contribute to the cultural identity and sense of nostalgia in urban spaces.},
	language = {English},
	number = {4},
	journal = {SAGE Open},
	author = {Li, Wen and Liu, Peng},
	year = {2023},
	note = {Num Pages: 16},
	keywords = {Graffiti},
}

@book{hettinger_graffiti_2023,
	address = {Wien},
	title = {Graffiti {Wien} \#1: 1984-1999},
	isbn = {978-3-9519720-1-5},
	language = {English; German},
	publisher = {Spraycity e.U.},
	editor = {Hettinger, Maike and Wogrin, Stefan},
	year = {2023},
	keywords = {Graffiti, Vienna, Austria},
}

@article{altomonte_ephemeral_2023,
	title = {Ephemeral {Activism}: {Un}/{Making} {Images} of {Dissent}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i3.805},
	abstract = {Along the Annexation Wall in Bethlehem, an entangled web of tags, slogans, graphic stencils, and gestures cover the surface of the concrete barrier wall and asphalt road. In Napoli, Italy, similar messages, and symbols appear on the dressed stone facade of government buildings, churches, and apartments. Messages exclaim: Not only Floyd, Iyad Hallaq Too, IAW, Palestino, and No Balls? \#Build Walls. Varying in opacity, the words and symbols fight for legibility and presence, acting as a conversational message board between local and international activists. Such visual elements are, according to Ella Chmielewska, “connected with the specific history of protest, contestation, and subversion framed by the locality” (Chmielewska, 2007). Thus, graffiti may be read as an actual and symbolic act of resistance, framed by locality. Considering the saturation of solidarity-based graffiti in places like Bethlehem and Napoli, this paper examines how urban space both facilitates and complicates the durability of activist-based interventions. Through a pictorial study, I focus on the effects of graffiti-based activism and examine how these marks continue to draw attention to solidarity-based causes. Kevin D. Murphy and Sally O’Driscoll refer to these types of marks as “ephemeral interventions,” a reference to the temporary nature of graffiti and the potential long-term impact of certain politically motivated works that produce iconic symbols/signs (Murphy and O’Driscoll, 2015). Whether along the Annexation Wall in Bethlehem or the streets of Napoli, graffitied messages are specific to local political and social causes, yet also connect to greater, global solidarity movements.},
	language = {English},
	number = {3},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Altomonte, Jenna Ann},
	year = {2023},
	note = {Num Pages: 15},
	keywords = {Graffiti, Banksy, Palestine, Napoli, Eduardo Castaldo},
	pages = {54--67},
}

@article{baldini_metatheoretical_2023,
	title = {Metatheoretical considerations for a definition of street art. {Can} algorithms identify street art?},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i2.791},
	abstract = {What is street art, exactly? In this paper, I address a fundamental concern about street art: its definition. The subject has been widely debated, but I approach it from a novel perspective: metatheoretical. I'm particularly interested in deconstructing the potential functions of a definition of street art, as well as the goal of definitions of street art. I then survey the literature from this vantage point, providing a well-reasoned summary of some current alternatives. I conclude by wondering if any of these definitions could be turned into an algorithm. I believe in a moderate level of optimism. Though algorithms can identify street art under certain conditions, they appear nonetheless incapable of capturing types of definitions such as evaluative definitions that include predicates whose application conditions are highly discretionary and contextually sensitive.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Baldini, Andrea Lorenzo},
	year = {2023},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Definition},
	pages = {8--15},
}

@article{baraliu_geometric_2023,
	title = {Geometric prehistoric motifs in the mural art of {Kosovo}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i2.746},
	abstract = {This paper addresses prehistoric murals content in the Balkans with special emphasis those in the territory of Kosovo. In Kosovo, murals are located in town of Ferizaj. The dominant figures in this mural are: the Goddess sitting on the Throne, Urns, anthropomorphic masks of the Neolithic period, geometric shapes in vases and various objects, e. The authors have made an interweaving between the figures and the compositional alignment, while the colors are completely independent of the figures. The purpose is to show the importance of prehistory as inspiration for modern artists. The murals that were taken for consideration are those, which artists have taken prehistoric onomastic elements. The paper examined the spiral, zigzag lines used mostly as elements in this mural. It is known that murals and graffiti have been illegal arts that were used to protest and express the revolt of a people. The main emphasis in this paper is also gender equality in Kosovo, because it deals with the figure of Queen Teuta, who was a very brave, independent woman. The goddess sitting on the throne is also presented, which represents the important prehistoric period of the Neolithic era where man had the will to become the God of nature.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Baraliu, Sedat and Hivzi Muharremi, Ilir},
	year = {2023},
	note = {Num Pages: 8},
	keywords = {Graffiti, Mural art, Prehistory, Kosovo, Bosnia \& Herzegovina},
	pages = {38--45},
}

@article{fatih_kucukali_graffiti_2023,
	title = {Graffiti {Applications} in an {Interdisciplinary} {Context}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i2.776},
	abstract = {Cities, which are environments of social encounter, have versatile effects on our lives as dense living spaces. One of the most important communication tools of the social environment is the street walls, which are now the public spaces of cities. This phenomenon, which belongs to the city and emerges within the framework of the city's own cycles, expresses a protest stance that reveals a new perspective with its styles, techniques, figures and conceptual dimension. In the article, the concepts of public space and art in public spaces are discussed, and graffiti, which establishes connections between different art disciplines, is defined. While the reflections of this old form of art in the contemporary world were determined, an attempt was made to understand the point reached in the evolution of graffiti as a form of expression. In particular, by examining the emergence and development processes of graffiti after 1960 and its related post-graffiti art, the most important styles, figures and techniques of graffiti have been researched, and in this context, the interdisciplinary practices of Add Fuel (Diogo Machado), Shepard Fairey, Peeta, Hozoi, Nancy Kubale, Examples of works by artists such as Zedz, Zvi Belling and Prowla, Jan Wöllert and Jörg Miedza, and Roberto Lugo are given.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Fatih Kucukali, Ufuk},
	year = {2023},
	note = {Num Pages: 16},
	keywords = {Graffiti, Art, Public art, Interdisciplinarity, Post-graffiti},
	pages = {70--85},
}

@article{guerrero-hernandez_activism_2023,
	title = {Activism, {Textuality}, and {Feedback} in {La} nueva banda de la terraza’s {Graffiti}- {Projections}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i3.803},
	abstract = {In the social mobilizations (2020-2022) during and after the COVID-19 lockdown in Colombia, the graffiti- projections produced, projected, and published by La nueva banda de la terraza played an essential role in visualizing, nurturing, and accompanying the social protests and the demands. As part of an unparalleled visual activism in Colombia, the graffiti-projections, which began in Medellín and soon expanded to other cities and beyond the country’s borders, created an expanded para-cinema of protests, played an essential role in a complex web of actions and practices that made it possible, for the first time in the republican history of Colombia, to create a comprehensive, multivocal, and diverse social movement. The present analysis discusses how the graffiti- projections catalyzed engagement and dialogue and strengthened the democratization of the public sphere by developing an expanded para-cinema that involved textuality and social media, reenergized graffiti, street art, and communal Do-It-With-Others, and developed emancipatory strategies and networks.},
	language = {English},
	number = {3},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Guerrero-Hernández, Juan Carlos},
	year = {2023},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, Cinema, COVID-19, Social mobilisation},
	pages = {8--22},
}

@article{krasniqi_potentials_2023,
	title = {The potentials of graffiti in opposing the women economic oppression: {The} {Kosovo} case},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i2.767},
	abstract = {Urban art in general, and graffiti in particular, has a multitude of artistic, cultural and social effects. Numerous studies explain its multidimensional role. This article specifically aims to address the potential that graffiti has in expressing revolt and opposition to the women economic oppression. Finally, the feminist movement in Kosova has started to use graffiti as a tool to raise concerns about the position of women in society. The study objective of this article is the graffiti that shows discrimination against women as the workforce on three levels: unpaid work, paid work at the public sector, as well as the illegal exploitation of paid work in the private sector.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Krasniqi, Artan and Haxhiu, Agnesa},
	year = {2023},
	note = {Num Pages: 11},
	keywords = {Graffiti, Feminism, Woman, Kosovo, Bosnia \& Herzegovina},
	pages = {58--68},
}

@article{mazreku_graffiti_2023,
	title = {Graffiti, street art, murals and music},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i2.751},
	abstract = {This research analyzes graffiti and murals made by young artists who are school students in Kosovo, and some of the professional artists, as a visual expressive description for certain purposes. Murals and graffiti which are made by students differ from those by professional artists in the field of visual arts, for the fact that naturally the graffiti made on the internal and external walls of schools display superficial and educational messages but still show creative aspects of the feeling for mural painting. A part of the graffiti were interwoven with musical art and represent the influence or inspiration from various musical components which in their images show musical content in the representation such as: musical instruments, musical performers, musical genres, musical bands (orchestras), and various musical symbols, notes, staff (pentagrams), musical keys, etc. The graffiti made by the students show their peculiarities in the content and in their messages. They are numerous in some schools in Kosovo, where graffiti fulfills the need of students to enforce any given topic, either social or educational. The importance and peculiarity of this research is that it highlights that the creation of graffiti-murals by students of different ages contains and displays empowering messages on certain topics, although art can also be used in other mediums where they convey their messages, however, in the murals there lies a greater power for conveying a message.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Mazreku, Faton and Rasimi, Adhurim H.},
	year = {2023},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Music},
	pages = {46--57},
}

@article{moskovljevic_linguistic_2023,
	title = {Linguistic {Landscape} of {Hong} {Kong} 2019-20 {Protests}: {A} mediated {Discourse} {Analysis} of {Political} {Graffiti}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i3.804},
	abstract = {From 2019 to 2020, Hong Kong faced public unrest due to the Anti-Extradition Bill Movement. Political graffiti became a prevalent way to express dissent and different perspectives. This study uses linguistic landscape theory to examine the sociolinguistic and political characteristics of the graffiti that emerged during the protests. The goal is to highlight the counter-narratives that developed during this time. The findings, based on primary data (photos of graffiti) and secondary data (newspaper reports and social media posts on graffiti) collected from August 2019 to February 2020, suggest that protesters aimed to push forward the discourse on Hong Kong as a global economic hub that is succumbing to ‘mainlandization.’ As a result, much of the graffiti was written in English and other global languages. Although many of these messages were insightful and timely, some promoted radical ideas.},
	language = {English},
	number = {3},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Moskovljevic, Milos},
	year = {2023},
	note = {Num Pages: 14},
	keywords = {Graffiti, Linguistics, Hong Kong, Political graffiti, MDA (Mediated Discourse Analysis)},
	pages = {40--53},
}

@article{muharremi_expression_2023,
	title = {The {Expression} of {Free} {Opinion} through {Graffiti} and {Murals} in {Kosovo} and {Serbia}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i2.719},
	abstract = {This work addresses the art of graffiti and murals in Kosovo and Serbia. Is graffiti political or not political? Are the murals in Kosovo and Serbia addressing similar political subjects? How much influence do the works of art possess? Murals and graffiti express culture in both Kosovo and Serbia. In Serbia, depictions of war leaders are on the walls of buildings all over the country. In Kosovo, how are the topics of the last war presented? Do real social themes influence the depictions of the murals? The graffiti and mural works in Kosovo are different from those in Serbia. Serbs still depict war themes in both graffiti and murals but in Kosovo, the topics are freer, still maintaining their subjectiveness to current political, social, economic, and legal topics. Free speech is as free as it is in murals and graffiti in two neighboring states that are American to each other.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Muharremi, Ilir and Krasniqi, Albana and Balidemaj, Atlanta},
	year = {2023},
	note = {Num Pages: 8},
	keywords = {Graffiti, Mural art, Serbia, Kosovo, Bosnia \& Herzegovina},
	pages = {30--37},
}

@article{muranyi_comics_2023,
	title = {Comics meets street art in the media cities of the bande dessinée. {Examples} from {Brussels} and {Geneva}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i2.786},
	abstract = {Comic media exists in historical and geocultural variations. The historically dynamic identity formation of comic media in some geocultural versions is accompanied by the emergence of mediatic hybridisations that manifest themselves in a street art activity. In this article, we examine these comics-based hybrid media and their use from a media theoretical perspective in the context of two different media cities of the Francophone bande dessinée. In Brussels and Geneva, the institutionalisation of comics has been partially different, but both cities have seen a significant role in hybrid media related to street art. In Brussels, this is the case with comic murals, which have a canonising function and also generate tourist activity. In the case of Geneva, the importance of comic posters and comic-style street signs linked to political communication, civic education, and campaigns by NGOs is striking.},
	language = {English},
	number = {2},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Murányi, Kata and Maksa, Gyula},
	year = {2023},
	note = {Num Pages: 14},
	keywords = {Graffiti, Belgium, Brussels, Comics, Geneva, Switserland},
	pages = {16--29},
}

@article{schwarz_planting_2023,
	title = {Planting {Commons} through {Art}? {Aesthetics} of {Commons} and {Commodification} in {Two} {Community} {Gardens} in {Berlin} and {Dakar}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i3.806},
	abstract = {This paper analyses the intersection of urban art and community gardens to explore whether commons can emerge from this collaboration. Through a comparative study of two community garden projects in Berlin and Dakar, the research examines the impact of funding structures, accessibility, artistic concepts and design on commoning. It is motivated by the popular use of the term ‘commons’ in contemporary art discourse that raises concerns of potential ‘commons-washing.’ The findings reveal that the two projects differ significantly in their development context and underlying structures, which affects their ability to function as commons. While central Berlin lacks non-consumer, ecological spaces for inclusive interactions due to its gentrification, Dakar’s open spaces neglected by the city are in need of being reclaimed by the local community. The analysis highlights the challenges of limited accessibility connected to such city contexts. Furthermore, the paper argues, that the dependency of artistic involvement on third-party funding contradicts the principles of commoning. The two projects share a common goal of unlearning exploitative practices and promoting eco-socially cohesive communities. For the artistic forms, materials, and strategies employed in both projects contribute to intercultural dialogue and conflict negotiation at eye level within the communal setting. The paper concludes by emphasizing the need to explore alternative funding models and question traditional processes of art to ensure the genuine realization of urban commons. The integration of artistic imagination with the collective mentality of community gardens holds promise for the emergence of future commons that prioritize shared resources and equal participation.},
	language = {English},
	number = {3},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Schwarz, Mareike},
	year = {2023},
	note = {Num Pages: 12},
	keywords = {Graffiti, Berlin, Germany, Public art, Commodfification, Commoning, Dakar, Participation, Senegal},
	pages = {68--79},
}

@article{tunali_aesthetic_2023,
	title = {Aesthetic {Activism} and the {Carnivalesque} in the {Urban} {Social} {Movements}},
	volume = {9},
	issn = {2183-3869},
	doi = {10.25765/sauc.v9i3.802},
	abstract = {This paper considers the ways in which changes and experimentations in the realm of aesthetics ,as well as in the new forms of political participation and representation in an era of global revolt, have resulted in a deep connection between the aesthetics and politics of civil disobedience, political activism and artistic representation. Specifically, the discussion is based on a comparative analysis of the urban activism of the Carnival Against Capital protests in London and Seattle, the Occupy Movement in New York, and the Gezi Park Movement in Turkey where the aesthetics of active participation represents a new kind of politicization—collective memory and language, sensual festivity and the forming of communitas—that goes beyond the conventional understanding of the convergence of politics and art. The author focuses on the notable carnivalesque character in those protests—the costumes, the masks, the performances, the interventional tactics and the aesthetics of community building. Based on the theories of aesthetics and rebellion the paper proposes the concept of carnival aesthetics as the study of the sensuous and subversive experience of the multitude when marching, throwing slogans, battling with police forces behind the barricades, performing and dancing together on the streets. Here carnivalesque aesthetics are employed as a means to create diversity, creativity, decentralization, horizontality, egalitarianism and direct action—the political principles that are at the heart of the recent protests. The discussion demonstrates that while thriving authoritarianism depends on disciplined individuals and the crisis in democracy, carnival aesthetics during protests present radicalized social relations that are increasingly becoming the core of the current social, cultural and environmental struggles around the world.},
	language = {English},
	number = {3},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Tunali, Tijen},
	year = {2023},
	note = {Num Pages: 15},
	keywords = {Street art, Urban space, Activism, Carnaval},
	pages = {24--38},
}

@incollection{brelaud_cursive_2024,
	address = {Leiden},
	series = {Texts and {Studies} in {Eastern} {Christianity}},
	title = {Cursive and {Monumental} {Writing} in {Syriac} {Epigraphy}. {Some} {Reflections} on {Inscriptions} and {Graffiti} from {Turkey}},
	volume = {33},
	isbn = {978-90-04-68230-6},
	language = {English},
	booktitle = {Shaping {Letters}, {Shaping} {Communities}: {Multilingualism} and {Linguistic} {Practice} in the {Late} {Antique} {Near} {East} and {Egypt}},
	publisher = {Brill},
	author = {Brelaud, Simon and Daccache, Jimmy and Ruani, Flavia},
	editor = {Minets, Yuliya and Nowakowski, Paweł},
	year = {2024},
	doi = {10.1163/9789004682337‗ 007},
	note = {Num Pages: 50},
	keywords = {Graffiti, Epigraphy, Turkey},
	pages = {135--184},
}

@book{bruce_voices_2024,
	address = {Austin},
	series = {Visualidades: {Studies} in {Latin} {American} {Visual} {History}},
	title = {Voices in aerosol: {Youth} culture, institutional attunement, and graffiti in urban {Mexico}},
	isbn = {978-1-4773-2767-8},
	abstract = {How a city government in central Mexico evolved from waging war on graffiti in the early 2000s to sanctioning its creation a decade later, and how youth navigated these changing conditions for producing art. The local government, residents, and media outlets in León, Mexico, treated graffiti as a disease until the state began sponsoring artistic graffiti through a program of its own. In Voices in Aerosol, the first book-length study of state-sponsored graffiti, Caitlin Frances Bruce considers the changing perceptions and recognition of graffiti artists, their right to the city, and the use of public space over the span of eighteen years (2000–2018). Focusing on the midsized city of León, Bruce offers readers a look at the way negotiations with the neoliberal state unfolded at different levels and across decades. Issues brought to light in this case study, such as graffiti as a threat and graffiti as a sign of gentrification, resonate powerfully with those germane to other urban landscapes throughout the Western Hemisphere and beyond. Combining archival work, interviews, considerations of urban planning, local politics in Mexico, and insights gained by observing graffiti events and other informal artistic encounters, Bruce offers a new lens through which to understand the interplay between sanctioned and unsanctioned forms of cultural expression. Ultimately, Voices in Aerosol builds a strong case for graffiti as a contested tool for {\textbackslash}textquotedblvoicing{\textbackslash}textquotedbl public demands.},
	language = {English},
	publisher = {University of Texas Press},
	author = {Bruce, Caitlin Frances},
	year = {2024},
	keywords = {Graffiti, Street art, Murals, Mexico, Guanajuato, León},
}

@phdthesis{hollic_contextualising_2024,
	address = {Exeter},
	type = {Doctoral thesis},
	title = {Contextualising and {Interpreting} {Historic} {Church} {Graffiti} in the {Risbridge} {Hundred} {Suffolk}},
	abstract = {Graffiti and their interpretations are valuable as artifacts when researching parish history. The presence of names, drawings, protective designs, and architectural designs offers insight into parish culture and how it has changed over time. This thesis seeks to explore historic graffiti in the Risbridge Hundred in west Suffolk. The study of historic graffiti has experienced increased interest in recent years. However, despite this interest there are no large-scale studies comparing different buildings and their graffiti to each other. There are also no studies looking at an aggregated body of graffiti data across multiple sites. This has resulted in a limited scope of study where historic graffiti are concerned. This study uses data from sixteen churches and takes their individual building histories into account to provide a more in-depth interpretation. Then all data is combined into an aggregate dataset so that comparisons can be drawn across all churches in the study in a systematic fashion. This large dataset (4918 graffiti) allows for more rigorous testing of graffiti interpretation as well as exploration of the use of graffiti in parishes. The result of this study demonstrates that no graffiti distribution is typical, and that each church seems to have its own unique collection of graffiti which varies in quantity. This study also shows that some previously accepted interpretations of graffiti, particularly those concerned with ritual and protection, may not always be applicable. Furthermore, other types of previously overlooked graffiti, such as initials and names, may yield more data and information about past communities than has been considered.},
	language = {English},
	school = {University of Exeter},
	author = {Hollic, C.},
	year = {2024},
	keywords = {Graffiti, UK, France, Historic graffiti, Paris, Medieval graffiti, Church art, Church graffiti, Risbridge Hundred Suffolk},
}

@article{panciera_epigrafia_1998,
	title = {Epigrafia: una voce soppressa},
	volume = {50},
	abstract = {This paper was originally written as an entry for the Enciclopedia Archeologica of the Istituto dell'Enciclopedia Italiana. After some preliminary remarks on the distinctive characater of inscriptions with respect to other written documents, followed by some methodological considerations, the author examines some fields in which the relationship between epigraphy and archaeology is particularly evident, such as in the study of urban settlements, in territorial organisation, in material culture and artistic production. An ample bibliogaphy is appended.},
	language = {Italian},
	journal = {Archeologia Classica},
	author = {Panciera, Silvio},
	year = {1998},
	note = {Num Pages: 18},
	keywords = {Epigraphy},
	pages = {313--330},
}

@article{chaffee_popular_1990,
	title = {The popular culture political persuasion in {Paraguay}: {Communication} and public art},
	volume = {9},
	issn = {0730-9139},
	abstract = {Focuses on street art as a form of popular culture and a channel of political opinion in Paraguay. Graffiti writing; Students as anti-system producers of street art; Ideological street art.},
	language = {English},
	journal = {Studies in Latin American Popular Culture},
	author = {Chaffee, Lyman},
	year = {1990},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art, Paraguay},
	pages = {127--148},
}

@article{polinskaya_new_2024,
	title = {A {New} {Greek} {Graffito} from the {Bilsk} {Hillfort} and {Greek} {Graffiti} in {Scythian} {Contexts}},
	volume = {29},
	issn = {0929-077X},
	doi = {10.1163/15700577-20232910},
	abstract = {The article presents a recent find of a potsherd, bearing an ancient Greek graffito, reported from the area of the Bilsk Hillfort. The area of discovery, considered by some archaeologists to be the city of Gelonos (Hdt. 4.108), makes this otherwise ordinary graffito potentially significant. The authors discuss the historical, archaeological, and epigraphic contexts of the find and possible scenarios of how it may have ended up at the site. To provide an epigraphic background for the find, the study is accompanied by a catalogue of Greek graffiti and dipinti from Scythian burials and settlements of the Northern Black Sea area and steppe and forest-steppe zones of Eastern Europe.},
	language = {English},
	number = {2},
	journal = {Ancient Civilizations from Scythia to Siberia},
	author = {Polinskaya, Irene and Skory, Sergey},
	year = {2024},
	note = {Num Pages: 42},
	keywords = {Graffiti, Ancient graffiti, Greek graffiti, Bilsk Hillfort, Scythian},
	pages = {220--261},
}

@article{molada-tebar_practical_2024,
	title = {Practical {RGB}-to-{XYZ} {Color} {Transformation} {Matrix} {Estimation} under {Different} {Lighting} {Conditions} for {Graffiti} {Documentation}},
	volume = {24},
	issn = {1424-8220},
	doi = {10.3390/s24061743},
	abstract = {Color data are often required for cultural heritage documentation. These data are typically acquired via standard digital cameras since they facilitate a quick and cost-effective way to extract RGB values from photos. However, cameras’ absolute sensor responses are device-dependent and thus not colorimetric. One way to still achieve relatively accurate color data is via camera characterization, a procedure which computes a bespoke RGB-to-XYZ matrix to transform camera-dependent RGB values into the device-independent CIE XYZ color space. This article applies and assesses camera characterization techniques in heritage documentation, particularly graffiti photographed in the academic project INDIGO. To this end, this paper presents COOLPI (COlor Operations Library for Processing Images), a novel Python-based toolbox for colorimetric and spectral work, including white-point-preserving camera characterization from photos captured under diverse, real-world lighting conditions. The results highlight the colorimetric accuracy achievable through COOLPI’s color-processing pipelines, affirming their suitability for heritage documentation.},
	language = {English},
	number = {6},
	journal = {Sensors},
	author = {Molada-Tebar, Adolfo and Verhoeven, Geert J. and Hernández-López, David and González-Aguilera, Diego},
	year = {2024},
	note = {Num Pages: 21},
	keywords = {Graffiti, Colourimetry, Camera characterisation, INDIGO, COOLPI, Colour science, DIP (Digital Image Processing)},
	pages = {1743},
}

@article{perzycka-borowska_murals_2024,
	title = {Murals and {Graffiti} in {Ruins}: {What} {Does} the {Art} from the {Aliko} {Hotel} on {Naxos} {Tell} {Us}?},
	volume = {13},
	issn = {2076-0752},
	doi = {10.3390/arts13020051},
	abstract = {This manuscript investigates the cultural and educational dimensions of murals and graffiti in the ruins of the Aliko Hotel on Naxos Island. Moving beyond their aesthetic value, these artworks are examined as conduits for complex sociocultural and educational discourses. Employing semiotic analysis, particularly informed by Roland Barthes’ conceptual framework, the study offers a multi-layered interpretation of the significance of street art. A systematic approach guided the empirical data collection, entailing the careful selection and categorisation of 76 photographs, eventually honed down to 21 key images for detailed analysis. This set, comprising 6 murals and 15 graffiti pieces, was subjected to meticulous examination to discern both dominant themes and motifs (‘studium’) and the elements evoking personal connections (‘punktum’), thereby facilitating emotional and intellectual engagement. The methodology of the study is tailored to uncover the collective narratives encapsulated within these visual forms, as well as the individual responses they provoke. It probes how personal interpretations are influenced by the viewers’ beliefs and backgrounds, thereby expanding the semiotic analysis to encompass both shared and individual meanings. This balanced analytical approach deepens the understanding of visual expressions as dynamic interactions between the artwork and its audience. It underscores the transformative role of street art in urban environments and its contribution to public art discourse. The impending demolition of the Hotel Aliko ruins underscores the ephemeral nature of street art. The murals and graffiti, as transient custodians of cultural and social narratives, accentuate the fragile nature of this cultural heritage. This critical moment underscores the importance of documenting and preserving such art forms and the stories they encapsulate, highlighting their significant role in shaping community identity and cultural education.},
	language = {English},
	number = {2},
	journal = {Arts},
	author = {Perzycka-Borowska, Elzbieta and Gliniecka, Marta and Hrycak-Krzyżanowska, Dorota and Szajner, Agnieszka},
	year = {2024},
	note = {Num Pages: 44},
	keywords = {Graffiti, Murals, Greece, Muralism, Naxos},
	pages = {51},
}

@article{hollis_connecting_2024,
	title = {Connecting {Historic} {Graffiti} to {Past} {Parishes} and {Beliefs}},
	volume = {15},
	doi = {10.3390/rel15030301},
	abstract = {Historic graffiti offer new and interesting insights into late medieval and early modern English society. This paper will show the value of studying these inscriptions by discussing two churches constructed in the late medieval period in Suffolk, England, with drawings of two figures that potentially represent the Virgin Mary and the Christ Child. These drawings are similar and yet quite different in their quality and execution, and they possibly relate to lost medieval imagery within the building. These images may also have been created in response to various iconoclastic movements that occurred as part of the Reformation as well as after it. This paper seeks to encourage further study on the relationship between historic graffiti and local history by observing the connection between the late medieval parish churches of Lidgate and Stradishall and their respective figural drawings by suggesting that graffiti serve a larger purpose than idle drawing or doodling and instead are valuable pieces of evidence about parish life and values.},
	language = {English},
	number = {3},
	journal = {Religions},
	author = {Hollis, Crystal},
	year = {2024},
	note = {Num pages: 12},
	keywords = {Graffiti, Historic graffiti, Ancient graffiti, Medieval graffiti, Iconoclasm, Church graffiti, Suffolk, United Kingdom, Virgin Mary},
	pages = {301},
}

@book{bengtsen_tracks_2023,
	address = {Lund},
	title = {Tracks and {Traces}. {Exploring} the {World} of {Graffiti} {Writing} through {Visual} {Methods}},
	isbn = {978-91-639-6020-8},
	abstract = {Visuals can provide and communicate scholarly insights beyond what may be documented and conveyed in writing. However, despite digital technologies making it easier and more affordable to record, edit, and circulate images, visual methods still play secondary roles in humanistic and social science research. Based on a study of the tracks and traces left by graffiti writers in Malmö, Sweden, this book shows how visual research methods can be used to engage with difficult-to-access social environments. It considers visual expressions as important carriers of meaning and discusses the benefits and knowledge that can be derived from examining, collecting and producing visual material. The book’s practice-based approach to visual analysis, photography and videography makes it an essential resource for anyone interested in using visual methods.},
	language = {English},
	publisher = {Almendros de Granada Press},
	author = {Bengtsen, Peter},
	year = {2023},
	keywords = {Graffiti, Photography, AI (Artificial Intelligence)},
}

@incollection{stelzel_graffiti_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {Graffiti im {Baskenland} – {Seismographen} des {Konflikts}?},
	isbn = {978-3-8471-1537-3},
	language = {German},
	number = {24},
	booktitle = {Politisches {Graffiti}},
	publisher = {V\&R unipress},
	author = {Stelzel, Katharina},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	note = {Num Pages: 13},
	keywords = {Graffiti, Political graffiti, Baskenland},
	pages = {119--131},
}

@incollection{stahl_wand_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {»{Die} {Wand} ist dafür geschaffen.« {Anmerkungen} zu einem politischen {Begriff}},
	isbn = {978-3-8471-1537-3},
	language = {German},
	number = {24},
	booktitle = {Politisches {Graffiti}},
	publisher = {V\&R unipress},
	author = {Stahl, Johannes},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	note = {Num Pages: 6},
	keywords = {Graffiti, Political graffiti},
	pages = {83--88},
}

@incollection{pappert_plakat-busting_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {Plakat-{Busting}: {Vandalismus}, {Protest} oder was?},
	isbn = {978-3-8471-1537-3},
	language = {German},
	number = {24},
	booktitle = {Politisches {Graffiti}},
	publisher = {V\&R unipress},
	author = {Pappert, Steffen},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	note = {Num Pages: 15},
	keywords = {Graffiti, Political graffiti},
	pages = {103--117},
}

@book{papenbrock_politisches_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {Politisches {Graffiti}},
	isbn = {978-3-8471-1537-3},
	abstract = {Der vorliegende Band versammelt Beiträge zu politischem Graffiti aus kunst-, kultur- und sprachwissenschaftlicher Perspektive. Dabei geht es nicht nur um Graffiti mit politischen Themen und politischer Wirkungsabsicht, sondern auch um sozio-politische Aspekte von vordergründig unpolitisch erscheinenden Spielarten des Graffiti. Einem weiten Graffiti-Begriff folgend, der auch die Grenzbereiche zur Street Art einschließt, werden Beispiele vom 20. Jahrhundert bis in die Gegenwart interdisziplinär in den Blick genommen und diskutiert. The present volume assembles contributions on political graffiti from an artistic, cultural and linguistic perspective. The volume not only deals with graffiti on political issues and political goals but also with social-political aspects of apparently unpolitical types of graffiti. Following a broader concept of graffiti which also includes the borderlines of street art, samples from the 20th century to modern days are being highlighted and discussed.},
	language = {German},
	number = {24},
	publisher = {V\&R unipress},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	keywords = {Graffiti, Political graffiti},
}

@incollection{papenbrock_message_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {›{Message}‹ und ›{Style}‹. Über das {Politische} im {Graffiti} und die {Graffitisierung} des {Politischen}},
	isbn = {978-3-8471-1537-3},
	language = {German},
	number = {24},
	booktitle = {Politisches {Graffiti}},
	publisher = {V\&R unipress},
	author = {Papenbrock, Martin},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	note = {Num Pages: 15},
	keywords = {Graffiti, Political graffiti},
	pages = {67--81},
}

@incollection{kruger_einzigartige_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {»{Eine} einzigartige {Visitenkarte} unserer {Stadt}«. {Die} {Entstehung} der {Hall} of {Fame} am {Rathaus} der »{Grafftiti}-{Stadt}« {Marl}},
	isbn = {978-3-8471-1537-3},
	language = {German},
	number = {24},
	booktitle = {Politisches {Graffiti}},
	publisher = {V\&R unipress},
	author = {Krüger, Anna},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	note = {Num Pages: 7},
	keywords = {Graffiti, Political graffiti},
	pages = {133--139},
}

@incollection{blanche_stencil_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {Stencil {Graffiti} zwischen {Widerstand} und {Propaganda} 1930–1945},
	isbn = {978-3-8471-1537-3},
	language = {German},
	number = {24},
	booktitle = {Politisches {Graffiti}},
	publisher = {V\&R unipress},
	author = {Blanché, Ulrich},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	note = {Num Pages: 12},
	keywords = {Graffiti, Political graffiti},
	pages = {11--22},
}

@incollection{ziegler_praktiken_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {Praktiken des {Stancetaking}: {Politische} {Graffitis} in der {Metropole} {Ruhr}},
	isbn = {978-3-8471-1537-3},
	language = {German},
	number = {24},
	booktitle = {Politisches {Graffiti}},
	publisher = {V\&R unipress},
	author = {Ziegler, Evelyn},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	note = {Num Pages: 19},
	keywords = {Graffiti, Political graffiti},
	pages = {47--65},
}

@incollection{tophinke_ist_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {»{DAS} {iSt} {STRASSEN}-{PoLiTiK}!« {Politisches} »meaning making« im {Szene}-{Graffiti}},
	isbn = {978-3-8471-1537-3},
	language = {German},
	number = {24},
	booktitle = {Politisches {Graffiti}},
	publisher = {V\&R unipress},
	author = {Tophinke, Doris},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	note = {Num Pages: 23},
	keywords = {Graffiti, Political graffiti},
	pages = {23--45},
}

@incollection{niemann_bomb_2023,
	address = {Göttingen},
	series = {Kunst und {Politik}},
	title = {Bomb the {System}! {Politische} {Pieces} als {Partizipationspraktik} im öffentlichen {Raum}},
	isbn = {978-3-8471-1537-3},
	language = {German},
	booktitle = {Politisches {Graffiti}},
	publisher = {V\&R unipress},
	author = {Niemann, Sven},
	editor = {Papenbrock, Martin and Tophinke, Doris},
	year = {2023},
	note = {Num Pages: 13},
	keywords = {Graffiti, Political graffiti},
	pages = {89--101},
}

@book{hopper_political_2024,
	address = {Lanham},
	title = {Political graffiti and global human rights: {Take} another look},
	isbn = {978-1-6669-3281-2},
	abstract = {Political Graffiti and Global Human Rights: Take Another Look examines the role of political graffiti in the public spaces of Northern Ireland and occupied Palestine, highlighting the ways in which oppressed communities utilize this form of expression to convey resistance, foster community support, preserve the memory of armed struggle, and assert their presence. By drawing a comparative analysis between Northern Ireland and Palestine, Philip Hopper and Evan Renfro argue that while the peace process has made progress in Northern Ireland, it has not been successful in Palestine. They assert that the disparities in political graffiti between the two regions are not solely attributable to geographical, historical, and political differences, but also to the varying degrees of success in resolving long-standing conflicts and the communities' ability to remember or forget past atrocities. In addition to exploring the themes, symbols, inspirations, and artists behind wall art, this book delves into the evolution of the meaning of political graffiti over time, and critically examines the notion of who holds the privilege of creating politically themed art deemed to be in {\textbackslash}textquotedblgood taste.{\textbackslash}textquotedbl},
	language = {English},
	publisher = {Lexington Books},
	author = {Hopper, Philip and Renfro, Evan},
	year = {2024},
	keywords = {Graffiti, Political graffiti},
}

@book{gross_words_2023,
	address = {Leiden},
	series = {Studies in critical social sciences},
	title = {Words of the prophets: {Graffiti} as political protest in {Greece}, {Italy}, {Poland}, and the {United} {States}},
	volume = {246},
	isbn = {978-90-04-53519-0},
	abstract = {Words of the Prophets treats graffiti as a form of political prophecy. This book offers close readings of 400 original photographs taken between 2014 and 2021 in Philadelphia, Venice, Milan, Florence, Syracuse, and Warsaw, alongside literary works by Pawel Huelle, films by Andrezj Wajda, Antonio Capua, and music videos by Natasha Benfield and Beyoncé{\textbackslash}textquotedbl.},
	language = {English},
	publisher = {Brill},
	author = {Gross, Jonathan David},
	year = {2023},
	keywords = {Graffiti, USA, Italy, Greece, Poland, Political graffiti, Prophet},
}

@book{carl_street_2023,
	address = {New York},
	title = {Street {Art} {Evolution} 1970-1990. {Masterpieces} of {Urban} {Art} and {Graffiti} on {Canvas} from {Basquiat} to {Bando}},
	isbn = {978-1-63919-583-1},
	abstract = {This richly illustrated book plunges you into the vibrant and provocative world of graffiti and street art in this wide-ranging exploration of a much-misunderstood culture. Our journey spans the tumultuous birth of graffiti in 1970s New York, to its explosive growth and evolution. Be seduced by the visceral impact of the bright colours and intricate shapes, the hard-hitting social and political commentary, and the stories that spontaneously spring from our urban canvases. This book encapsulates the raw energy, innovation and indomitable spirit of artists who dare to make the city their canvas. Join us on this journey, and see the urban world through a whole new lens.},
	language = {English},
	publisher = {Parkstone International},
	author = {Carl, Cornelia and Carl, Cie},
	year = {2023},
	keywords = {Graffiti, Street art, Basquiat},
}

@book{blanche_illegal_2024,
	address = {München},
	title = {{ILLEGAL}. {Street} {Art} {Graffiti} 1960–1995},
	isbn = {978-3-7774-4359-1},
	abstract = {Kaum eine dieser Arbeiten existiert heute noch, und wenn sie dokumentiert sind, dann geschah das oft selbst illegal und unter widrigen Bedingungen. Abgebildet sind hier Schlüsselwerke und Raritäten, die noch nie gezeigt wurden. Alle wurden illegal, d.h. ohne Genehmigung, direkt für ein Publikum auf der Straße geschaffen – nicht für museale Kontexte. Künstler:innen Alex Vallauri {\textbar} Bando {\textbar} Banksy {\textbar} Barbara 62/Eva 62 {\textbar} Blek le Rat {\textbar} Brassaï {\textbar} Martha Cooper {\textbar} Christo/Jeanne-Claude {\textbar}George Condo {\textbar} Daniel Buren {\textbar} Daze {\textbar} Harald Naegeli {\textbar} Ernest-Pignon-Ernest {\textbar} Jane Bauman {\textbar} Jérôme Mesnager {\textbar} Jill Posener {\textbar} Guerrilla Girls{\textbar} Jenny Holzer {\textbar} Keith Haring {\textbar} Lee Quiñones {\textbar} Marcus Krips {\textbar} Richard Hambleton {\textbar} SAMO© [Jean-Michel Basquiat \& Al Diaz] {\textbar} SONER {\textbar} Crass /Gee Vaucher {\textbar} David Wojnarowicz {\textbar} Walter Dahn {\textbar} Jerzy Treliński {\textbar}Gerard Zlotykamien u.a.},
	language = {German},
	publisher = {HIRMER},
	editor = {Blanché, Ulrich},
	year = {2024},
	keywords = {Graffiti, Banksy, Street art, Blek le Rat},
}

@book{vales_3d_2024,
	address = {London},
	title = {{3D} {Street} {Art}. {Off} the {Walls}},
	isbn = {978-1-912785-81-0},
	abstract = {Enter the world of gravity-defying 3D street art and the artists who have defined the movement. Featuring full colour photography throughout and an exclusive list of graffiti artists from around the world. 3D Street Art is the first book to bring together the artists who have defined the immersive graffiti genre. From New York City to Tokyo, Berlin to London and beyond, and including an exclusive list of graffiti artists from around the world such as Daim, Peeta, Leon Keer, Hoxxoh, Cee Pil, JanIsDeMan, Astro and Lady Pink among others, this exclusive book shares their incredible artworks alongside everything you need to know about the artist themselves. Curated and written by Erni Vales, one of the innovators of the 3D movement, this is a comprehensive look at the anamorphic artwork that has been sprawled over our street surfaces, buildings and outdoor spaces. Vales also looks at their techniques and the critical - and public - responses, as well as their social and political messaging, making this an unforgettable overview of 3D graffiti scene and how it's changed the face of modern art.},
	language = {English},
	publisher = {Michael O'Mara Books Limited},
	author = {Vales, Erni},
	year = {2024},
	keywords = {Graffiti, Street art},
}

@article{szubielska_examining_2024,
	title = {Examining the gray cube effect on naïve viewers' appreciation of street-based art in {Hong} {Kong} and {Poland}},
	volume = {14},
	issn = {2045-2322},
	doi = {10.1038/s41598-024-53322-7},
	abstract = {The present research investigates the appreciation of sanctioned street-based art among naïve viewers. It examines the role of viewing context in art appreciation, by experimentally testing a gray cube effect, which posits that street-based artworks are more likely to be identified as art (H1), liked more (H2), and understood more (H3) when viewed on the street. Identical procedures were carried out in Hong Kong (Experiment 1) and Lublin, Poland (Experiment 2), separately, sampling local artworks and local viewers. Experiment 1 tested 14 murals with 100 Hong Kongers; Experiment 2 tested 7 sculptures and 7 murals with 88 Poles. Participants were randomly assigned to either viewing street-based artworks on the street (gray cube) or viewing digital images of street-based artworks in a laboratory. The participants assessed each artwork in terms of art identification, liking, and understanding. These {\textbackslash}textquotedbltwin{\textbackslash}textquotedbl experiments yielded identical results, i.e., street-based artworks were liked more (H2) and understood more (H3) but not more likely to be identified as art (H1) on the street than in the laboratory. Overall, the present findings support the gray cube effect with ecologically valid data, and the effect seems robust across Western and Eastern cultural contexts and across genres of sculpture and mural.},
	language = {English},
	number = {1},
	journal = {Scientific Reports},
	author = {Szubielska, Magdalena and Ho, Robbie and Witeska-Młynarczyk, Anna and Kopiś-Posiej, Natalia},
	year = {2024},
	note = {Num Pages: 11},
	keywords = {Street art, Murals, Hong Kong, Poland, Appreciation, Gray cube effect},
	pages = {4099},
}

@book{sinno_war_2024,
	address = {Austin},
	title = {A war of colors: {Graffiti} and street art in postwar {Beirut}},
	isbn = {978-1-4773-2874-3},
	abstract = {Over the last two decades in Beirut, graffiti makers have engaged in a fierce “war of colors,” seeking to disrupt and transform the city’s physical and social spaces. In A War of Colors, Nadine Sinno examines how graffiti and street art have been used in postwar Beirut to comment on the rapidly changing social dynamics of the country and region. Analyzing how graffiti makers can reclaim and transform cityscapes that were damaged or monopolized by militias during the war, Sinno explores graffiti’s other roles, including forging civic engagement, commemorating cultural icons, protesting political corruption and environmental violence, and animating resistance. In addition, she argues that graffiti making can offer voices to those who are often marginalized, especially women and LGBTQ people. Copiously illustrated with images of graffiti and street art, A War of Colors is a visually captivating and thought-provoking journey through Beirut, where local and global discourses intersect on both scarred and polished walls in the city.},
	language = {English},
	publisher = {University of Texas Press},
	author = {Sinno, Nadine A.},
	year = {2024},
	keywords = {Graffiti, Street art, Colour, Beirut, Libanon},
}

@article{pan_who_2014,
	title = {Who is occupying wall and street: graffiti and urban spatial politics in contemporary {China}},
	volume = {28},
	issn = {1030-4312},
	doi = {10.1080/10304312.2013.854867},
	abstract = {This paper examines three cases of graffiti production characterized by showing the connections between three key ideas (aura, carnival, and publicity) in the context of contemporary China. This paper attempts to construct a paradigm for this particular cultural phenomenon by analysing three cases situated in three different social levels. First, graffiti as artwork, as exhibited by the contemporary artist Zhang Dali, is discussed. Second, sponsorship of graffiti culture by the local government is studied. The last and most controversial topic of discussion is how graffiti's online circulation reflects civil society in China. This paper explores the complex intersection of street culture, public space, and media. In revolving around the questions of what defines graffiti producers and spectators, what can be said about graffiti-writing practices, and who has the ability to speak out, this discussion illustrates the extent to which graffiti can be understood as a means of public communication against the backdrop of, and amid the moments of crisis in, the construction of modern Chinese cities. This paper illustrates how the aesthetics and the politics of representational forms and their intermediality are mobilized in a variety of contested spaces, where producer and spectator change and exchange identities.},
	language = {English},
	number = {1},
	journal = {Continuum},
	author = {Pan, Lu},
	year = {2014},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, China},
	pages = {136--153},
}

@article{mcauliffe_art_2011,
	title = {Art and {Crime} (and {Other} {Things} {Besides} … ): {Conceptualising} {Graffiti} in the {City}},
	volume = {5},
	issn = {17498198},
	doi = {10.1111/j.1749-8198.2011.00414.x},
	abstract = {In this paper, we critically review the literature on graffiti and street art with a view to bridging the divide between the stark extremities of public graffiti discourse. We make the case for moving beyond singular responses to the challenges posed by graffiti – into the complex terrain between visions of a city free from graffiti and one where public art has free rein. To this end, we have chosen a series of interrogations of common dialectical positions in talk of graffiti: is it art or crime; is it public or private expression; is it necessarily ephemeral, or does it seek permanence; is it a purely cultural practice, or is it economic? Our list is by no means exhaustive, but it does go some way to uncovering the complexity of graffiti’s dynamic and contested geographies.},
	language = {English},
	number = {3},
	journal = {Geography Compass},
	author = {Mcauliffe, Cameron and Iveson, Kurt},
	year = {2011},
	note = {Num Pages: 16},
	keywords = {Graffiti, Art, Crime},
	pages = {128--143},
}

@book{braziel_caribbean_2024,
	address = {Abingdon and New York},
	series = {Routledge {Advances} in {Art} and {Visual} {Studies}},
	title = {Caribbean and {Latinx} street art in {Miami}},
	isbn = {978-1-032-54393-2},
	abstract = {This study focuses on street art and large-scale murals in metropolitan Miami/Dade County, while also foregrounding the diasporic and aesthetic interventions made by migrant and second-generation artists whose families hail from the Caribbean and Latin America. Jana Evans Braziel argues that Caribbean and Latinx street artists define and visually mark the city of Miami as a diasporic, transnational urban space. These artists also help define Miami as a cosmopolitan city, yet one that is also a distinctly Caribbean and Latinx urban space, and simultaneously resist but also (at times reluctantly) participate in the forces of gentrification and urban re/development, particularly through the myriad and complex ways in which street art contributes to city branding and art tourism. The book will be of interest to scholars working in art history, urban studies, American studies, and Latin American/Caribbean studies.},
	language = {English},
	publisher = {Routledge},
	author = {Braziel, Jana Evans},
	year = {2024},
	keywords = {Street art, USA, Caribbean, Latinx, Miami},
}

@inproceedings{angiati_novel_2005,
	address = {Piscataway},
	title = {A novel method for graffiti detection using change detection algorithm},
	isbn = {0-7803-9385-6},
	doi = {10.1109/AVSS.2005.1577274},
	abstract = {In recent decades vandal acts and graffiti drawing problem have increased and have required a lot of public funding. To face this problem the communal administrations have invested in automatic video surveillance systems. To deal with this problem through image processing techniques, this paper presents a method for graffiti detection based on change detection algorithm and motion vector. The aim of this system is to detect the graffiti painting act while people are going to draw, identify them and distinguish the drawer.},
	language = {English},
	booktitle = {Proceedings of the {IEEE} {International} {Conference} on {Advanced} {Video} and {Signal} {Based} {Surveillance} ({AVSS} 2005)},
	publisher = {IEEE},
	author = {Angiati, D. and Gera, G. and Piva, S. and Regazzoni, C. S.},
	editor = {Tubaro, Stefano and Sarti, Augusto and Lupica, Federico},
	year = {2005},
	note = {Num Pages: 5},
	keywords = {Graffiti, Change detection},
	pages = {242--246},
}

@inproceedings{parra_recognition_2013,
	address = {Piscataway},
	title = {Recognition, segmentation and retrieval of gang graffiti images on a mobile device},
	isbn = {978-1-4799-1535-4},
	doi = {10.1109/THS.2013.6698996},
	abstract = {In this paper we describe three methods for recognition, segmentation and retrieval of gang graffiti images. The first method is color recognition based on touchscreen tracing, the second method is color image segmentation based on Gaussian thresholding and the third method is content based image retrieval. Our experimental results show an image retrieval accuracy of 92.8\% for gang graffiti scene recognition and an image retrieval accuracy of 50.0\% for gang graffiti component classification. The experiments also show an average image retrieval time of 0.56 seconds, from which the scoring process takes on average 984 microseconds.},
	language = {English},
	booktitle = {Proceedings of the 2013 {IEEE} {International} {Conference} on {Technologies} for {Homeland} {Security} ({HST})},
	publisher = {IEEE},
	author = {Parra, Albert and Zhao, Bin and Kim, Joonsoo and Delp, Edward J.},
	year = {2013},
	note = {Num Pages: 6},
	keywords = {Graffiti, Segmentation, Graffiti detection, Colour image segmentation, Gang graffiti, Smartphone},
	pages = {178--183},
}

@inproceedings{tokuda_quantifying_2019,
	address = {Piscataway},
	title = {Quantifying the {Presence} of {Graffiti} in {Urban} {Environments}},
	isbn = {978-1-5386-7789-6},
	doi = {10.1109/BIGCOMP.2019.8679113},
	abstract = {Graffiti is a common phenomenon in urban scenarios. Differently from urban art, graffiti tagging is a vandalism act and many local governments are putting great effort to combat it. The graffiti map of a region can be a very useful resource because it may allow one to potentially combat vandalism in locations with high level of graffiti and also to cleanup saturated regions to discourage future acts. There is currently no automatic way of obtaining a graffiti map of a region and it is obtained by manual inspection by the police or by popular participation. In this sense, we describe an ongoing work where we propose an automatic way of obtaining a graffiti map of a neighbourhood. It consists of the systematic collection of street view images followed by the identification of graffiti tags in the collected dataset and finally, in the calculation of the proposed graffiti level of that location. We validate the proposed method by evaluating the geographical distribution of graffiti in a city known to have high concentration of graffiti - São Paulo, Brazil.},
	language = {English},
	booktitle = {Proceedings of the 2019 {IEEE} {International} {Conference} on {Big} {Data} and {Smart} {Computing} ({BigComp})},
	publisher = {IEEE},
	author = {Tokuda, Eric K. and Cesar, Roberto M. and Silva, Claudio T.},
	year = {2019},
	note = {Num Pages: 4},
	keywords = {Graffiti, Brazil, São Paulo, Graffiti detection},
	pages = {1--4},
}

@article{brackman_graffiti_1967,
	address = {New York},
	edition = {CXVI (No. 39831)},
	title = {Graffiti {To} {Print}},
	abstract = {FROM Saigon comes a report that a notable sample of graffiti has appeared there, obviously wrought by a serviceman. The message, scribbled on a roadside shelter: I CAN'T RELATE TO THIS ENVIRONMENT.},
	language = {English},
	journal = {The New York Times},
	author = {Brackman, Jacob},
	month = feb,
	year = {1967},
	note = {Num Pages: 2},
	keywords = {Graffiti},
	pages = {97--99},
}

@article{collins_method_1970,
	title = {Method of {Increasing} {Graffito} {Responses}},
	volume = {31},
	issn = {0031-5125},
	doi = {10.2466/pms.1970.31.3.733},
	abstract = {The frequency of graffiti did not change following posting of a sign prohibiting writing on the walls in a men's washroom. After blackboards were installed, the numbers of graffiti increased significantly. It was hypothesized that the ease of making a graffito response is a controlling variable and that the reported method will produce a large number of responses. Data did not support the idea that graffiti reflect important social issues.},
	language = {English},
	number = {3},
	journal = {Perceptual and Motor Skills},
	author = {Collins, Thomas B. and Batzle, Paul},
	year = {1970},
	note = {Num Pages: 2},
	keywords = {Graffiti, Toilet graffiti},
	pages = {733--734},
}

@book{fitzpatrick_art_2009,
	address = {New Brunswick},
	title = {Art and the subway: {New} {York} underground},
	isbn = {978-0-8135-4452-6},
	abstract = {The New York City subway, considered an engineering feat and a work of art, has kindled the imagination of millions. Art and the Subway explores artistic production surrounding the world s most famous public transportation system, from just before its opening in 1904 to the present day. Using a stunning array of images, Tracy Fitzpatrick offers perspectives on ways in which the subway has been used as a subject about which to make art, as a site within which to make art, and as a canvas upon which to make art. Fitzpatrick captures the emotions of artists and riders alike, as she explores paintings, photographs, performance art, graffiti, and public art by artists such as Walker Evans, Bruce Davidson, DONDI, Keith Haring, Yayoi Kusama, Jacob Lawrence, Reginald Marsh, Elizabeth Murray, and many others. She also considers representations of the subway in film, on song sheet covers, and in illustration. By examining the cultural, technological, and social contexts for these creative interpretations, Fitzpatrick illuminates in fresh ways the contradictions and harmonies between public and private space. Featuring 17 color plates and 80 black-and-white images, Art and the Subway takes readers on a fascinating ride through the visual history of one of the twentieth century s greatest urban planning endeavors as it grew, changed form, and reinvented itself with passion and vitality.},
	language = {English},
	publisher = {Rutgers University Press},
	author = {Fitzpatrick, Tracy},
	year = {2009},
	keywords = {Graffiti, New York, USA, Underground, American graffiti},
}

@article{grider_con_1975,
	title = {Con {Safos}: {Mexican}-{Americans}, {Names} and {Graffiti}},
	volume = {88},
	issn = {00218715},
	doi = {10.2307/539192},
	language = {English},
	number = {348},
	journal = {The Journal of American Folklore},
	author = {Grider, Sylvia Ann},
	year = {1975},
	keywords = {Graffiti, USA, Mexico},
	pages = {132--142},
}

@article{lee_smorgasbord_1968,
	address = {New York},
	edition = {CXVII (No. 40355)},
	title = {Smorgasbord {Graffiti}: {Stockholm} {Provides} {Klotterplank} {For} {All}-{Weather} {Self}-{Expression}},
	abstract = {STOCKHOLM, July 18 -Like most cities. Stockholm has its graffiti on walls and fences — a {\textbackslash}textquotedblChe Guevara{\textbackslash}textquotedbl here, an {\textbackslash}textquotedblF.N.L.{\textbackslash}textquotedbl there, in tribute to South Vietnam's National Liberation Front.},
	language = {English},
	journal = {The New York Times},
	author = {Lee, John M.},
	month = jul,
	year = {1968},
	note = {Num Pages: 1},
	keywords = {Graffiti, Sweden, Stockholm},
	pages = {3},
}

@article{naveh_graffiti_1979,
	title = {Graffiti and {Dedications}},
	volume = {235},
	issn = {0003-097X},
	doi = {10.2307/1356553},
	language = {English},
	journal = {Bulletin of the American Schools of Oriental Research},
	author = {Naveh, Joseph},
	year = {1979},
	note = {Num Pages: 4},
	keywords = {Graffiti, Dedications},
	pages = {27--30},
}

@article{rudin_graffiti_1970,
	title = {Graffiti and {Building} {Use}: {The} 1968 {Election}},
	volume = {27},
	issn = {0033-2941},
	doi = {10.2466/pr0.1970.27.2.517},
	abstract = {Contrary to previous findings, graffiti collected from a small southwestern college at national election time, 1968, did not show a preponderance of items related to important social issues, the election and Vietnam. The graffiti likewise were not specific to building use. More research is suggested before graffiti are considered valid unobtrusive measures of the social and political climate.},
	language = {English},
	number = {2},
	journal = {Psychological Reports},
	author = {Rudin, Lawrence A. and Harless, Marion D.},
	year = {1970},
	note = {Num Pages: 2},
	keywords = {Graffiti, USA, Political graffiti, Toilet graffiti, 1968, Elections},
	pages = {517--518},
}

@article{sheon_discovery_1976,
	title = {The {Discovery} of {Graffiti}},
	volume = {36},
	issn = {0004-3249},
	doi = {10.1080/00043249.1976.10793319},
	abstract = {The amusing caricature published in 1833 (Fig. 1) showing three French children being scolded for drawing on a wall is a particularly intriguing document concerning the discovery of graffiti in the early 19th century.1 We notice three associated elements: the caricature itself, the graffiti on the wall, and the naïve, primitive drawing style of the children. When the reader of the satirical periodical Caricature saw this image he readily recognized its political meaning: the pear-faces represented Louis-Philippe, the Bourbon King installed in France following the 1830 revolution, whose corpulence and physiognomy suggested the shape of the pear, and whose dullness was further hinted at by the slang meaning of poire, a dummy or dope.2 The cartoonist wanted to make the point that even children responded to the ridiculousness of the King and mocked him in their graffiti.},
	language = {English},
	number = {1},
	journal = {Art Journal},
	author = {Sheon, Aaron},
	year = {1976},
	note = {Num Pages: 7},
	keywords = {Graffiti, Petroglyphs, Graffiti history},
	pages = {16--22},
}

@article{solomon_authoritarianism_1975,
	title = {Authoritarianism and graffiti},
	volume = {97},
	issn = {0022-4545},
	doi = {10.1080/00224545.1975.9923331},
	language = {English},
	number = {First Half},
	journal = {The Journal of Social Psychology},
	author = {Solomon, H. and Yager, H.},
	year = {1975},
	note = {Num Pages: 2},
	keywords = {Graffiti, Toilet graffiti},
	pages = {149--150},
}

@article{wales_graffiti_1976,
	title = {Graffiti in the 1970's},
	volume = {99},
	issn = {0022-4545},
	doi = {10.1080/00224545.1976.9924754},
	abstract = {If graffiti reflect social conventions in the expression of sexuality rather than inherent basic differences in male and female sexuality as Kinsey and others have hypothesized, then the increased emphasis on female sexuality and freedom of expression might be reflected in graffii produced by the younger generation. Four high schools were selected to represent different socioeconomic and racial populations. Graffiti from male and female rest-rooms in each school were copied on 3 × 5 cards for sorting by three independent judges into 16 content categories. The most striking finding was that females wrote more than males, producing 88\% of the total graffiti. Content analysis showed that while females predominantly wrote romantic inscriptions, this finding was dependent on socioeconomic level, with upper levels writing less romantic and more erotic material. Race was found to have little or no influence on the likelihood of the amount or content inscribed. The school which had the greatest heterogeneity of race and socioeconomic level produced over twice as much graffiti as the more homogeneous school populations.},
	language = {English},
	number = {1},
	journal = {The Journal of Social Psychology},
	author = {Wales, Elizabeth and Brewer, Barbara},
	year = {1976},
	note = {Num Pages: 9},
	keywords = {Graffiti, Toilet graffiti, 1970s},
	pages = {115--123},
}

@article{walker_kilroy_1968,
	title = {Kilroy was here;” a history of scribbling in ancient and modern times},
	volume = {73},
	language = {English},
	number = {5},
	journal = {Hobbies: The Magazine for Collectors},
	author = {Walker, R. J.},
	year = {1968},
	keywords = {Graffiti, Kilroy},
	pages = {98N--98O},
}

@article{bates_thematic_1980,
	title = {The thematic content of graffiti as a nonreactive indicator of male and female attitudes},
	volume = {16},
	issn = {0022-4499},
	doi = {10.1080/00224498009551087},
	abstract = {Graffiti written by men and by women were collected from the public restrooms of a large Eastern university. Based, in part, on the notion that graffiti are accurate indicators of group attitudes, frequencies of graffiti occurrence within 16 sexual and nonsexual content categories were analyzed to determine differences from results of previous research and between content currently expressed in male and female graffiti. Results indicated that women wrote more graffiti than did men, and that women's graffiti were more likely to express hostile, sexual, or issue‐related content. The inability of several psychosexual hypotheses to account for observed differences in graffiti content, and the difficulties inherent in the use of graffiti as nonreactive measures in social‐psychological research were discussed.},
	language = {English},
	number = {4},
	journal = {The Journal of Sex Research},
	author = {Bates, John A. and Martin, Michael},
	year = {1980},
	note = {Num Pages: 16},
	keywords = {Graffiti, Gender, Sex, Female, Male},
	pages = {300--315},
}

@article{carrington_girls_1989,
	title = {Girls and graffiti},
	volume = {3},
	issn = {0950-2386},
	doi = {10.1080/09502388900490061},
	language = {English},
	number = {1},
	journal = {Cultural Studies},
	author = {Carrington, Kerry},
	year = {1989},
	note = {Num Pages: 12},
	keywords = {Graffiti, Gender, Girl},
	pages = {89--100},
}

@article{klingman_graffiti_2000,
	title = {Graffiti: a creative means of youth coping with collective trauma},
	volume = {27},
	issn = {01974556},
	doi = {10.1016/S0197-4556(00)00072-1},
	language = {English},
	number = {5},
	journal = {The Arts in Psychotherapy},
	author = {Klingman, Avigdor and Shalev, Ronit and Pearlman, Abigail},
	year = {2000},
	note = {Num Pages: 9},
	keywords = {Graffiti, Trauma},
	pages = {299--307},
}

@article{wild_detecting_2024,
	title = {Detecting change in graffiti using a hybrid framework},
	volume = {Early view},
	issn = {0031868X},
	doi = {10.1111/phor.12496},
	abstract = {Graffiti, by their very nature, are ephemeral, sometimes even vanishing before creators finish them. This transience is part of graffiti's allure yet signifies the continuous loss of this often disputed form of cultural heritage. To counteract this, graffiti documentation efforts have steadily increased over the past decade. One of the primary challenges in any documentation endeavour is identifying and recording new creations. Image-based change detection can greatly help in this process, effectuating more comprehensive documentation, less biased digital safeguarding and improved understanding of graffiti. This paper introduces a novel and largely automated image-based graffiti change detection method. The methodology uses an incremental structure-from-motion approach and synthetic cameras to generate co-registered graffiti images from different areas. These synthetic images are fed into a hybrid change detection pipeline combining a new pixel-based change detection method with a feature-based one. The approach was tested on a large and publicly available reference dataset captured along the Donaukanal (Eng. Danube Canal), one of Vienna's graffiti hotspots. With a precision of 87\% and a recall of 77\%, the results reveal that the proposed change detection workflow can indicate newly added graffiti in a monitored graffiti-scape, thus supporting a more comprehensive graffiti documentation.},
	language = {English},
	journal = {The Photogrammetric Record},
	author = {Wild, Benjamin and Verhoeven, Geert Julien Joanna and Muszyński, Rafał and Pfeifer, Norbert},
	year = {2024},
	note = {Num Pages: 28},
	keywords = {Graffiti, 3D, IBM (Image-Based Modelling), MVS (Multi View Stereo), SfM (Structure from Motion), Vienna, Change detection, Austria, Feature extraction, INDIGO, Donaukanal, Illumination invariant},
}

@article{de_bruyn_falcon_1958,
	title = {Falcon {Graffiti} in the {Eastern} {Desert}},
	volume = {44},
	issn = {0307-5133},
	doi = {10.1177/030751335804400116},
	language = {English},
	number = {1},
	journal = {The Journal of Egyptian Archaeology},
	author = {de Bruyn, P.},
	year = {1958},
	note = {Num Pages: 2},
	keywords = {Graffiti, Falcon},
	pages = {97--98},
}

@article{dessau_rock_1960,
	title = {Rock engravings (graffiti) from {Iranian} {Bäluchistan}},
	volume = {11},
	language = {English},
	number = {4},
	journal = {East and West},
	author = {Dessau, G.},
	year = {1960},
	note = {Num Pages: 9},
	keywords = {Graffiti, Petroglyphs, Iran, Bäluchistan, Rock engravings},
	pages = {258--266},
}

@article{posener_propos_1952,
	title = {A propos des graffiti d'{Abisko}},
	volume = {20},
	language = {French},
	number = {1},
	journal = {Archiv orientální},
	author = {Posener, G.},
	year = {1952},
	note = {Num Pages: 4},
	keywords = {Graffiti, Egypt, Philae},
	pages = {163--166},
}

@book{keim_surf_2000,
	address = {Aschaffenburg},
	title = {Surf the city: {Graffiti} on subways in {Germany} and {Europe}},
	isbn = {3-9807478-0-8},
	language = {English; German},
	publisher = {Pulikat},
	author = {Keim, Sebastian and Christl, Markus},
	year = {2000},
	keywords = {Graffiti, Germany, Europe, Subway},
}

@article{lomas_graffiti_1973,
	title = {Graffiti: {Some} observations and speculations},
	volume = {60},
	abstract = {Discusses the implications of prolific writing on walls in public institutions. An attempt was made to classify wall writing selected from a cross-sectional sampling of a metropolitan area. Messages were compared with wall writings dating back from A.D. 67-69. It was found that outdoor wall writing was virtually absent in middle- and upper-class communities except where adolescents found refuge from adults. It is concluded that in the majority of instances, indoors, or out, writing on walls is the expression of aggressive and destructive wishes.},
	language = {English},
	number = {1},
	journal = {The Psychoanalytic Review},
	author = {Lomas, H. D.},
	year = {1973},
	note = {Num Pages: 19},
	keywords = {Graffiti, Roman graffiti, Ancient graffiti},
	pages = {71--89},
}

@article{sechrest_graffiti_1971,
	title = {Graffiti in four types of institutions of higher education},
	volume = {7},
	issn = {0022-4499},
	doi = {10.1080/00224497109550690},
	language = {English},
	number = {1},
	journal = {The Journal of Sex Research},
	author = {Sechrest, Lee and Olson, A. Kenneth},
	year = {1971},
	note = {Num Pages: 10},
	keywords = {Graffiti, Sex, Toilet graffiti},
	pages = {62--71},
}

@article{nabulsi_politics_2023,
	title = {A politics of conviction: {The} refusal of colonial carcerality in {Palestinian} graffiti},
	volume = {16},
	issn = {1942-7786},
	doi = {10.1177/19427786231200717},
	abstract = {In this visual essay, I curate and annotate nine photos of Palestinian prisoner graffiti, foregrounding a Palestinian politics of conviction. Prisoner graffiti is a prominent genre of Palestinian street art, countering Israel's system of colonial carcerality that attempts to dispossess and displace Palestinians. Israeli colonial carcerality functions not only through the “small prison” of Israeli detention, but through the “large prison” of Israeli colonial occupation and apartheid. The distinct forms that this incarceration takes across the fragments of Palestine—from the lands occupied in 1948, 1967, and the diaspora—all aim to crush a Palestinian will to resist. Israel works to construct its carceral systems as inescapable, suggesting to Palestinians that they have no choice but to submit to their colonisation. Against this colonial carcerality, we find in Palestinian prisoner graffiti what I term a politics of conviction. Persisting through their conviction and imprisonment under Israeli colonial law, Palestinians cultivate a conviction in liberation. Directly countering the apparent inevitability of incarceration and the reification of carceral systems, this politics of conviction asserts the inevitability of al-ḥurriya (freedom) from both the small prison and the large prison. This conviction in liberation is constituted by a range of feelings, including love for the prisoner and the dignity that they embody. I suggest that this politics of conviction might form the affective basis of a distinctly Palestinian abolitionism—working to abolish the colonial structures that uphold both the small and large prisons.},
	language = {English},
	number = {3},
	journal = {Human Geography},
	author = {Nabulsi, Jamal},
	year = {2023},
	note = {Num Pages: 7},
	keywords = {Graffiti, Resistance, Israel, Palestine},
	pages = {370--376},
}

@article{sherif_ingridkg_2023,
	title = {{INGRIDKG}: {A} {FAIR} {Knowledge} {Graph} of {Graffiti}},
	volume = {10},
	doi = {10.1038/s41597-023-02199-8},
	abstract = {Graffiti is an urban phenomenon that is increasingly attracting the interest of the sciences. To the best of our knowledge, no suitable data corpora are available for systematic research until now. The Information System Graffiti in Germany project (INGRID) closes this gap by dealing with graffiti image collections that have been made available to the project for public use. Within INGRID, the graffiti images are collected, digitized and annotated. With this work, we aim to support the rapid access to a comprehensive data source on INGRID targeted especially by researchers. In particular, we present INGRIDKG, an RDF knowledge graph of annotated graffiti, abides by the Linked Data and FAIR principles. We weekly update INGRIDKG by augmenting the new annotated graffiti to our knowledge graph. Our generation pipeline applies RDF data conversion, link discovery and data fusion approaches to the original data. The current version of INGRIDKG contains 460,640,154 triples and is linked to 3 other knowledge graphs by over 200,000 links. In our use case studies, we demonstrate the usefulness of our knowledge graph for different applications.},
	language = {English},
	number = {1},
	journal = {Scientific data},
	author = {Sherif, Mohamed Ahmed and Da Silva, Ana Alexandra Morim and Pestryakova, Svetlana and Ahmed, Abdullah Fathi and Niemann, Sven and Ngomo, Axel-Cyrille Ngonga},
	year = {2023},
	note = {Num Pages: 12},
	keywords = {Graffiti, INGRID (Informationssystem Graffiti in Deutschland), RDF, Linked data, Graph, FAIR, Knowledge graph},
}

@article{champion_when_2023,
	title = {When everyone was called {John}: a statistical analysis of {Post}-{Medieval} letter graffiti at historic sites in the {UK}},
	volume = {57},
	issn = {0079-4236},
	doi = {10.1080/00794236.2022.2156314},
	abstract = {This article examines the post-medieval letter graffiti present at historic sites in the UK, and carries out a statistical analysis of the markings across multiple sites, with a view to determining authorship and intent. The data from the graffiti inscriptions is also examined within the wider social history context of naming traditions within the UK and elsewhere, and concludes that a measurable and distinct gender bias is present amongst the historical graffiti that has wide reaching implications with regard to concepts of gendered space and social norms.},
	language = {English},
	number = {1},
	journal = {Post-Medieval Archaeology},
	author = {Champion, Matthew J.},
	year = {2023},
	note = {Num Pages: 12},
	keywords = {Graffiti, UK, Statistical analysis, Post-medieval},
	pages = {82--93},
}

@incollection{ross_how_2024,
	address = {Bristol and Chicago},
	title = {How {Graffiti} and {Street} {Art} {Styles}, {Images}, and {Iconography} {Impacted} the {Designs} that {Tribal} {Streetwear} {Uses} on their {Clothing} and {Accessories}},
	isbn = {978-1-78938-808-4},
	language = {English},
	booktitle = {Tribal and the {Cultural} {Legacy} of {Streetwear}},
	publisher = {Intellect},
	author = {Ross, Jeffrey Ian},
	editor = {Daichendt, G. James},
	year = {2024},
	doi = {10.1386/9781789388084‗ 4},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Clothing},
	pages = {68--83},
}

@article{zimuto_emotive_2023,
	title = {Emotive {Art}: {An} {Analysis} of {Graffiti} from {Selected} {Secondary} {Schools} in {Bikita}-{Matsai} {District}, {Zimbabwe}},
	volume = {37},
	issn = {0256-0046},
	doi = {10.1080/02560046.2023.2212747},
	abstract = {This study makes an in-depth analysis of graffiti from selected secondary schools in the Bikita-Matsai district in Zimbabwe that includes but is not limited to trusses, office doors, chalkboards, classroom and toilet walls. The Study focuses on the words and drawings in these spaces. The emphasis on the importance of contextualisation of text is used to bring to the fore different contextual meanings of graffiti words. For this study, the psychologically oriented Historical-Philological Semantics theory and Dadaism were adopted. The psychological aspect of the Historical-Philological Semantics theory helps analyse different emotions imprinted on the walls as secondary school learners emotively write on the surfaces. Art without rules is also analysed from a Dadaism perspective. The study makes use of both qualitative and quantitative research methodologies. The research found that there is a symbiotic relationship between graffiti in secondary schools and the emotions of the authors who are secondary school learners. Graffiti has been proven by the findings to be a sanctuary which learners use to preserve and make known their inner emotions that are brewed during the learning and teaching process.},
	language = {English},
	number = {1},
	journal = {Critical Arts},
	author = {Zimuto, Nyasha C. and Mojapelo, Mampaka L. and Mutasa, Davie E.},
	year = {2023},
	note = {Num Pages: 15},
	keywords = {Graffiti, Africa, Bikita-Matsai District, Highschool, Zimbabwe},
	pages = {39--53},
}

@book{uglum_graffiti_2019,
	address = {Wrocław},
	title = {Graffiti {Messages} from {God}: {Life} {Lessons} on the {Camino} de {Santiago}},
	isbn = {978-1-7045-8722-6},
	abstract = {At its most basic level, the Camino de Santiago is a long walk. It's also a religious pilgrimage for many Catholics, one that dates back to the ninth century. For others, the Camino is a spiritual meditation where the mindless act of walking allows one to enter an almost Zen-like state. And for still others, it's a physical challenge to conquer as one walks hundreds of miles over mountains and the flat Meseta, through tiny villages and large cities, alongside breathtaking scenery and heartbreaking poverty.The Camino begins wherever you need it to and follows a variety of paths, all marked by yellow arrows. No matter which road is taken, they all end in the cathedral plaza of Santiago de Compostela, in the northwest corner of Spain.Every Camino is as unique as the individual walking it. This short book tells about my 37-day journey in the form of letters and reflections written to my parents, each sparked by a unique message scrawled by a fellow traveler, which I captured in a corresponding photograph.},
	language = {English},
	publisher = {Independently published},
	author = {Uglum, Anne},
	year = {2019},
	keywords = {Graffiti, Spain, Camino, Compostella, Santiogo},
}

@article{demaj_geosemiotics_2023,
	title = {The geosemiotics of ethno-political graffiti in {Kosovo}: polyphony, emplacement and heteroglossia},
	issn = {1035-0330},
	doi = {10.1080/10350330.2023.2239735},
	abstract = {This article examines the nature of graffiti semiotics in the public space of Kosovo’s capital Pristina. By adopting a perspective on graffiti as a historically situated and semiotic practice, we identify distinct ethno-political voices, each relying on highly multimodal-linguistic resources to convey their respective political messages to a wider audience. The corpus was gathered during a specific period in Kosovo’s history (2013-2014) and as such allows us to capture the idiosyncratic nature of the encountered graffiti as a phenomenon which emerges as a non-transgressively emplaced and dynamically constructed medium allowing conflicting views on the political future of Kosovo to enter in dialogue with one another for everyone to see in the public heart of the capital. Moreover, the dynamic nature of graffiti inscriptions in the Kosovo capital makes it a conversationally layered, inherently heteroglossic speech act with several dissenting authors at work. Our fieldwork and analysis contribute not only to insights in the nature of graffiti as a political medium but also to our understanding of the phenomenology of ethno-political graffiti in Kosovo, the complexities of which can only be appreciated against the history of both the country as a contested geographical entity, and the Balkan region at large.},
	language = {English},
	journal = {Social Semiotics},
	author = {Demaj, Uranela and Vandenbroucke, Mieke},
	year = {2023},
	note = {Num Pages: 26},
	keywords = {Graffiti, Political graffiti, Kosovo, Ethno-political graffiti},
	pages = {1--26},
}

@article{lennon_aversive_2023,
	title = {Aversive racism, gentrification, and graffiti studies},
	volume = {1},
	issn = {2754-1258},
	doi = {10.1177/27541258231204009},
	abstract = {Bloch and Meyer's article argues that critical gentrification studies need to stop being beholden to mapping and counting of dislocated bodies, focusing mostly on “measuring the invisible,” and instead should understand displacement as an ongoing phenomenon, one that not only removes bodies from an environment, but is materially felt within spaces through technologies of racial discrimination, exclusion, and delinquency. This commentary relates the authors' ideas to graffiti studies and specifically argues how this subfield is part of gentrification studies. At its best, graffiti studies explore how graffiti and street art flow through the veins of the body of a city where racial capitalism is its beating heart. To understand displacement's affect, one can start by reading the walls of a city. The commentary also makes brief comments about gentrification in the FX series The Bear and the current shocking state of public education in Florida.},
	language = {English},
	number = {3},
	journal = {Dialogues in Urban Research},
	author = {Lennon, John},
	year = {2023},
	note = {Num Pages: 4},
	keywords = {Graffiti, USA, Gentrification, Florida, Racism},
	pages = {240--243},
}

@article{marine_analog_2023,
	title = {Analog to {Digital} and {Back} {Again}: {The} {Rhetoric} of {Graffiti}},
	volume = {42},
	issn = {0735-0198},
	doi = {10.1080/07350198.2023.2269025},
	abstract = {While current approaches to theorizing rhetorical circulation often designate digital rhetorics as their object of study, this designation unintentionally closes off rhetorical inquiry. Analog, material rhetorics, like graffiti, resemble digital rhetoric in the circulation of their rhetorical effects. The study of graffiti rhetorics therefore invites a recursive application of theoretical models of rhetorical circulation. By analyzing examples of bathroom graffiti collected from a large college campus, this essay seeks to inform fresh models of rhetorical circulation that more fully account for the many diverse and interrelated systems from which the full meaning of any one instance of rhetoric is derived.},
	language = {English},
	number = {4},
	journal = {Rhetoric Review},
	author = {Marine, Jonathan},
	year = {2023},
	note = {Num Pages: 18},
	keywords = {Graffiti, Toilet graffiti},
	pages = {286--303},
}

@article{aamiry-khasawnih_graffiti_2023,
	title = {Graffiti narratives: securitization, beautification, and gender in 25 {January} {Revolution} {Cairo}},
	volume = {30},
	issn = {0966-369X},
	doi = {10.1080/0966369X.2022.2154322},
	abstract = {The article focuses on the corner of Mohamed Mahmoud Street and Youssef El-Gendy Street in Cairo, Egypt, to examine the gendered and classed underpinnings of urban processes of securitization, privatization, and beautification during the 25 January Revolution, notably following the 2013 military coup. This particular intersection was the scene of many of the protests that ultimately led to Hosni Mubarak’s ouster in February 2011. Throughout the revolutionary process, its walls became a contested site of representation through, on the one hand, graffiti engaging the revolution along the fault lines of gender and class and, on the other hand, its periodical whitewashing by public and private campaigns. Taking up visual cultural production as a primary site of analysis, the article draws on visual ephemera written on this corner between 2011 and 2017, online debates about these changes, and interviews with some of their protagonists to discuss the significance of this place in relation to questions of access to and control of public/private urban spaces, and memory. Adopting a feminist perspective that foregrounds gender and class as the main categories of analysis, it focuses on two particular moments—WOW Unchained in 2015 and Calligraphy Nefertiti in 2017—to investigate the transformation of this area through the erasure of the traces of the revolution via public/private beautification projects articulated around transnational discourses of women’s empowerment and neoliberal notions of gender and class respectability, and its implications for Egyptians’ access to public space in post-coup Cairo.},
	language = {English},
	number = {12},
	journal = {Gender, Place \& Culture},
	author = {aamiry-khasawnih, alma and Galán, Susana},
	year = {2023},
	note = {Num Pages: 26},
	keywords = {Graffiti, Egypt, Gentrification, Cairo},
	pages = {1733--1758},
}

@article{baldini_graffiti_2023,
	title = {Graffiti {Writing} as {Creative} {Activism}: {Getting} {Up}, {Sheeplike} {Subversion}, and {Everyday} {Resistance}},
	volume = {81},
	issn = {00218529},
	doi = {10.1093/jaac/kpad001},
	abstract = {Is graffiti writing creative activism? In this paper, I challenge commonly held beliefs that graffiti writing is politically inert. On the contrary, I argue that graffiti writing is an example of creative activism. Rather than being a narcissistic form of vandalism, primarily directed at increasing one’s fame in front of an esoteric group, that is, fellow writers, writing is a form of everyday resistance allowing its practitioners to challenge authoritarian power. In questioning dominant hierarchies, graffiti is a powerful tool to help correct a specific instance of spatial injustice: the unequal distribution of access to urban surfaces for self-expression in the city, where corporations and political elites hold an unjustified monopoly over visual communication.},
	language = {English},
	number = {2},
	journal = {The Journal of Aesthetics and Art Criticism},
	author = {Baldini, Andrea L.},
	year = {2023},
	note = {Num Pages: 11},
	keywords = {Graffiti, Graffiti writing, Activism},
	pages = {239--249},
}

@article{hannerz_playing_2023,
	title = {Playing in the yard: {The} representation of control in train-graffiti videos},
	volume = {19},
	issn = {1741-6590},
	doi = {10.1177/17416590221135561},
	abstract = {During the last 10 years, the mobile phone and the emergence of websites, such as Youtube, which facilitate user-generated content, have enabled an explosion of pictures and video clips posted on the internet by civilians documenting the activities of authority figures. This “sousveillance” is a kind of inverse surveillance, reciprocal to surveillance, where members of the grassroots monitor those in power. Initially, sousveillance was primarily seen as an inverse form of surveillance in which citizens monitor their surveillors in order to challenge the surveillance state. The individuals filmed were originally thought to be aware of being sousveilled by others, and it was assumed that every watcher would voluntarily give free access to all information recorded. This article, drawing from an analysis of selfdocumented graffiti videos, aims to further the understanding of sousveillance through showing how graffiti writers—the supposed target of surveillance—use documentation of surveillance in order to present themselves as superior in terms of control and knowledge. Through analyzing the narrative structure and composition of these videos, I will demonstrate that sousveillance, for the graffiti writer, becomes less a matter of resistance and more a means for the symbolic representation of subcultural emotions, activities, and identities. The documentation and dissemination of the movements and activities of anti-graffiti officers, as well as the graffiti writers’ successful attempts to outsmart them, are analyzed as a part of a subcultural play, centered on the establishment of an equilibrium or a dance where key roles and rules are assigned.},
	language = {English},
	number = {4},
	journal = {Crime, Media, Culture: An International Journal},
	author = {Hannerz, Erik},
	year = {2023},
	note = {Num Pages: 17},
	keywords = {Graffiti, Criminology, Video},
	pages = {438--454},
}

@article{iveson_informality_2023,
	title = {Informality from above in the governance of graffiti and street art in {Sydney}},
	volume = {44},
	issn = {0272-3638},
	doi = {10.1080/02723638.2022.2139950},
	abstract = {This article analyses the ways in which urban authorities and elites embrace informality when formal laws and regulations get in the way of making the city they want. In the case of Sydney, we show that the governance of graffiti and street art is not exclusively a matter of enacting and enforcing formal anti-graffiti laws and regulations. Rather, graffiti governance takes the form of a “rule by aesthetics” in which authorities and elites draw on both informal and formal repertoires of action to pursue their values and goals – the enhancement of neighborhood character and enlivenment of public space, through a selective embrace of some forms of street art alongside the eradication of others. Our account of “informality from above” adds to understanding of the enactment and contestation of power in graffiti governance, and draws attention to the role of aesthetic orders in the contested governance of urban landscapes more generally.},
	language = {English},
	number = {10},
	journal = {Urban Geography},
	author = {Iveson, Kurt and Mcauliffe, Cameron},
	year = {2023},
	note = {Num Pages: 23},
	keywords = {Graffiti, Street art, Sydney, Governance},
	pages = {2228--2250},
}

@article{khosa_graffiti_2023,
	title = {Graffiti and {Gender}: {A} {Sociolinguistic} {Study} of {Wall} {Writings} in {Selected} {Pakistani} {Higher} {Learning} {Institutions}},
	volume = {29},
	issn = {01285157},
	doi = {10.17576/3L-2023-2901-03},
	abstract = {As the most widespread and strongly prohibited activity in Pakistani educational institutions, graffiti writings are the subject of this paper. The article explores graffiti as a gendered activity. The study investigates gender variations in the frequency, types and themes used in the writings. This is done to obtain a comprehensive understanding of gender roles and stereotypes in Pakistan in light of Lakoff's (1975) framework on gender variations in language. Using a qualitative approach, the paper analyses graffiti texts collected from two same-sex colleges in Quetta, the capital of Balochistan. To substantiate the findings from the graffiti texts, semi-structured interviews with students from the same institutions are also conducted. The findings indicate significant variations in how men and women write graffiti. Women outnumber men as graffiti writers, and they tend to use more expletives than men. The primary subjects of male graffiti are politics and sex, whereas female graffiti centres on poetry, romance, songs and slurs. The analysis reveals that while some long-held gender stereotypes proposed by Lakoff (1975) are still widely accepted, there is also some defiance of these norms on the part of men and women alike, indicating a subtle but significant shift in gender roles in Pakistan.},
	language = {English},
	number = {1},
	journal = {3L The Southeast Asian Journal of English Language Studies},
	author = {Khosa, Durdana and Ramakrishna, Rita Abdul Rahman},
	year = {2023},
	note = {Num Pages: 17},
	keywords = {Graffiti, Gender, Pakistan},
	pages = {33--49},
}

@incollection{hamid_egyptian_2023,
	address = {Hoboken},
	series = {Global {Handbooks} in {Media} and {Communication} {Research}},
	title = {Egyptian {Graffiti}. {Collective} {Action} and {Institutionalization}},
	isbn = {978-1-119-63706-6},
	abstract = {After placing the history of Egyptian graffiti in its regional and cultural context, this chapter examines the uses and the evolution of the practice. This has gone from increased visibility thanks to its political side and the events of the 2010s and has, subsequently and in parallel, experienced a trend towards institutionalization. The increasingly violent repression, and the financial logic to which each artist is subject, pushes the practice to abandon transgression and provocation in order to seek institutional recognition and enhancement. Through examples drawn from the martyrological and feminist aspects of the revolution, as well as works taken from exhibitions purged of any political dimension, it is a sociosemiotics approach to follow in the footsteps of the ethics and aesthetics of graffiti in Egypt.},
	language = {English},
	booktitle = {The {Handbook} of {Media} and {Culture} in the {Middle} {East}},
	publisher = {John Wiley \& Sons},
	author = {Hamid, Mohammad Abdel},
	editor = {Khalil, Joe F. and Khiabany, Gholam and Guaaybess, Tourya and Yesil, Bilge},
	year = {2023},
	doi = {10.1002/9781119637134.ch34},
	note = {Num Pages: 13},
	keywords = {Graffiti, Egypt, Ancient graffiti, Egyptian graffiti},
	pages = {427--439},
}

@book{mathews_graffiti_2012,
	address = {Los Angeles},
	title = {Graffiti underworld: villains, vandals and visionaries},
	isbn = {978-1-936239-16-0},
	abstract = {We've seen the folk art form of graffiti derided by police and civic leaders as pure vandalism. In the '90s some of it was upgraded to art museums, and today the political {\textbackslash}textquotedblstreet art{\textbackslash}textquotedbl of Banksy and Shepard Fairey recontextualize graffiti art yet again. In Graffiti Underworld, J.R. Mathews bypasses the art galleries and travels across the United States to rediscover the original outlaw vandals for no-bullshit interviews about their risky and exciting outlaw creations. Graffiti Underworld interviews nearly two hundred artists, all of them pseudonymous, and includes over three hundred images of their work through the barbed-wire fences, multi-story walls, railroad tracks, and other rough-and-tumble surroundings. Graffiti artists and lawbreakers interviewed include: Ader, Anoy, Apes, Arek, Aser, Asic, Aware, Beer, Begr, Bone, Byas, Cern, Chek 1, Clown, Colt 45, Cope, Cornbread, Coupe, Crow, Dark, Dekay, Demer, Den, Denz, Desism, Dyer, Else, Ender, Ether, Evict, Fishe, Flash ABC, Flyos, Ghouls, Gime, Glue, Goner, Graves, GSouth, Hael, Harsh, Heat, Helz, Hert, Hour, Huge, Indecline, Isto, Jaber, Jase, Jee, Jel, Jive, Joey TPA, Kerse, King 157, KR, Kuhr, Lead, Lost, Lyes, Met, Mise, Nark, Neks, Nekst, Neo, Nerose, Omens, Ouija, People, Pepe, Phone, Phrite, Poet, Popmaster Fabel, Prae, Ree2, Resek, Ridl 1, RJay, RVee, Saber, Sachem, Saer, Sake, Sexer, Sicks, Sight, Sinek, Size 21, SMK, Snatch, Space, Spade, Syms, Taco, Takt, Teel, Temp, Then, Timber, Toomer, Tork, Trixter, Typoe, Untold, Urine, Vogue, Voice, Vos, Waste, Yukon, Zek 156, and Zem.},
	language = {English},
	publisher = {Feral House},
	author = {Mathews, J. R.},
	year = {2012},
	keywords = {Graffiti, USA, American graffiti},
}

@article{champion_medieval_2015-1,
	title = {Medieval {Ship} {Graffiti} in {English} {Churches}: {Interpretation} and function},
	volume = {101},
	issn = {0025-3359},
	doi = {10.1080/00253359.2015.1054691},
	language = {English},
	number = {3},
	journal = {The Mariner's Mirror},
	author = {Champion, Matthew},
	year = {2015},
	note = {Num Pages: 8},
	keywords = {Graffiti, Church, England, Medieval graffiti, Ship graffiti},
	pages = {343--350},
}

@article{gomez_writing_1993,
	title = {The {Writing} on {Our} {Walls}: {Finding} {Solutions} through {Distinguishing} {Graffiti} {Art} from {Graffiti} {Vandalism}},
	volume = {26},
	abstract = {This Note argues that outlawing graffiti completely is not an effective solution. The only effective means of controlling graffiti is to develop laws and policies which accommodate graffiti art while discouraging graffiti vandalism and which attack the root causes of graffiti. Part I briefly outlines the origins of graffiti. Part II describes the different types of graffiti and the motivations of their respective creators. Part III analyzes the arguments for and against the legalization of certain types of graffiti and concludes that, because of the multitude of different types of graffiti, both graffiti proponents and opponents have meritorious arguments that need to be addressed. Part IV details the methods that cities and states have used to prevent graffiti and concludes that most methods do not discourage graffiti vandalism but do endanger legitimate graffiti art by failing to account for the motivations that drive graffiti's creation. Part V proposes comprehensive legislation and policies which take into account the causes of graffiti and thereby work towards the eradication of vandalism while preserving graffiti art. This Note concludes that because of the costs saved in the long term, all of the proposed solutions are feasible, even when fiscal resources are limited.},
	language = {English},
	number = {3},
	journal = {University of Michigan Journal of Law Reform},
	author = {Gómez, Marisa A.},
	year = {1993},
	note = {Num Pages: 75},
	keywords = {Graffiti, Street art, Law, Vandalism, Criminology},
	pages = {633--707},
}

@article{kahanov_ship_2008,
	title = {Ship graffiti from {Akko} ({Acre})},
	volume = {94},
	issn = {0025-3359},
	doi = {10.1080/00253359.2008.10657044},
	language = {English},
	number = {1},
	journal = {The Mariner's Mirror},
	author = {Kahanov, Yaacov and Stern, Eliezer},
	year = {2008},
	note = {Num Pages: 15},
	keywords = {Graffiti, Ship graffiti, Acre, Akko},
	pages = {21--35},
}

@article{kahanov_graffito_2008,
	title = {A {Graffito} of {A} {Nineteenth}-{Century} {Armed} {Ship} from {Akko}, {Israel}},
	volume = {94},
	issn = {0025-3359},
	doi = {10.1080/00253359.2008.10657075},
	language = {English},
	number = {4},
	journal = {The Mariner's Mirror},
	author = {Kahanov, Yaacov and Shotten-Hallel, Vardit and Cvikel, Deborah},
	year = {2008},
	note = {Num Pages: 17},
	keywords = {Graffiti, Ship, Ship graffiti, Israel, Akko},
	pages = {389--405},
}

@inproceedings{khani_culture_2020,
	address = {Alanya},
	title = {Culture of {Urban} {Graffiti}: {The} {Importance} of {Graffiti} in {Urban} {Landscape}},
	isbn = {978-605-68243-9-5},
	doi = {10.38027/N202020ICCAUA263705},
	abstract = {Culture is a key factor in the fields of architecture and urban design; and designs face different users with different cultures. However, the resultant of urban design, architecture and arts, as different dimensions of design, is found in culture. Graffiti is an artistic movement, which is visualized mostly in the urban texture. In the contemporary era humans still continue to leave their signs in different places. Writing on the walls is an extension of people's willingness to leave a sign in the urban spaces. It is not just countries that people consider as their homes, but they consider streets also as living spaces; and graffiti art is more prevalent in this scale.4 According to the concept of graffiti design, this paper includes five parts: first part is theoretical background of graffiti and its graffiti, second part contains definitions of different graffiti types, third part points to graffiti as part of the urban landscape, forth part, more importantly, graffiti as president of culture in urban scale; and the last part concludes by projecting the importance of graffiti in urban landscape and the meaning of different cultures in graffiti.},
	language = {English},
	booktitle = {3rd {International} {Conference} of {Contemporary} {Affairs} in {Architecture} and {Urbanism} – {Full} book proceedings of {ICCAUA2020}},
	publisher = {Alanya Belediyesi},
	author = {khani, Arezoo},
	editor = {Rahbarianyazd, Rokhsaneh and Ahmad Nia, Hourakhsh},
	year = {2020},
	note = {Num Pages: 9},
	keywords = {Graffiti, Street art},
	pages = {206--214},
}

@article{lopez_graffiti_2015,
	title = {Graffiti of {British} {Ships} at {La} {Aljaferia} {Castle}},
	volume = {101},
	issn = {0025-3359},
	doi = {10.1080/00253359.2015.1054690},
	language = {English},
	number = {3},
	journal = {The Mariner's Mirror},
	author = {López, Alejandro Martín and Alonso, Laura Jambrina},
	year = {2015},
	note = {Num Pages: 8},
	keywords = {Graffiti, England, Ship graffiti, La Aljaferia Castle},
	pages = {336--343},
}

@article{mott_medieval_1990,
	title = {Medieval ship graffito in the {Palau} {Reial} {Major} at {Barcelona}},
	volume = {76},
	issn = {0025-3359},
	doi = {10.1080/00253359.1990.10656279},
	language = {English},
	number = {1},
	journal = {The Mariner's Mirror},
	author = {Mott, Lawrence V.},
	year = {1990},
	note = {Num Pages: 9},
	keywords = {Graffiti, Spain, Medieval graffiti, Barcelona, Ship graffiti, Palau Reial Major},
	pages = {13--21},
}

@article{rafferty_street_1991,
	title = {The {Street} {Art}/{Graffiti} of {Youth}: {Questioning} the {Normalizing} {Influence} of {Tradition}},
	volume = {9},
	issn = {0820-9189},
	doi = {10.29173/pandp15151},
	language = {English},
	journal = {Phenomenology + Pedagogy},
	author = {Rafferty, Pat},
	year = {1991},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art},
	pages = {15--26},
}

@article{rafferty_discourse_1991,
	title = {Discourse on {Difference}: {Street} {Art}/ {Graffiti} {Youth}},
	volume = {7},
	issn = {1058-7187},
	doi = {10.1525/var.1991.7.2.77},
	language = {English},
	number = {2},
	journal = {Visual Anthropology Review},
	author = {Rafferty, Pat},
	year = {1991},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art},
	pages = {77--84},
}

@article{ritsema_van_eck_graffiti_2018,
	title = {Graffiti in medieval and early modern religious spaces: illicit or accepted practice?},
	volume = {131},
	issn = {0040-7518},
	doi = {10.5117/TVGESCH2018.1.RITS},
	abstract = {Graffiti in medieval and early modern religious spaces: illicit or accepted practice? The case of the sacro monte at Varallo. Leaving one’s personal mark at a site of cult is an age-old practice attested in several religions, including Christianity from its earliest phases onwards. This article asks to what degree scratching graffiti into church walls was accepted behaviour in Western Europe during the medieval and early modern period. It seeks to complicate the view that disapproval of graffiti is a predominantly modern sentiment, by examining examples of both acceptance and resistance to graffiti at sacred sites. The attempts of Counter-Reformation bishop Carlo Bascapè (1550-1615) to root out what he perceived as impious vandalism at the sacro monte of Varallo in Northern Italy, combined with an analysis of the graffiti on the glass panes of the Ecce Homo chapel postdating Bascapè’s ban, together serve to suggest new directions for the study of the pre-modern significance of, and particularly resistance to, graffiti.},
	language = {English},
	number = {1},
	journal = {Tijdschrift voor Geschiedenis},
	author = {Ritsema van Eck, Marianne},
	year = {2018},
	note = {Num Pages: 22},
	keywords = {Graffiti, Medieval graffiti, Religious graffiti},
	pages = {51--72},
}

@article{goikoetxea_comunicacion_1998,
	title = {La comunicación mural: análisis de contenido de graffiti universitarios},
	volume = {13},
	issn = {0213-4748},
	doi = {10.1174/021347498320604016},
	abstract = {This paper examines graffiti found in male and female bathrooms of the University of the Basque Country. These graffiti were copied on cards to be sorted by a judge into 18 content categories. Males wrote more than females, generating 79.1\% of the amount found. Content-analysis showed that males also wrote about a wider range of topics than females and that there were differences in the frequency of appearance of certain topics. Politics, political insults and sexuality were the most popular topics in male's bathrooms. Sexuality, names and general insults were more typical of females. Findings are compared with results of previous studies. The high political content of the graffiti is discussed in relation to their local and temporal context.},
	language = {Spanish},
	number = {1},
	journal = {Revista de Psicología Social},
	author = {Goikoetxea, Edurne},
	year = {1998},
	note = {Num Pages: 12},
	keywords = {Graffiti},
	pages = {55--66},
}

@article{halsey_game_2010,
	title = {The game of fame: {Mural}, graffiti, erasure},
	volume = {14},
	issn = {1360-4813},
	doi = {10.1080/13604810903525199},
	abstract = {This paper examines the logics and limits of graffiti management at a key site within an Australian city. Using writers’ narratives, we examine attempts to control the type of graffiti (script) against efforts to control its location (bleed). Our central claim is that both these strategies demand that graffiti only speak its name when it (visually) ceases to be itself—that the ‘best’ graffiti, bureaucratically speaking, is that which functions as its own form of erasure. We conclude by posing and responding to the key question: under what conditions is graffiti permitted to exist?},
	language = {English},
	number = {1-2},
	journal = {City},
	author = {Halsey, Mark and Pederick, Ben},
	year = {2010},
	note = {Num Pages: 17},
	keywords = {Graffiti, Mural art},
	pages = {82--98},
}

@article{iveson_wars_2010,
	title = {The wars on graffiti and the new military urbanism},
	volume = {14},
	issn = {1360-4813},
	doi = {10.1080/13604810903545783},
	abstract = {An ever‐expanding number of urban authorities have declared ‘war’ on graffiti. This paper explores the role the wars on graffiti have played in the creeping militarization of everyday life in the city. Wars on graffiti have contributed to the diffusion of military technologies and operational techniques into the realm of urban policy and policing. Furthermore, new Western military doctrines of urban warfare have sought to ‘learn lessons’ from the wars on graffiti (and other crime) in their efforts to achieve dominance over cities in both the global South and the Western ‘homeland’. The blurring of war and policing has deepened with the declaration of wars on terror. The stakes have been raised in urban social control efforts intended to protect communities from threats of ‘disorder’ such as graffiti, for the existence of even ‘minor’ infractions is thought to send a message to both ‘the community’ and ‘enemies within’ that there are vulnerabilities to be exploited with potentially more devastating consequences. Increasingly, there is a convergence around the notion that situational crime prevention strategies are crucial in combating both graffiti and terror threats, because even if graffiti writers and terrorists don’t share the same motivations, they do exploit the same urban vulnerabilities. The paper concludes with a critical reflection on what graffiti writers might be able to teach us about how to evade and/or contest the militarization of urban life.},
	language = {English},
	number = {1-2},
	journal = {City},
	author = {Iveson, Kurt},
	year = {2010},
	note = {Num Pages: 20},
	keywords = {Graffiti, War, Urbanism},
	pages = {115--134},
}

@article{karlander_backjumps_2018,
	title = {Backjumps: writing, watching, erasing train graffiti},
	volume = {28},
	issn = {1035-0330},
	doi = {10.1080/10350330.2016.1200802},
	abstract = {This article deals with mobile semiotics. First and foremost, it discusses mobility as a semiotic device. The analysis engages with backjumps, a genre of train graffiti that draws inventively on various forms of movement. The term backjump refers to any fairly elaborate graffiti piece painted on trains in traffic, notably during the trains’ extended stops at terminal stations. The examples focus on the Stockholm metro, where a rigorous anti-graffiti policy has been firmly in place: graffiti is quickly cleaned off trains and a range of strategies is implemented to keep graffiti writing under wraps. By slyly inserting graffiti into the metro system, the mobility-driven backjump practice allows graffiti writers to temporarily subvert this semiotic regime. Furthermore, the forms of semiotic mobility at play are not limited to the movement of the trains. As the present study shows, mobile backjumps are entangled in other patterns of mobility, which jointly underwrite a number of interlinked semiotic processes.},
	language = {English},
	number = {1},
	journal = {Social Semiotics},
	author = {Karlander, David},
	year = {2018},
	note = {Num Pages: 19},
	keywords = {Graffiti, Semiotics},
	pages = {41--59},
}

@article{ross_graffiti_2015,
	title = {Graffiti goes to the movies: {American} fictional films featuring graffiti artists/writers and themes},
	volume = {18},
	issn = {1028-2580},
	doi = {10.1080/10282580.2015.1057677},
	abstract = {Since the early 1980s, in addition to the increase in graffiti and street art in many urban contexts, a number of movies have been made that have either examined this phenomenon and the people who engage in this activity, or used graffiti and street art as a backdrop to tell a story. This article briefly reviews the scholarly literature that examines movies that portray criminals and criminal actions, and then analyzes seven American-produced fictional (drama) films using graffiti writers/artists as major characters and then draws generalizations about them. Although this is not a semiotic analysis of the films, to the extent possible, it delves into the settings, plots, characters, dialog, and how realistic the movies appear to be. In general, most of the films include unrealistic aspects and/or are of poor quality, and this contributes to misrepresentations of and stereotypes about graffiti writers/writing.},
	language = {English},
	number = {3},
	journal = {Contemporary Justice Review},
	author = {Ross, Jeffrey Ian},
	year = {2015},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, Art, Crime, Movie},
	pages = {366--383},
}

@article{ortiz_van_meerbeke_graffiti_2019,
	title = {‘{Graffiti} takes its own space’: {Negotiated} consent and the positionings of street artists and graffiti writers in {Bogotá}, {Colombia}},
	volume = {23},
	issn = {1360-4813},
	doi = {10.1080/13604813.2019.1646030},
	abstract = {The politics of graffiti and street art are often described in binary terms: criminalization of graffiti enhances its oppositional potential; its legalization destroys its counter hegemonic essence. In order to add nuance to this binary understanding of street art and graffiti, we examine the complex responses of street artists and graffiti writers to Decreto 75 (‘Decree 75’), an ordinance deployed by the mayoral administration of Gustavo Petro between 2011 and 2015 to formally regulate street art and graffiti writing in Bogotá, Colombia. In contradiction to previous policies that criminalized this subculture, this new legal framework promoted so called ‘responsible and artistic’ graffiti and street art, in part to support the ideology and political priorities of the Petro administration via muralist tropes long common in the Latin American city. We also examine the heterogeneous reactions of artists to this more permissible governance approach, drawing on interviews, photography, and active participation in the street art community in Bogotá. Since most research examining graffiti as a mode of contestation has been conducted in cities where street art and graffiti writing is criminalized, the case of Bogotá illuminates the implications of decriminalization strategies for the politics, practices, and meanings of contemporary graffiti and street art.},
	language = {English},
	number = {3},
	journal = {City},
	author = {Ortiz van Meerbeke, Gabriel and Sletto, Bjørn},
	year = {2019},
	note = {Num Pages: 22},
	keywords = {Graffiti, Criminology, Bogotá, Colombia},
	pages = {366--387},
}

@article{abram_graffiti_2024,
	title = {Graffiti, {Street} {Art} and {Murals} in the {Age} of the {Neoliberal} {City}: {The} {Muralization} of {Capital}},
	volume = {10},
	issn = {2183-3869},
	doi = {10.25765/sauc.v10i1.918},
	abstract = {The article explores graffiti, street art, and murals in the context of the neoliberal city, highlighting the transformation of these forms in the context of growing urban commodification, touristification and gentrification. The paper shows how contemporary neoliberal urbanism has driven the concept of the creative city that, in the framework of late-capitalist inter-urban rivalry, recuperated graffiti, street art and murals. Drawing on the growing body of literature in the field of graffiti and street art studies, and combining it with urban anthropology, the analysis of ethnographic material collected in Ljubljana (Slovenia) illuminates the role of graffiti and contemporary street art in the context of the neoliberal city – both as anti-gentrification politics and pro-gentrification policies. The paper argues for a nuanced understanding of the role of graffiti, street art and murals under the neoliberal regime of urban development, emphasizing the multi-layered nature of graffiti and street art: as a form of political activism, as an object of commodification, and as an instrument for de-ideologization, or what the author calls the muralization of capital.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Abram, Sandi},
	year = {2024},
	note = {Num Pages:14},
	keywords = {Graffiti, Street art, Murals, Slovenia, Ljubljana, Neoliberalism},
	pages = {40--53},
}

@article{abram_graffiti_2024-1,
	title = {Graffiti, {Street} {Art} and {Murals} {Against} the {Neoliberal} {City}: {Wall}-{Written} {Dissensus}},
	volume = {10},
	issn = {2183-3869},
	doi = {10.25765/sauc.v10i1.919},
	abstract = {The text explores graffiti, street art, and murals in the context of the neoliberal city, highlighting the transformation of these forms in the context of growing commodification, touristification and gentrification of urban space. Through an ethnographic research in Ljubljana (Slovenia), the study illuminates the wall-written dissensus against the current production of abstract space. Special attention is given to the visual transformation in autonomous zones, especially how squatter communities, and in particular an anarcha queer feminist group, use graffiti and street art as media for voicing radical activism, while relying on collective muralism to build a political community. The paper argues for a nuanced understanding of the role of graffiti, street art and murals in the context of the neoliberal city and within social movements, emphasizing the multi-layered nature of political graffiti and street art as a form of radical political activism.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Abram, Sandi},
	year = {2024},
	note = {Num Pages: 17},
	keywords = {Graffiti, Street art, Murals, Slovenia, Ljubljana, Neoliberalism},
	pages = {54--70},
}

@article{konda_proto_2024,
	title = {Proto {Street} {Art} in {Ljubljana} in the 1980s and 1990s: {The} {Case} of {Mizzart}},
	volume = {10},
	issn = {2183-3869},
	doi = {10.25765/sauc.v10i1.917},
	abstract = {Mizzart, a collective of students from different artistic fields, created large-scale paintings in the urban landscape in Ljubljana in the 1980s and 1990s. Their independent artistic practices in public space in the 1980s and 1990s could be described as ‘proto-street art’ – a new avenue of contemporary research in graffiti and street art studies. Based on a brief historical introduction of genealogical connections between street art and graffiti, upgraded with Rafael Schacter's classification of 'street art' as a defined artistic period, the article identifies the main characteristics of ‘proto-street art’, which are: the time of occurrence, agents, spontaneity/sovereignty, iconography, site specificity, unprofitability and interaction with public. Mizzart’s ephemeral cultural heritage is analysed by the proposed seven key formal elements of ‘proto-street art’.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Konda, Helena},
	year = {2024},
	note = {Num Pages: 13},
	keywords = {Graffiti, Street art, Slovenia, Ljubljana, Mizzart},
	pages = {26--38},
}

@article{proehl_concept_2024,
	title = {On the concept of graffiti},
	volume = {10},
	issn = {2183-3869},
	doi = {10.25765/sauc.v10i1.921},
	abstract = {In this article I present a series of reflections on the concept of graffiti. What begins as a critique of the ideological relation between “street art” and “graffiti” on the one hand and “center” and “periphery” on the other, unfolds as a schematic exploration of the relation between graffiti and social crisis. These theses argue that graffiti can and should be interpreted, and that this interpretation depends upon analyzing graffiti’s character as both text and image. In doing so they explore graffiti in crisis across the American hemisphere, moving from “center” to “periphery” and back again. In the ruin of New York, the commune of Oaxaca, the explosion of Santiago, we catch a vivid glimpse of the social form and latent content of graffiti.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Proehl, Kyle},
	year = {2024},
	note = {Num Pages: 7},
	keywords = {Graffiti, New York, Oaxaca, Santiago},
	pages = {90--96},
}

@article{tremblin_affect_2024,
	title = {Affect and {Effect} of {Overpainting} at the {Age} of {Neo}-muralism},
	volume = {10},
	issn = {2183-3869},
	doi = {10.25765/sauc.v10i1.922},
	abstract = {The art historical term pentimento is used to indicate areas in painting that have been modified or overpainted by the artist during the creative process. The process of tagging, covering and erasing existing graffiti and street art murals transforms the original visual work. When not restored, these ‘agonist ornaments’ generate an in-between graphic status to the mural, highlighting an ongoing conversation at the scale of the city. This dialogic aspect invites us to consider the shape of urban landscape as collective responsibility. Each overpainting transformation can thereby be considered to have the possibility of revealing affect and effect related to hidden power dynamics. Considering the walls of the city as a palimpsest, the author analyses a series of murals through the lens of overpainting dynamics and offers an updated and site-specific understanding of the concept, combined with urban core topics such as social control tendencies, game as urban approach, and expression of emotions in public space. The author concludes that the upcoming processual beauty of contemporary muralism can be attributed to a chain of interactions where various actors depends one each other, the ‘pentimento’ of the collective author.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Tremblin, Mathieu},
	year = {2024},
	note = {Num Pages: 26},
	keywords = {Graffiti, Murals, Fresco, Overpainting, Pentimento},
	pages = {98--123},
}

@article{tunic_queering_2024,
	title = {Queering the {Urban} {Space}: {The} {Adventures} of {Inspector} {Yoda} the {Wrinkled} in {Belgrade}, {Serbia}},
	volume = {10},
	issn = {2183-3869},
	doi = {10.25765/sauc.v10i1.920},
	abstract = {Inspector Yoda the Wrinkled (Inspektor Yoda Zgužvani) is an artivist project by Nikola Herman (alias Nikša), who also involved his pug Yoda in creating a street art alter ego to bring critical commentary and humor to the streets of Belgrade, Serbia, between 2014 and 2018. Inspector’s work is closely intertwined with the LGBTQ+ history and street art interventions in Belgrade over the past two decades. It provides an example of a locally contextualized and critical appropriation of the concept and term queer (in Serbian, kvar, which literally translates to “malfunction”). In nearly 200 graffiti and visual messages, Inspector Yoda the Wrinkled playfully appropriated vernacular language, often subverting their meaning, and offering an important gender and social critique in the nationalistic and sometimes violent public space of Belgrade in the mid-2010s. It is paramount to look at these interventions in a contextualized and embodied manner: as situational artworks which serve as tools of queer place-making. The stenciled little pug with speech balloons that Nikša used to tag the city may be seen as a sign of resistance and hope within an environment prone to desensitization to violence and general apathy.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Tunić, Srđan},
	year = {2024},
	note = {Num Pages: 17},
	keywords = {Graffiti, Belgrade, Serbia, Queer},
	pages = {72--88},
}

@article{usic_margins_2024,
	title = {On the {Margins} of {Memory}: {World} {War} {II} {Graffiti} in the {Northern} {Adriatic} {Borderland}},
	volume = {10},
	issn = {2183-3869},
	doi = {10.25765/sauc.v10i1.916},
	abstract = {The article explores a specific historical graffiti-scape in the Northern Adriatic borderland, composed of antifascist, (pro)communist and pro-Yugoslav political inscriptions and symbols created during World War II and the immediate postwar period by antifascist and communist activists. Produced in a turbulent historical period that radically reshaped the broader region, these graffiti ‘survived’ and endured almost 80 years, transcending their original political function and historical context of production, as well as the postwar Yugoslav and socialist future that their messages articulated, imagined and projected in the landscape. Today, these historical notes and fragments, scattered across present-day Croatian, Slovenian and Italian territories, represent a singular and significant, but largely unrecognized and overlooked archive that transmits a set of political imaginations, ideological discourses, linguistic nuances and historical experiences that depict a complex and multifaceted picture of the 1940s context in the borderland. The aim of the article is to, first, introduce and (re)contextualize the historical material with an examination of the main features of the documented World War II graffiti corpus and, second, to analyze the graffiti’s contents and meanings in order to highlight their historical, archival, cultural and memorial significance as unfiltered and authentic texts that constitute a particular and unexplored layer of the borderland’s memory landscape and (auto)biography.},
	language = {English},
	number = {1},
	journal = {Street Art \& Urban Creativity Scientific Journal},
	author = {Ušić, Eric},
	year = {2024},
	note = {Num Pages: 15},
	keywords = {Graffiti, WWII, Political graffiti, Yugoslavia},
	pages = {10--24},
}

@article{goncalves_street_2022,
	title = {Street art/art in the street – semiotics, politics, economy},
	volume = {32},
	issn = {1035-0330},
	doi = {10.1080/10350330.2022.2114724},
	abstract = {The last decades have seen the ideological transformations of graffiti and street art once constructed as criminal acts and associated with urban decay to being acceptable and profitable forms of commercial art. The spaces and places where these art forms are found have long transcended streets to art galleries and corporate advertising billboards and campaigns making them “the most visible forms of global urban culture and urban transgression” (Ferrell 2016, xxx; Bofkin 2014). This special issue on street art/art in the street explores street art's proliferation and complexity in different contexts as it relates to the political economy and neoliberal capitalism raising questions of social class, urban growth, cultural production, and consumerism. The themes investigated include notions of legality and illegality, regimes of visibility and invisibility, semiotic situated acts and art, ephemerality, permanence and mediatization, the political economy of place as well as the changing symbolic and economic value of street art tapping into issues of subcultural status and social class identities. This collection of papers draws on a range of theoretical frameworks and methodological approaches providing readers with interdisciplinary insights into the complex and changing nature of street art to account (and better understand) this social semiotic phenomena.},
	language = {English},
	number = {4},
	journal = {Social Semiotics},
	author = {Gonçalves, Kellie and Milani, Tommaso M.},
	year = {2022},
	note = {Num Pages: 19},
	keywords = {Graffiti, Street art, Politics, Semiotics},
	pages = {425--443},
}

@book{corcoran_city_2013,
	address = {New York},
	title = {City as canvas: {New} {York} {City} graffiti from the {Martin} {Wong} collection},
	isbn = {978-0-8478-3986-5},
	abstract = {A visual account of the birth of graffiti and street art, showcasing as-yet-unseen works collected by preeminent artist Martin Wong. Referred to by the New York Times as an artist {\textbackslash}textquotedblwhose meticulous visionary realism is among the lasting legacies of New York’s East Village art scene of the 1980s,{\textbackslash}textquotedbl Martin Wong (1946–1999) was firmly entrenched in the NYC street art world of the late ’70s and ’80s. City as Canvas chronicles the most important chapter in the street art movement and the artists involved. Showcasing Wong’s enormous graffiti art collection, the book contains artwork, photographs, black books, letters, postcards, posters, and flyers made by Wong and his artist friends. The book contains previously unpublished art by famous street artists such as Futura 2000, Jean-Michel Basquiat, Christopher {\textbackslash}textquotedblDaze{\textbackslash}textquotedbl Ellis, LA II, Lady Pink, and Keith Haring, to name only a few. City as Canvas traces the origins of urban self-expression and the era of {\textbackslash}textquotedbloutlaw{\textbackslash}textquotedbl street art in New York, which primed the floodgates for graffiti art to spread worldwide. Exhibition Schedule: Museum of the City of New York: Opens October 2013.},
	language = {English},
	publisher = {Skira Rizzoli Publications and Museum of the City of New York},
	editor = {Corcoran, Sean and McCormick, Carlo},
	year = {2013},
	keywords = {Graffiti, Street art, New York, USA, American graffiti},
}

@incollection{bianchi_stichworte_1984,
	address = {Basel},
	title = {Stichworte zu {Einer} Ästhetik der {Graffiti}},
	isbn = {978-3-7643-1617-4},
	language = {German},
	booktitle = {Graffiti},
	publisher = {Birkhäuser},
	author = {Bianchi, Paolo and Jehle, Werner and Gamboni, Dario},
	editor = {Bianchi, Paolo},
	year = {1984},
	doi = {10.1007/978-3-0348-6258-5_2},
	note = {Num Pages: 28},
	keywords = {Graffiti, Kilroy},
	pages = {12--39},
}

@incollection{billeter_drei_1984,
	address = {Basel},
	title = {Drei {Stationen} — {Zürich}, {Berlin} und {New} {York}},
	isbn = {978-3-7643-1617-4},
	language = {German},
	booktitle = {Graffiti},
	publisher = {Birkhäuser},
	author = {Billeter, Fritz and Laederach, Jürg and Hartung, Klaus and Tremp, Urs and Elms, Robert and Honnef, Klaus},
	editor = {Bianchi, Paolo},
	year = {1984},
	doi = {10.1007/978-3-0348-6258-5_3},
	note = {Num Pages: 50},
	keywords = {Graffiti, Berlin, Germany, New York, USA, American graffiti, Switzerland, Rap, Zürich},
	pages = {40--89},
}

@book{eisewicht_dirty_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Dirty {Hands}: {Interdisziplinäre} {Perspektiven} auf die {Graffiti}-{Szene}},
	isbn = {978-3-658-37798-4},
	abstract = {Dieser Band vereint erstmals Beiträge aus verschiedenen Disziplinen (Kunst-, Rechts-, Erziehungs- und Sozialwissenschaften) zur deutschen Graffiti-Szene. Dabei verschränken sich Perspektiven von außen auf die Szene mit Sichtweisen von innen. Über die Beiträge hinweg wird dabei deutlich, wie facettenreich Graffiti als kulturelles Phänomen ist und wie anschlussreich methodische und theoretische Perspektiven der Kultur- und Sozialwissenschaften daran sind. Abseits gesellschaftlicher Typisierungen, Dramatisierungen, Missverständnisse und Mythen werden dabei der Szenealltag, die Szenegeschichte und die Handlungsprobleme der Writer beleuchtet.},
	language = {German},
	publisher = {Springer Fachmedien Wiesbaden},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1},
	keywords = {Graffiti},
}

@incollection{frey_politische_1984,
	address = {Basel},
	title = {Politische {Wandbilder}},
	isbn = {978-3-7643-1617-4},
	language = {German},
	booktitle = {Graffiti},
	publisher = {Birkhäuser},
	author = {Frey, Peter and Ceppi, Enrique and Paas, Sigrun and Cleary, Patricio and Diener, Pablo and Wendt, Bernd and Hebeisen, Heinz and Haasis, Hellmut G. and Margadant-Lindner, Alexa and Margadant-Linder, Bruno},
	editor = {Bianchi, Paolo},
	year = {1984},
	doi = {10.1007/978-3-0348-6258-5_6},
	note = {Num Pages: 32},
	keywords = {Graffiti, Political graffiti},
	pages = {138--169},
}

@incollection{giese_portrats_1984,
	address = {Basel},
	title = {Porträts},
	isbn = {978-3-7643-1617-4},
	language = {German},
	booktitle = {Graffiti},
	publisher = {Birkhäuser},
	author = {Giese, Thomas and Zaugg, Helena and Schregenberger, Felix and Uli von Erlach, Hans},
	editor = {Bianchi, Paolo},
	year = {1984},
	doi = {10.1007/978-3-0348-6258-5_4},
	note = {Num Pages: 24},
	keywords = {Graffiti},
	pages = {90--113},
}

@incollection{giese_wandmalerei_1984,
	address = {Basel},
	title = {Wandmalerei in der {Schule}: {Zwei} {Beispiele}},
	isbn = {978-3-7643-1617-4},
	language = {German},
	booktitle = {Graffiti},
	publisher = {Birkhäuser},
	author = {Giese, Thomas and Weberhofer, Daniel},
	editor = {Bianchi, Paolo},
	year = {1984},
	doi = {10.1007/978-3-0348-6258-5_8},
	note = {Num Pages: 6},
	keywords = {Graffiti},
	pages = {180--185},
}

@incollection{meister_plakataktionen_1984,
	address = {Basel},
	title = {Plakataktionen},
	isbn = {978-3-7643-1617-4},
	language = {German},
	booktitle = {Graffiti},
	publisher = {Birkhäuser},
	author = {Meister, Hans-Herrmann and Stüssi, Anna},
	editor = {Bianchi, Paolo},
	year = {1984},
	doi = {10.1007/978-3-0348-6258-5_7},
	note = {Num Pages: 10},
	keywords = {Graffiti, Posters},
	pages = {170--179},
}

@incollection{schmidt-brummer_fassadenmalerei_1984,
	address = {Basel},
	title = {Fassadenmalerei {USA} und {Europa}},
	isbn = {978-3-7643-1617-4},
	language = {German},
	booktitle = {Graffiti},
	publisher = {Birkhäuser},
	author = {Schmidt-Brümmer, Horst},
	editor = {Bianchi, Paolo},
	year = {1984},
	doi = {10.1007/978-3-0348-6258-5_5},
	note = {Num Pages: 24},
	keywords = {Graffiti, Europe, USA, Murals, American graffiti},
	pages = {114--137},
}

@incollection{thevoz_mauer_1984,
	address = {Basel},
	title = {Die {Mauer} als erogene {Zone}},
	isbn = {978-3-7643-1617-4},
	language = {German},
	booktitle = {Graffiti},
	publisher = {Birkhäuser},
	author = {Thévoz, Michel},
	editor = {Bianchi, Paolo},
	year = {1984},
	doi = {10.1007/978-3-0348-6258-5_1},
	note = {Num Pages: 2},
	keywords = {Graffiti},
	pages = {10--11},
}

@mastersthesis{schouwenburg_towards_2012,
	title = {Towards a {New} {Materialist} {University} {History}? {The} {Case} of {Student} {Graffiti} at the {Utrecht} {University} {Library}},
	language = {English},
	author = {Schouwenburg, Hans},
	year = {2012},
	keywords = {Graffiti, Library, the Netherlands, Utrecht},
}

@incollection{eisewicht_einleitung_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Einleitung – {Zur} {Vielfalt} der {Graffiti}-{Forschung}},
	isbn = {978-3-658-37798-4},
	abstract = {In den letzten Jahrzehnten hat sich die sozialwissenschaftliche Erforschung von Szenen erheblich ausdifferenziert. Trotz vereinzelter Arbeiten und Monographien zur Hip-Hop-Szene gibt es kaum Arbeiten, welche die Graffiti-Szene in den Fokus rücken und verschiedene sozialwissenschaftliche Perspektiven auf das Phänomen in Diskussion bringen. Gegenüber gesellschaftlichen Typisierungen, Dramatisierungen, Missverständnissen und Mythen sollen in diesem Band so der Szenealltag, die Szenegeschichte und die alltäglichen Handlungsprobleme und Lösungsstrategien der Writer und Writerinnen beleuchtet werden. Wir wollen damit einen Beitrag dazu leisten, die Besonderheit von Graffiti als soziale Praktik, als Gruppenzugehörigkeit und gesellschaftliche Teilkultur weitergehend zu verstehen.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Eisewicht, Paul and Lintzen, Laura-Maria},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_1},
	note = {Num Pages: 4},
	keywords = {Graffiti},
	pages = {1--4},
}

@incollection{eisewicht_style-writing_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Style-{Writing} als {Straßensportkunst}: {Beobachtende} {Teilnahme} im illegalisierten {Feld} des {Hip}-{Hop}-{Graffiti}},
	isbn = {978-3-658-37798-4},
	abstract = {Der Beitrag beschreibt Graffiti im Rahmen einer lebensweltanalytischen Ethnographie aus der Binnenperspektive als ‚kleine soziale Lebenswelt‘. Darin sollen Limitierungen von Arbeiten, die in einer Außenansicht nur auf die Kernaktivität der Anbringung von Graffiti fokussieren, überwunden werden. Anhand forschungspraktischer Feldpassagen wird die methodische Arbeit und das existentielle Engagement im Feld erläutert. Hip-Hop-Graffiti bzw. Style-Writing wird dabei als ‚Straßensportkunst‘ definiert und darin als zusammengehörigkeitsstiftende Gesellung Gleichgesinnter erörtert. In Rekonstruktion des kulturellen Haushalts der Szene werden zwei prototypische Handlungs- und Deutungsmuster – die des Artist und des Artisan – rekonstruiert.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Eisewicht, Paul},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_7},
	note = {Num Pages: 22},
	keywords = {Graffiti, Graffiti writing, Writing},
	pages = {99--120},
}

@incollection{ganzert_auszeit_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Auszeit vom {Alltag}: {Das} {Ritual} des {Checkens} beim {Trainwriting}},
	isbn = {978-3-658-37798-4},
	abstract = {Diese ethnografische Studie von Daniel Ganzert untersucht Erfahrungen und Praktiken von Graffitisprayern, die sich auf das Besprühen von Zügen spezialisiert haben. Dabei wird auf die Vorbereitungsrituale fokussiert, die oftmals von Menschen außerhalb der Szene keine Beachtung finden. Vielmehr wurde bisher auf die Produktion und das Produkt von Graffiti geschaut. Der Autor zeigt jedoch auf, wie sich Sprayer anhand von Mythen vor dem eigentlichen Akt des Sprühens auf die Aktionen vorbereiten. Dabei spielen Überwindung von baulichen Hindernissen, Vermeidung oder Täuschung sämtlicher Sicherheitsvorkehrungen der Zuggesellschaften sowie das ‚Ausspähen‘ von Abstellanlagen eine wesentliche Rolle. Hierfür wurden lange Feldbeobachtungen realisiert und anschließend analysiert.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Ganzert, Daniel},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_4},
	note = {Num Pages: 26},
	keywords = {Graffiti, Graffiti writing, Writing, Train graffiti},
	pages = {43--68},
}

@incollection{gau_uber_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Über die {Strafwürdigkeit} des {Unästhetischen}},
	isbn = {978-3-658-37798-4},
	abstract = {Der Beitrag betrachtet das Phänomen Graffiti aus strafrechtlicher Perspektive. Durch einen Blick auf die Novellierung des Strafgesetzbuches wird die aktuelle Fassung des § 303 StGB kritisch betrachtet und die Strafwürdigkeit des unästhetischen infrage gestellt.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Gau, Patrick},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_5},
	note = {Num Pages: 7},
	keywords = {Graffiti},
	pages = {69--75},
}

@incollection{grothus_stilbeschreibung_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Stilbeschreibung des Œuvres des {Künstlers} {Mason}},
	isbn = {978-3-658-37798-4},
	abstract = {Die Stilbeschreibung des Œuvres des Künstlers Mason befasst sich in vier Zeitabschnitten mit den Veränderungen und unveränderlichen Merkmalen der Signaturen des Künstlers von Beginn seines Schaffens 1986 bis zum Jahr 2020. Die Kunstanalyse zielt darauf ab den Künstler und sein Werk zu verstehen und die Einzigartigkeit sichtbar zu machen, dass sich Mason innerhalb der Bewegung rund um die Signatur in den neunziger Jahren von vorherrschenden Stilen emanzipiert hat. Hierzu wurden Künstlergespräche geführt und Bildwerke betrachtet und verglichen.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Grothus, Rahel H.},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_16},
	note = {Num Pages: 10},
	keywords = {Graffiti, Mason},
	pages = {269--278},
}

@incollection{heinze_entstehung_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Die {Entstehung} der {Hamburger} {Graffiti}-{Szene}: {Besonderheiten} und {Aspekte}},
	isbn = {978-3-658-37798-4},
	abstract = {Der Artikel beschäftigt sich mit der Entstehung und Entwicklung der Hamburger Graffiti-Szene zwischen den 1980er und 1990er Jahren. Dabei wird nicht nur ein Hamburger Projekt vorgestellt, dass sich in einem anderen Zusammenhang dieser Entstehungsphase widmet, sondern es wird auch die Frage aufgeworfen, wie eine Form von Historisierung einer Szene gelingen kann, die vornehmlich auf Flüchtigkeit, Situativität und Spontanität beruht. Mit dieser Perspektive nähert sich der Artikel einem nicht nur für die Graffiti-Szene signifikanten Trend der historischen Aufarbeitung, der auch andere Jugendszenen seit längerer Zeit erfasst hat.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Heinze, Carsten},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_17},
	note = {Num Pages: 16},
	keywords = {Graffiti, Germany, Hamburg},
	pages = {279--294},
}

@incollection{hinz_formale_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Formale {Aspekte} der {Dortmunder} {Graffiti} – eine lokalstilistische {Einordnung}},
	isbn = {978-3-658-37798-4},
	abstract = {Bestimmende Merkmale des Graffiti-Kunst-Stils Dortmund, den Lisa Gottlieb 2008 kategorisiert hat, seien scharfe Buchstabenkonturen, einheitliche Schaftstärke der Buchstaben und der deckende Farbauftrag. Wendet man diese drei Kriterien auf die Pieces in einem Werk des Künstlers Moses von 2006 an (Abb. 1), so sind diese erfüllt. Betrachtet man jedoch die Vorlagen Moses´, fällt auf, dass der Duktus weicher ist als der seiner Vorläufer.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Hinz, Harald},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_15},
	note = {Num Pages: 15},
	keywords = {Graffiti, Germany, Dortmund},
	pages = {253--267},
}

@incollection{hubscher_ghostwriter_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {ghost.writer {Graffiti} als kulturell-ästhetische {Praktik} und performative Äußerung},
	isbn = {978-3-658-37798-4},
	abstract = {Der Beitrag skizziert die Stadt als „raumgewordene Gesellschaft“ (vgl. Siebel 2015) und beschreibt die symbiotische Beziehung zwischen Architekturen und Orten und szenetypischem Handeln. Graffiti wird dabei als kulturell-ästhetische Praktik und performative Äußerung verstanden, die als unmittelbare Reaktion auf lokal und globalkulturelle Phänomene reagiert sowie individuelle und kollektive Spielweisen sichtbar macht. Bild und Text werden zu medialen Artikulationen jenseits von verbal Versprachlichtem, werden zu Indikatoren gesellschaftlicher Zustände, wie ein Beispiel aus Dortmund vom Frühjahr 2020, zu Beginn des pandemischen Geschehens durch den COVID-19 Virus zeigt.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Hübscher, Sarah},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_14},
	note = {Num Pages: 9},
	keywords = {Graffiti, Writing, Ghost writer},
	pages = {243--251},
}

@incollection{jepsy_real_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {The {Real} {Deal}},
	isbn = {978-3-658-37798-4},
	abstract = {Der Text gewährt einmalige und detaillierte Einblicke in den nächtlichen Ausflug des Sprühers in der Mitte der neunziger Jahre in den Untergrund zu einer abgestellten U-Bahn in einem Tunnel. Außerdem berichtet er über die Gefahren und Schwierigkeiten einer solchen Aktion, sowie der anschließenden Jagd auf den besprühten Zug quer durch Hamburg.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {{JEPSY}},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_2},
	note = {Num Pages: 7},
	keywords = {Graffiti, Germany, Hamburg},
	pages = {5--11},
}

@incollection{kleele_stylewriting_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Stylewriting als {Kultur} des massenhaften {Individualverhaltens}},
	isbn = {978-3-658-37798-4},
	abstract = {Graffiti stellt nicht nur den thematischen Kern und die künstlerische Stilrichtung einer Szene dar, mit ihm ist immer auch ein individueller, kreativer Ausdruck verbunden. Im Fokus des Beitrags steht das sog. Stylewriting, das kunstvolle Schreiben von Schriftzügen, als die originäre Form des American Graffiti. Aus dem Blickwinkel einer visuellen Wissenssoziologie wird untersucht, wie Graffiti Writer mittels stilistischer Veränderungen und gestalterischer Komposition die ursprünglich funktionale Bedeutung von Buchstaben durch einen zusätzlichen Ausdruckssinn erweitern. Im Sinne der habituellen Ambivalenz wird Individualität und Originalität der visuellen Gestaltung als Anspruch innerhalb der Szene formuliert. Gleichzeitig ist Stylewriting nicht nur an das schriftliche Symbolsystem, sondern auch an die normativen Präformierungen der Sehgemeinschaft Graffiti gebunden, die sich als kultureller Hintergrund verfestigt haben. Diese Wechselbeziehungen zwischen Individualität und der Aufrechterhaltung einer integrativen, zugleich nach außen hin exklusiven Kultur betrachtet der Beitrag mitunter anhand der Analyse verschiedener Graffiti Gestaltungen.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Kleele, Sebastian},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_10},
	note = {Num Pages: 17},
	keywords = {Graffiti, Graffiti writing, Writing},
	pages = {145--161},
}

@incollection{kriegesmann_wir_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {„{Wir} sind nicht die {Szene}, wir sind die {Kante}“. {Strategien} einer {Graffiti}-{Crew} zur {Abgrenzung} und {Gestaltung} von {Zugehörigkeiten}},
	isbn = {978-3-658-37798-4},
	abstract = {In diesem Beitrag werden empirische Ergebnisse über die Grenzziehungen einer Crew im Handlungsfeld Graffiti vorgestellt. Durch einen ethnographischen Feldzugang wird sich dabei auf die Innensicht der Crew-Mitglieder konzentriert. Es wird gezeigt, wie diese Crew Grenzziehungen praktiziert: Sie grenzt sich von den Hardlinern der Szene – Writer oder Crews, die fast jede Nacht aktiv sind und ihre Ziele in aller Konsequenz durchsetzen – ab, indem grundsätzliche Werteorientierungen und Bestrebungen innerhalb der Szene kritisch betrachtet werden. Dem folgend verortet sich die untersuchte Crew am Rande der Szene, da der Szene-Kern durch die Maßstäbe der Hardliner und deren Handeln beurteilt wird. Trotzdem steht die individuelle Motivation für Graffiti als Kunst und als Möglichkeit sich auszuleben, zu fokussieren und zu konzentrieren im Vordergrund. Deswegen nutzt die Crew Strategien zur Kohäsion, um sich als Eigenes zu definieren und sich selbst als die am besten geeignete Crew für ihre Mitglieder darzustellen.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Kriegesmann, Mira},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_6},
	note = {Num Pages: 21},
	keywords = {Graffiti, Crew},
	pages = {77--97},
}

@incollection{kuhnert_einfuhrung_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Einführung in die {Eleutherographetik}},
	isbn = {978-3-658-37798-4},
	abstract = {Dieser Grundlagentext behandelt eine spezielle Kunstschriftgattung: die Eleutherographie. Sie findet ihre deutlichste Ausprägung im Avantgarde-Stylewriting und grenzt sich durch einen starken Verfremdungseffekt von der Typographie und der Chirographie (einschließlich Kalligraphie) ab. Der Text behandelt vor allem gegenstandsästhetische Fragen zur Buchstabenanatomie, -struktur und -verbindung. Außerdem werden wichtige Begriffe und Aufgaben jener neu zu etablierenden Schriftkunstlehre erläutert, die sich mit der Eleutherographie beschäftigt (Eleutherographetik).},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Kuhnert, Oliver},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_13},
	note = {Num Pages: 33},
	keywords = {Graffiti},
	pages = {209--241},
}

@incollection{lintzen_rules_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Rules of {Graffiti}: {Wie} {Wettbewerb} die inhärenten {Verhaltensmuster} der {Szene} reguliert},
	isbn = {978-3-658-37798-4},
	abstract = {Im Beitrag Rules of Graffiti rekonstruiert Frau Lintzen Strukturen, die ihr im Rahmen eines ethnographischen Forschungsvorhabens in der Dortmunder Graffiti-Szene begegneten. Vor dem Hintergrund dieser Daten stellt sie dar, wie Wettbewerb die inhärenten Verhaltensmuster der Graffiti-Szene zu regulieren scheint und präsentiert zehn unterschiedliche Graffiti-Regeln sowie deren szeneinterne Bedeutung.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Lintzen, Laura-Maria},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_3},
	note = {Num Pages: 29},
	keywords = {Graffiti},
	pages = {13--41},
}

@incollection{ludwig_aka_jbl_i_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {I spot with my little eye. {Malen} und {Fame} betrachtet aus einer {Komplementärperspektive}},
	isbn = {978-3-658-37798-4},
	abstract = {Der Artikel beschreibt eine thematisch ungewöhnliche und alternative Perspektive auf Graffiti und die Graffiti-Subkultur. Erzählt wird von der künstlerischen Auseinandersetzung eines Designers, Spotters und spätberufenen Writers, mit einer für ihn neuem künstlerischen Technik, in einer für ihn schon bekannten, aber erst seit kurzem offenen Gruppierung. Der Text handelt vom Kennenlernen der Verhaltensweisen und Regeln im Graffiti und vom Eintauchen in eine gestalterische Subkultur zu einem Zeitpunkt im persönlichen Werdegang, der eine komplementäre Sichtweise und eine gänzlich andere Reflexion zulässt als die Konventionelle. Hinterfragend und beobachtend, erzählt der Autor Johannes Baptista Ludwig von den ersten Berührungen mit der Szene und begründet seine lange Entwicklung hin vom passiven zum aktiven Teilnehmer. Er erklärt seine Sichtweise über die künstlerische Qualität von Graffitos und nimmt dabei einen Kontrapunkt zu vielen anderen Malern ein. Kommentierend spricht er aus der Sicht eines schaffenden Künstlers und Lehrenden über seine gemachten Erfahrungen und über szenetypische soziale Zusammenhänge und Phänomene.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Ludwig aka JBL, Johannes Baptista},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_8},
	note = {Num Pages: 14},
	keywords = {Graffiti},
	pages = {121--134},
}

@incollection{schneickert_neuen_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Die neuen {Regeln} des {Graffiti}-{Feldes}. {Eine} {Subkultur} zwischen hochkultureller {Anerkennung}, neoliberaler {Selbstvermarktung} und {Digitalisierung}},
	isbn = {978-3-658-37798-4},
	abstract = {Der vorliegende Beitrag untersucht den Wandel von Graffiti-Writing als Strukturwandel eines subkulturellen Feldes. Die Anwendung feldtheoretischer Annahmen (Bourdieu) auf die subkulturelle Praxis ermöglicht eine Perspektive, die von der Selbstwahrnehmung der darin relevanten Akteur*innen ebenso abweicht wie von einer ‚objektiven‘, empirischen Beschreibung der Struktur der Subkultur. Demnach handelt es sich beim Graffiti-Feld einerseits um eine mehr oder minder ausdifferenzierte und von der Sozial- bzw. Klassenstruktur der Gesellschaft weitgehend unabhängige soziale Sphäre mit eigenen Normen und Gesetzen. Zugang und Erfolg bestimmen sich primär über feldspezifische Regeln. Andererseits ist auch im sozialen Feld Graffiti – wie in allen sozialen Feldern – die Wirkung sozialer Ungleichheit (im sozialen Raum) nicht vollständig suspendiert. Die mit unterschiedlichen habituellen Dispositionen und Persönlichkeitsmerkmalen ausgestatteten Akteur*innen akkumulieren in der Praxis im Feld verschiedene feldspezifische Kapitalsorten und entwickeln feldspezifische Habitusmuster. Sie erzeugen auf diese Weise eine, für Felder der kulturellen Produktion typische, sozialräumliche Struktur. Aus dieser theoretischen Perspektive rekonstruieren wir drei zentrale Transformationen des subkulturellen Feldes im vergangenen Jahrzehnt: 1) Ökonomisierung: Das Spannungsverhältnis zwischen Anerkennung in der Hochkultur und dem Erbe einer vormals ‚illegitimen Kultur‘ geht mit Widersprüchen zwischen dem autonomen Pol (Authentizität, ‚street credibility‘ usw.) und dem heteronomen Pol (Ökonomisierung, ‚sell out‘, mainstream etc.) des Feldes einher; 2) Globalisierung: Seit den 1980er Jahren diffundierte die Graffiti-Subkultur aus den USA heraus zunächst nach Westeuropa. Als in der Folge zunehmend globales Phänomen entwickelte Graffiti als Feld viele lokale Ausprägungen in den 1990er und 2000er Jahren, prominent z. B. in Osteuropa oder Lateinamerika, später in Russland und weiten Teilen Asiens. Diese können soziologisch als „Glokalisierungsprozesse“ beschrieben werden. Heute beobachten wir, nicht zuletzt durch Digitalisierung, tatsächlich Elemente einer transnationalen bzw. globalen Praxis innerhalb dieser Subkultur – ein globales Feld; 3) Digitalisierung: Aufgrund der hohen Relevanz visueller Inhalte und sozialer Netzwerke ist das subkulturelle Feld hochgradig offen für digitale Medien und besonders social media (v. a. instagram). Digitalisierungsprozesse beschleunigen und intensivieren sowohl die Ökonomisierung als auch die Globalisierung des Graffiti-Feldes und erzeugen neue Dynamiken und Formen sozialer Praxis. Der Beitrag rekonstruiert aktuelle Entwicklungen in einer konkreten subkulturellen Sphäre, entwirft Indikatoren zur empirischen Untersuchung dieses Feldes und leistet nicht zuletzt einen Beitrag zur Diskussion der feldtheoretischen Grundannahmen im Kontext von Subkultur.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Schneickert, Christian and Meixner, Jonas and Schumacher, Florian},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_11},
	note = {Num Pages: 25},
	keywords = {Graffiti},
	pages = {163--187},
}

@incollection{schroer-werner_stylewriting_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {{StyleWriting} – {Potenziale} und {Herausforderungen} forschungsmethodischer {Zugänge} zu szenetypischen {Visualisierungen}},
	isbn = {978-3-658-37798-4},
	abstract = {Graffiti gilt neben Rap, Breakdance und DJing als eines der vier Kernelemente der HipHop-Kultur. Charakteristisch für Graffiti im Kontext von HipHop ist eine Verbindung von Sprache und Bild(ern), auf die auch die Eigenbezeichnung „StyleWrtiting“ verweist. Das wiederum zieht eine Simultanität von Text und Visualisierung nach sich, deren zugrundeliegenden Sinnstrukturen und ästhetische Referenzen sich nicht ausschließlich durch die Analyse kommunikativer Artefakte erfassen lassen. Die Eigenlogik von Bildern als Zeichen und Symbole erfordert eine Interpretationsleistung auf mindestens zwei Ebenen: 1) Die Wirkung visueller Artefakte und 2) die Intendiertheit dieser Effekte. Die Herausforderung für empirische Zugänge besteht darin, szenetypisches (Kontext-)Wissen und damit einhergehende semantische Referenzen der produzierenden Akteure einerseits sowie mögliche Interpretationen durch Rezipient*innen andererseits methodisch stringent zu rekonstruieren. Im vorliegenden Beitrag werden in diesem Zusammenhang Potenziale und Herausforderungen verschiedener Ansätze (Bildhermeneutische Verfahren, Dokumentarische Methode, seriell-ikonografische Analyse, Grounded Theory) diskutiert sowie ein mögliches Vorgehen anhand der Analyse eines Graffito skizziert.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Schröer-Werner, Sebastian},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_12},
	note = {Num Pages: 20},
	keywords = {Graffiti, Graffiti writing, Writing},
	pages = {189--208},
}

@incollection{schwarzhoff_vom_2022,
	address = {Wiesbaden},
	series = {Erlebniswelten},
	title = {Vom {Drang} nach kreativer {Selbstverwirklichung}. {Aus} dem {Leben} eines {Graffiti}-{Anwalts}},
	isbn = {978-3-658-37798-4},
	abstract = {In Graffiti-Verfahren treffe ich als Verteidiger jedoch auf zwei Besonderheiten, die es für mich stets zu beachten gilt. Zum einen vermittle ich meinen Mandanten bereits im ersten Gespräch unmissverständlich, dass es in meinem Besprechungsraum nicht um Fragen der Kunst und Ästhetik der verfahrensgegenständlichen Werke, sondern vielmehr um die einzig relevante, rein juristische Sichtweise der Angelegenheit geht. Eine seriöse und damit für den Mandanten möglichst erfolgsversprechende Verteidigung setzt nämlich voraus, dass man die notwendige professionelle Distanz zum Sachverhalt wahrt. Denn obgleich ich als Kind der 80er Jahre und gebürtiger Dortmunder seit meinen frühesten Kindestagen mit dem Stadtbild meiner geliebten Heimat stets die Werke von Chintz, Mason, Shark, Izm, Wut, Rio und anderen verbinde und diese seitdem bei mir eine bis heute ungebrochene Faszination für die Kunstform Graffiti hervorgerufen haben, ändert dieser Umstand natürlich nichts daran, dass es sich bei den illegal angebrachten Kunstwerken zweifelsfrei um Straftaten handelt. Insofern erklärt es sich auch von selbst, dass mein Verständnis von und meine Begeisterung für die Graffiti-Kultur unlängst nicht von den übrigen Verfahrensbeteiligten im Gerichtssaal geteilt werden. Diesem Spannungsverhältnis zwischen der Affinität für die Kunstform und meiner Position als Rechtsanwalt und Organ der Rechtspflege gilt es daher stets besonders Rechnung zu tragen. Zum anderen wohnt dem Graffiti-Verfahren aber auch auf sachlicher Ebene eine Besonderheit inne, welche - unter Umständen - die erfolgreiche Verteidigung des eigenen Mandanten torpedieren oder jedenfalls erheblich erschweren kann: Der Name. Selbstverständlich ist damit nicht die auf Differenzierung von anderen Lebewesen zielende und von den eigenen Eltern meist liebevoll ausgesuchte kennzeichnende Benennung eines menschlichen Individuums gemeint, sondern vielmehr das Herzstück und die Quintessenz eines jeden Writer-Daseins: Das eigens ausgewählte und sorgfältig in jahrelanger mühsamer Handarbeit künstlerisch weiterentwickelte Pseudonym. Das Vehikel, welches es dem Mandanten überhaupt erst erlaubt, abseits von Klarnamen eine zweite Identität anzunehmen, in die Tiefen einer bisweilen komplexen Alternativrealität abzutauchen, auf Flächen jeglicher Art seinem Drang nach künstlerischer Selbstverwirklichung nachzukommen und auf diese Weise im Wettstreit mit Gleichgesinnten den eigenen Namen möglichst groß in Leuchtbuchstaben überall lesen zu können. Der Writer möchte dabei jeden Winkel des urbanen Dschungels erkunden, mit dem Stadtbild verschmelzen und dabei seine ganz individuellen Spuren hinterlassen. Hauswände. Schallschutzwände. U-Bahn-Tunnel. Und die Königsdisziplin:Das öffentliche Nahverkehrssystem. Einfach überall. All City.},
	language = {German},
	booktitle = {Dirty {Hands}},
	publisher = {Springer Fachmedien Wiesbaden},
	author = {Schwarzhoff, Jan-Peter},
	editor = {Eisewicht, Paul and Lintzen, Laura-Maria},
	year = {2022},
	doi = {10.1007/978-3-658-37799-1_9},
	note = {Num Pages: 10},
	keywords = {Graffiti, Criminology, Lawyer},
	pages = {135--144},
}

@article{andron_selling_2018,
	title = {Selling streetness as experience: {The} role of street art tours in branding the creative city},
	volume = {66},
	issn = {0038-0261},
	doi = {10.1177/0038026118771293},
	abstract = {This article looks at the street art tours industry in London, and its function in constructing the geographic, economic and symbolic value of street art. The street art world of the capital has reached a substantial level of institutional endorsement as a proper urban creative practice, through backing such as by local councils and private developers, art galleries and book publishers. This article examines the role of walking tours in holding up street art as a cultural product of the creative city. It argues that London’s street art scene is constructed and legitimated by these tours through the strategic deployment of an authoritative discourse. Street art tours’ routes and locations are then integrated into a longer lineage of endorsements for the cultural field of street art, and interpreted as branding strategies for the creative city. In the conclusion, the role of walking tours in gentrification and urban change is discussed, with a focus on how street art works and murals contribute to performing Shoreditch as a hub of vibrancy and urban creativity.},
	language = {English},
	number = {5},
	journal = {The Sociological Review},
	author = {Andron, Sabina},
	year = {2018},
	note = {Num Pages: 22},
	keywords = {Street art, London, UK, England, Street art tours},
	pages = {1036--1057},
}

@book{fleming_graffiti_2001,
	address = {London},
	title = {Graffiti and the {Writing} {Arts} of {Early} {Modern} {England}},
	isbn = {1-86189-189-3},
	abstract = {Tattoos and graffiti immediately bring to mind contemporary urban life and its inhabitants. But in fact, both practices date back much further than is generally thought\&;even by scholars. Drawing on a previously unavailable archive, Juliet Fleming reveals the unknown and disregarded literary arts of sixteenth century England. In Graffiti and the Writing Arts of Early Modern England, Fleming argues that our modern assumptions of what constitutes written expression have limited our access to and understanding of early modern history and writing. Fleming combines detailed historical scholarship with intellectual daring in a work that describes how writing practices have not been limited to the boundaries of the page; instead they have included body surfaces, ceramics, ceilings, walls, and windows. Moving beyond what has been preserved in print and manuscript, this book claims the whitewashed wall as the primary textual canvas of the early modern English, explores the tattooing practices of sixteenth-century Europeans, and uncovers the poetics of ceramic cookware. Graffiti and the Writing Arts of Early Modern England will provide a startling new perspective for scholars of early modern literature and cultural history.},
	language = {English},
	publisher = {Reaktion Books},
	author = {Fleming, Juliet},
	year = {2001},
	keywords = {Graffiti, England, Writing, Tattoo, Ancient graffiti, Medieval graffiti, Whitewash},
}

@article{white_graffiti_2001,
	title = {Graffiti, {Crime} {Prevention} \& {Cultural} {Space}},
	volume = {12},
	issn = {1034-5329},
	doi = {10.1080/10345329.2001.12036199},
	language = {English},
	number = {3},
	journal = {Current Issues in Criminal Justice},
	author = {White, Rob},
	year = {2001},
	note = {Num Pages: 16},
	keywords = {Graffiti, Criminology},
	pages = {253--268},
}

@article{mitschke_exploring_2017,
	title = {Exploring everyday encounters with street art using a multimethod design},
	volume = {11},
	issn = {1931-3896},
	doi = {10.1037/aca0000131},
	abstract = {In a combination of an outdoor and a laboratory study, we tested how people encountered sculptures and graffiti in an everyday setting. To accomplish an ecologically valid design, we let 12 participants engage in a free exploration walk at the Danube Canal in Vienna, Austria, equipped with a mobile eye tracker. To further investigate our field measures, we conducted a follow-up laboratory session, in which the participants commented on first-person videos from their own walks. After watching the video, participants rated various views from their walk for aesthetic liking and interest. We found that participants spent up to 50\% of the overall fixation time exploring aesthetic objects and artworks. Further, aesthetic liking and interest for certain views predicted gaze behavior during the walk. The free exploration task gave the participants the freedom to interact with the environment and yielded valuable results about the modalities of attention deployment in a real setting. Our study shows that the combination of field and laboratory testing is feasible and can be beneficial for a more ecologically valid study of empirical aesthetics. Furthermore, our findings illustrate the importance of art displays in everyday life and encourage the use of art, supporting the urban art movement and its stance as a public asset.},
	language = {English},
	number = {3},
	journal = {Psychology of Aesthetics, Creativity, and the Arts},
	author = {Mitschke, Vanessa and Goller, Juergen and Leder, Helmut},
	year = {2017},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Eye tracking},
	pages = {276--283},
}

@article{heinich_when_2012,
	title = {When is {Artification}?},
	volume = {Special Volume 4},
	issn = {1932-8478},
	abstract = {How do people do or make things that come to be seen as works of art? In other words, when is there artification? The answer to this question is simultaneously symbolic, material, and contextual. It has to do with meanings, objects, interaction, and institutions. We seek to define not what art is nor how it should be considered, but how and under what circumstances it comes about by way of methodical observation and inquiry in a variety of fields. Circus acrobats, breakdancers, fashion designers, chefs, graffiti artists, printers, photographers, and jazz musicians are some of the examples we explore. This pragmatic and empirical perspective enables us to present a typology of forms of artification and examine its sources as well as the questions of de-artification and obstacles to artification.},
	language = {English},
	journal = {Contemporary aesthetics},
	author = {Heinich, Nathalie and Shapiro, Roberta},
	year = {2012},
	note = {Num Pages: 16},
	keywords = {Graffiti, Art, Sociology, Artification},
}

@article{baldini_street_2020,
	title = {Street {Art}, {Decorum}, and the {Politics} of {Urban} {Aesthetics}},
	volume = {Special Volume 8},
	issn = {1932-8478},
	abstract = {In the last forty years or so, authorities across the globe have appealed to the notion of decorum to justify authoritarian policies of urban control. Such a notion is distinctly aesthetic insofar as it deals with good taste in matters of appearances and behavior; decorum is about what we should or is appropriate to see and do in public spaces. When considering how deeply discussions and policies of decorum shape our daily lives, it is surprising that aestheticians have largely ignored the city as a subject of inquiry. In this paper, I examine the heretofore largely overlooked link between the city’s decorum, as a key notion in political discourse, and the discipline of aesthetics. At a general level, I show that the urban landscape is a domain where politics and aesthetics merge. More specifically, I argue that street art should be conceptualized as a subversive response to the authoritarian aesthetics that is embedded in political discourse about decorum. Street art injects into the urban landscape a dose of spontaneity. In doing so, it turns upside-down the exclusionary strictures of dominant politics of decorum that admits as appropriate, and perhaps beautiful, only the authorized and the sanctioned. By creating temporary zones of spontaneity, street artists invite us to imagine alternative ways to use the city.},
	language = {English},
	journal = {Contemporary aesthetics},
	author = {Baldini, Andrea},
	year = {2020},
	note = {Num Pages: 21},
	keywords = {Graffiti, Banksy, Street art},
}

@article{yan_street_2019,
	title = {Street art as alternative attractions: {A} case of the {East} {Side} {Gallery}},
	volume = {29},
	issn = {22119736},
	doi = {10.1016/j.tmp.2018.11.001},
	abstract = {As an alternative form of tourist attraction, street art has received little attention in the tourism literature. This study focused on Berlin as a typical destination that has used street art to successfully attract tourists. Based on thematic analyses of the tourist reviews of the street art at the East Side Gallery, a section of the Berlin Wall, on TripAdvisor, this study explores how tourists experienced the street art attractions. Analysis of the data disclosed four main themes: wall, art, history, and visits. Despite its historical theme, the East Side Gallery was mainly experienced as an art rather than a heritage site. The tourists had mixed feelings about the site, experiencing sadness associated with the history of the wall and aesthetic pleasure aroused by the murals. The implications for future studies are noted.},
	language = {English},
	journal = {Tourism Management Perspectives},
	author = {Yan, Libo and Xu, Jing and Sun, Zhen and Xu, Ye},
	year = {2019},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Berlin, Germany, East Side Gallery},
	pages = {76--85},
}

@article{szubielska_greater_2022,
	title = {Greater art classification does not necessarily predict better liking: {Evidence} from graffiti and other visual arts},
	volume = {11},
	doi = {10.1002/pchj.473},
	abstract = {We tested the relationship between art classification and liking of the graffiti murals among naive viewers (N = 60 college students). Graffiti murals were classified as art to a lesser extent than both abstract and representational paintings. Surprisingly, graffiti murals were only liked less than representational but not abstract paintings. Thus, art classification might not necessarily predict liking.},
	language = {English},
	number = {5},
	journal = {PsyCh journal},
	author = {Szubielska, Magdalena and Ho, Robbie},
	year = {2022},
	note = {Num Pages: 4},
	keywords = {Graffiti, Art, Murals, Aesthetics},
	pages = {656--659},
}

@article{ho_development_2018,
	title = {Development of {Street} {Audience} {Experience} ({SAE}) {Scale}},
	volume = {12},
	issn = {1931-3896},
	doi = {10.1037/aca0000161},
	abstract = {Street performance (busking) has gained a higher social status in the 21st century. Recently, scholars have argued for its merit in contributing to the quality of urban life. Past studies of street performance have focused on performers and performances; there is a research gap in the literature calling attention to studying street performance from an audience perspective. A Street Audience Experience (SAE) scale was developed based on a Hong Kong sample through an exploratory and a confirmatory stage over 3 parts of study. In the exploratory stage, interviews and a quantitative survey were conducted and followed by an exploratory factor analysis to inform a hypothetical factor model. In the confirmatory stage, another survey was conducted and followed by a confirmatory factor analysis to validate the model. Six factors of street audience experience were confirmed: emotion, intellect, interaction, novelty, place, and technique. Based on the SAE scale, the relations between the audience’s experience of street performance and their behavioral intentions are also discussed.},
	language = {English},
	number = {4},
	journal = {Psychology of Aesthetics, Creativity, and the Arts},
	author = {Ho, Robbie and Au, Wing Tung},
	year = {2018},
	note = {Num Pages: 18},
	keywords = {Street art, Busking, Street performance},
	pages = {453--470},
}

@article{ceccato_defecation_2023,
	title = {Defecation, littering and other acts of public disturbance in pandemic times – {A} study of a {Scandinavian} city},
	volume = {141},
	issn = {02642751},
	doi = {10.1016/j.cities.2023.104456},
	abstract = {The spatiotemporal patterns of public disturbance acts are investigated in Stockholm, the capital of Sweden. Using crowdsourced data, the number of records is compared 15 months before and after the stay-at-home measures of the COVID-19 pandemic, controlling for seasonal trends. Poisson-Gamma-CAR regression models are implemented to assess the potential impact of land use on the spatial distribution of public disturbance acts, accounting for the effect of pandemic restrictions and differences in neighborhood context. Findings show that, with the exception of abandoned vehicles, there was a significant increase in records of public disturbance after the 2020 stay-at-home pandemic restrictions. Parks, transport hubs and less importantly, schools were significantly associated with public disturbances, controlling for neighborhood characteristics and reporting practices. Recommendations are made for research and practice.},
	language = {English},
	journal = {Cities},
	author = {Ceccato, Vania and Parishwad, Omkar and Levine, Ned},
	year = {2023},
	note = {Num Pages: 13},
	keywords = {Graffiti, Sweden, COVID-19, Stockholm, Scandinavia},
	pages = {104456},
}

@article{guagnin_evaluating_2023,
	title = {Evaluating possible prehistoric cave art in the central {Mediterranean}: {Analyses} of pigment traces and identification of taphonomic processes at {Għar} Ħasan, {Malta}},
	volume = {47},
	issn = {2352-409X},
	doi = {10.1016/j.jasrep.2022.103815},
	abstract = {The archaeology of the Maltese Islands, particularly the megalithic ‘temple’ structures and underground mass burial sites (hypogea) of the ‘Temple Period’ (ca. 3800 – 2300 BCE), has been the subject of considerable interest. Less is known about the prehistoric use of caves. In particular reports of prehistoric cave art at Għar Ħasan (Hasan’s Cave) have remained controversial, and have been argued to reflect an otherwise unknown pre-Neolithic occupation on the islands. Here, we report a reinvestigation of Għar Ħasan. To distinguish graffiti that have accumulated over the last century and possible older rock art, a range of non-invasive methods were used to determine the chemical properties and colour spectrum of the pigment traces: portable energy-dispersive X-ray fluorescence spectrometry (p-ED-XRF) and visible (VIS) and near-infrared (NIR) spectroscopy. In addition, pigment traces were analyzed with digital microscopy and image enhancement techniques (DStretch). Most of the previously reported cave paintings were shown to have been produced in the last century. One key panel may be older, but vandalism and other destructive processes make a definitive assessment challenging. While we therefore consider the evidence for ‘Palaeolithic’ cave art at Għar Ħasan to be inconclusive, our study also identified complex taphonomic processes that pose severe limitations on the identification of pigment via p-ED-XRF and spectroscopy and can inform and guide future initiatives for rock art conservation.},
	language = {English},
	journal = {Journal of Archaeological Science: Reports},
	author = {Guagnin, Maria and Haburaj, Vincent and Groucutt, Huw S. and Hoelzmann, Philipp and Gauci, Ritienne and Vella, Nicholas C. and Parisi, Cetty and Cassar, Mark and Cassar, Yasmin and Asciak, Gillian and Scerri, Eleanor},
	year = {2023},
	note = {Num Pages: 14},
	keywords = {Graffiti, Contrast enhancement, NIR photography, Pigments, Rock art, Decorrelation stretch, DStretch, XRF, Paleolithic, Neolithic, Prehistory, Għar Ħasan, Matla, Microscopy, p-ED-XRF (portable Energy-Dispersive X-Ray Fluorescence), Spectrometry},
	pages = {103815},
}

@book{hornblower_oxford_2012,
	address = {Oxford},
	edition = {Fourth},
	title = {The {Oxford} classical dictionary},
	isbn = {978-0-19-954556-8},
	abstract = {For more than half a century, the Oxford Classical Dictionary has been the unrivaled one-volume reference work on the Greco-Roman world. Whether one is interested in literature or art, philosophy or law, mythology or science, intimate details of daily life or broad cultural and historical trends, the OCD is the first place to turn for clear, authoritative information on all aspects of ancient culture. Now comes the Fourth Edition of this redoubtable resource, thoroughly revised and updated, with numerous new entries and two new focus areas (on reception and anthropology). Here, in over six thousand entries ranging from long articles to brief identifications, readers can find information on virtually any topic of interest–athletics, bee-keeping, botany, magic, religious rites, postal service, slavery, navigation, and the reckoning of time. The Oxford Classical Dictionary profiles every major figure of Greece and Rome, from Homer and Virgil to Julius Caesar and Alexander the Great. Readers will find entries on mythological and legendary figures, on major cities, famous buildings, and important geographical landmarks, and on legal, rhetorical, literary, and political terms and concepts.},
	language = {English},
	publisher = {Oxford University Press},
	editor = {Hornblower, Simon and Spawforth, Antony and Eidinow, Esther},
	year = {2012},
	keywords = {Graffiti, Roman archaeology, Greek archaeology, Greek, Dictionary, Latin},
}

@article{macalister_graffiti_1943,
	title = {On {Graffiti} {Representing} {Ships}, on the {Wall} of {Moyne} {Priory}, {Co}. {Mayo}},
	volume = {13},
	language = {English},
	number = {4},
	journal = {Journal of the Royal Society of Antiquaries of Ireland},
	author = {Macalister, R. A. S.},
	year = {1943},
	note = {Num Pages: 11},
	keywords = {Graffiti, Ships, Moyne Priory},
	pages = {107--117},
}

@book{tanzer_common_1939,
	address = {Baltimore},
	series = {Studies in archaeology},
	title = {The common people of {Pompeii}: a study of the graffiti},
	volume = {29},
	abstract = {The purpose of this document is to investigate the life of the common people of Pompeii as revealed through the graffiti which were preserved when Mr. Vesuvius erupted in 79 A.D. In addition to the graffiti, the author also analyzed friezes and wall paintings. The graffiti were mainly election notices, advertisements, and miscellaneous personal notes. From the graffiti the author reconstructs information on various occupations, spectacles and gladiatorial combats, etc.},
	language = {English},
	publisher = {Johns Hopkins University Press},
	author = {Tanzer, Helen Henrietta},
	year = {1939},
	keywords = {Graffiti, Italy, Pompeii, Roman archaeology, Roman graffiti, Ancient graffiti},
}

@article{winlock_graffiti_1941,
	title = {Graffiti of the {Priesthood} of the {Eleventh} {Dynasty} {Temples} at {Thebes}},
	volume = {58},
	issn = {1062-0516},
	doi = {10.1086/370601},
	language = {English},
	number = {2},
	journal = {The American Journal of Semitic Languages and Literatures},
	author = {Winlock, H. E.},
	year = {1941},
	note = {Num Pages: 23},
	keywords = {Graffiti, Ancient graffiti, Egyptian graffiti, Thebes},
	pages = {146--168},
}

@book{carlsson_street_2024,
	address = {Årsta},
	edition = {Third},
	title = {Street {Art} {Cookbook}: {A} guide to techniques and materials},
	isbn = {978-91-88369-88-8},
	abstract = {The complete DIY bible of street art is back in print by popular demand! A rich source of inspiration for anyone interested in do-it-yourself culture. The Street Art Cookbook is a guide to the materials and techniques used within today's most creative and progressive art movement. In hundreds of pictures and illustrations and a dozen of interviews with some of the world's most famous artists, the authors show how street art is made. From stencils and stickers to laser tagging and guerrilla gardening, Street Art Cookbook takes us on a trip around the world in the search of the tricks and trades of street artists. Posters, stickers, screen print, mosaic, sculptures. There is no limit to their imagination. Hundreds of books filled with pictures of street art have been published, but this is the one that shows how the artists work. Learn from the best: Street Art Cookbook is filled with tips and examples of how to create your own stencil, sticker, poster or installation. These techniques can be used on all kinds of materials: textiles, glass, metal, concrete or wood and is suitable for everything from scrapbooking and designing clothes with motifs to home decoration and outdoor use. The Street Art Cookbook gives a unique insight into the alternative art world and it's a rich source of inspiration for anyone interested in DIY-culture. Mark Jenkins, Swoon, Gould, WK Interact, Caper, Victor Marx, C215, Poch, Ron English and Knitta Please, are some of the artists featured in this book. This updated edition features a foreword by Shai Dahan, who offers a personal story about his first stumbling steps towards becoming a world-famous street artist.},
	language = {English},
	publisher = {Dokument Press},
	author = {Carlsson, Benke and Louie, Hop},
	year = {2024},
	keywords = {Graffiti, Street art, Stencil graffiti, Guerrilla gardening},
}

@article{gaubert_faiseurs_2024,
	title = {Faiseurs de graffitis. {Réflexions} sur l’approche sociologique du phénomène graffiti},
	doi = {10.48035/rhsj-gh.31.9},
	abstract = {Le graffiti est désormais un document reconnu pour son intérêt scientifique qui fait l’objet d’une science nouvelle : la graffitologie. Il est un phénomène ancien et complexe qui se caractérise par une diversité de natures, de fonctions, de contextes et d’auteurs. Compte tenu de cette pluralité, il s’agit – sans se restreindre à un corpus particulier – d’interroger l’existence d’un usage socio-différencié des murs dans l’histoire. Je propose pour ce faire une réflexion-bilan sur l’approche sociologique des faiseurs de graffitis, tout en questionnant la méthode, les enjeux et les limites d’une telle démarche. Les apports historiographiques récents vont dans le sens d’une pratique multiple qui dépasse les appartenances socio-économiques et culturelles, et invitent à reconsidérer l’étendue sociologique du graffiti et sa place dans les sociétés passées et présentes. Comme objets socioculturels et témoignages directs, les graffitis donnent la parole aussi bien aux gens ordinaires qu’aux élites, aux masses populaires qu’aux masses silencieuses, aux analphabètes qu’aux lettrés.},
	language = {French},
	number = {31},
	journal = {Huarte de San Juan. Geografía e Historia},
	author = {Gaubert, Aymeric},
	year = {2024},
	note = {Num pages: 22},
	keywords = {Graffiti, Anthropology},
	pages = {181--202},
}

@book{feret_graffiti_2008,
	address = {Augst},
	series = {Forschungen in {Augst}},
	title = {Les graffiti sur céramique d'{Augusta} {Raurica}},
	volume = {40},
	isbn = {978-3-7151-0040-1},
	abstract = {This is a detailed catalogue of the 1,816 graffiti found in the Roman colony Augusta Emerita Raurica (modern Augst in Switzerland). The authors present an in-depth study of all the graffiti on pottery from the Roman period (with the exception of graffiti on amphoras). It is a systematic undertaking: besides drawings of all graffiti, the authors present detailed paleographic and linguistic analyses. The graffiti are also considered in context, such as geographic location within the colony. Overall, this corpus provides a wealth of information on culture, religion, society, economy, literacy, and various aspects of so-called Romanization. In this corpus, 1,585 graffiti were incised on pottery after firing, and most contain verbal messages, notably the names of owners. These graffiti can be found predominantly on fine tableware for serving and dining, especially Gaulish Samian Ware. Among the 585 property markers, there are many Celtic names, including some unique names, such as Arourix and Cracomos. Almost one-third of all names—at least of those names for which gender can be clearly identified—belong to women, many of Celtic origin. Having identified just 16 female names among the property markers (51), however, it appears far-fetched to postulate a “société egalitaire entre hommes et femmes” (93). Names appear to become increasingly Roman over time, but Celtic components remain present throughout the entire period. For the authors, the presence of Celtic names in the second–third centuries C.E. indicates “a persistence of Celtic traditions in a perfectly Romanized urban context” (53). We need not only criticize the general use of the term “Romanization” in this book but also the repeated aim to analyze the “degree of Romanization,” as if this was some measurable quantity. Such a method presumes a progressive process by which so-called indigenous traits increasingly die out, which seems unlikely. Moreover, we need to consider that the number of Celtic names that can be dated and clearly identified at Augusta Raurica is too low to make such conclusions: of the 585 property markers, only 202 names can be identified (many are too fragmented). Eighty-six names can be used to analyze their Latin/Celtic origins, while the gender of a name can be identified in only 85 cases. Only 27 of 86 names can be identified as Latin, but these Latin names can be assumed to be those of the indigenous population; many local people might adopt particular Latin names, for example, as a “nom d’assonance” or “Deckname”—a concept that could have profited from more detailed discussion here (see, e.g., B. Rémy, “Un example de romanisation: La dénomination des habitants des Alpes cottiennes au Haut-Empire d’après les inscriptions,” in R. Häussler, ed., Romanisation et épigraphie: Études interdisciplinaires sur l’acculturation et l’identité dans l’Empire romain [Montagnac 2008] 53–94). For the authors, the persistence and development of names of Gallic origin until the third century C.E. is considered to be one of the characteristics of the corpus of Augusta Raurica (92), but we should take into account other epigraphic corpora: for the Alpes Cottiae, for example, Rémy ([2008] 85–6) has shown the continuing importance of local names, and on curse tablets from Britain, we find countless indigenous names throughout the Roman period. There are just 13 religious texts on the graffiti. In many Romano-Celtic sanctuaries, graffiti play an important role, but at Augusta Raurica, these graffiti have been found mainly in domestic contexts, suggesting domestic cults. They attest a number of so-called indigenous deities, such as Sirona (“Serona” [sic]) and Epona. The attractiveness of indigenous deities in this Roman colony can also be supported by stone inscriptions from Augusta Raurica, such as the dedications to Apollo and Sirona (H. Nesselhauf and H. Lieb, “Dritter Nachtrag zu CIL XIII,” BerRGK 40 [1959] 97) and Sucellos (AÉpigr [1926] 40). Also behind Jupiter and Regina, the authors quite rightly suggest indigenous (i.e., local) deities. More doubtful, however, is the reconstruction of MASV as (Mars) Masu(ciaco)—a deity otherwise only attested in Gallia Narbonensis; a personal name such as Masueta/Masuetus or Masurius seems more probable. Similarly, the suggestion to expand MARTI E[...] as Mars Exalbiouix (62) seems rather unlikely (e[...] could stand for e[x voto]). Interestingly, the authors consider the graffiti MAR and MARTI to be personal names, rather than dedications to Mars (43–4). The authors produce detailed paleographic studies on all graffiti, which is vital for understanding issues of chronology and literacy. Most graffiti were written not in the cursive script but in capital letters (85), which, for the authors, indicate the influence of public inscriptions on “vernacular” writing (87). Their comparison with graffiti from Britain (allegedly only 1.8\% are in cursive [85]) appears, however, to be outdated; for example, 75\% of all graffiti from Aquae Sulis (Bath) and virtually all Vindolanda writing tablets were in the Roman cursive script and not in capitals. The alleged use of “lettres gréco-latines” in Augustan Augst is seen as an indicator for the persistence of Celtic traditions (93), though the alleged relation of two graffiti (nos. 201, 202) with the Gallo-Greek epigraphy of southern Gaul remains uncertain (50–1). There are also a small number of numeral graffiti from Augusta Raurica, indicating prices, weights (e.g., pound, modius, sextarius), and content (e.g., flour). Among the 61 anepigraphic graffiti, some show figurative drawings depicting, for example, a gladiator or a bird. In addition, the authors analyze the 231 graffiti incised before firing. These are primarily names of potters; five of the eight names are Celtic. Interestingly, we do not find these graffiti on fine tableware but on hand-thrown coarse ware and light-colored jugs largely produced by local pottery workshops (99), which were used for storage and preparation of food (112). For the authors, this represents “un aspect social à caractère ‘indigène’ très marqué” (114). And if Belissa really was a female potter’s name, as the authors suggest, it would be interesting to have a woman in charge of a pottery workshop. Altogether, this is an important publication, as it shows how graffiti can improve our understanding of local society and culture. Graffiti provide different insights than stone inscriptions, such as different naming practices and evidence for a vernacular language. It would have been interesting to compare the profiles of these graffiti with the approximately 70 stone inscriptions from Augusta Raurica. Following Feugère (“Plaidoyer pour la ‘petite épigraphie’: L’exemple de la cité de Béziers,” in Häussler [2008] 119–34), it is to be hoped that there will be many more publications of such caliber on graffiti, not just on pottery but also on other materials—such as lead, bronze, and wood—as these will provide new and sometimes contradictory information on sociocultural developments in the Roman provinces.},
	language = {French},
	publisher = {Augusta Raurica},
	author = {Féret, Gaële and Sylvestre, Richard},
	year = {2008},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Ancient graffiti, Augusta Raurica},
}

@book{hocking_bad_2012,
	address = {London},
	title = {Bad graffiti},
	isbn = {978-1-907317-82-8},
	abstract = {Bad Graffiti is the photographic collection of artist and sculptor Scott Hocking from his journeys around abandoned properties and areas of dereliction. Bad Graffiti is a celebration of ‘bad’ graffiti, as opposed to the more typically published graffiti of known taggers. Street art has become mainstream in recent years and the work of graffiti artists’ been celebrated and taken away from the street to be displayed in galleries. This book looks at the other end of the spectrum, focusing on the rough lettering and lude comments more commonly found on street signs and toilet doors. Rather than yet another book on ‘designer’ graffiti, Bad Graffiti looks at the plethora of graffiti that adorns our cities at a ubiquitous, popular cultural level. It is a record of the graffiti of the everyday, not of the named ‘artists’ who have contributed to the many books on graffiti ‘art’ over the past ten years or so. Scott Hocking has been photographing graffiti since 2007, focusing on the humorous commentary decorating urban landscapes and particularly in areas of decay or abandonment. Hocking’s photographs, collected here for the first time, tell the story of the everyday and showcase the areas or markings so often seen but also overlooked by others. Bad Graffiti is a funny, informative and at times irreverent look at the urban landscape today, making a great gift for those interested in the city and popular culture.},
	language = {English},
	publisher = {Black Dog Publishing},
	author = {Hocking, Scott},
	year = {2012},
	keywords = {Graffiti},
}

@incollection{volioti_materiality_2011,
	address = {New York and Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {The {Materiality} of {Graffiti}. {Socialising} a {Lekythos} in {Pherai}},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Volioti, Katerina},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 19},
	keywords = {Graffiti, Ancient graffiti, Greek graffiti, Lekythos, Pherai},
	pages = {134--152},
}

@incollection{abaza_field_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {The field of graffiti and street art in post-{January} 2011 {Egypt}},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Abaza, Mona},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 16},
	keywords = {Graffiti, Egypt},
	pages = {318--333},
}

@incollection{austin_city_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {From the city walls to '{Clean} {Trains}'. {Graffiti} in {New} {York} {City}, 1969–1990},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Austin, Joe A.},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Graffiti, New York, USA, Train graffiti},
	pages = {223--233},
}

@incollection{bengtsen_stealing_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Stealing from the public. {The} value of street art taken from the street},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Bengtsen, Peter},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 13},
	keywords = {Graffiti, Street art},
	pages = {416--428},
}

@incollection{bloch_challenging_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Challenging the defense of graffiti, in defense of graffiti},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Bloch, Stefano},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 12},
	keywords = {Graffiti},
	pages = {440--451},
}

@incollection{brighenti_graffiti_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Graffiti, street art and the divergent synthesis of place valorisation in contemporary urbanism},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Brighenti, Andrea Mubi},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art},
	pages = {158--167},
}

@incollection{campos_marx_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {From {Marx} to {Merkel}. {Political} muralism and street art in {Lisbon}},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Campos, Ricardo},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 17},
	keywords = {Graffiti, Portugal, Lisbon},
	pages = {301--317},
}

@incollection{evans_graffiti_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Graffiti art and the city. {From} piece-making to place-making},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Evans, Graeme L.},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 15},
	keywords = {Graffiti},
	pages = {168--182},
}

@incollection{fieni_graffiti_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Graffiti and street art in {Paris}},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Fieni, David},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 13},
	keywords = {Graffiti, Street art, France, Paris},
	pages = {288--300},
}

@article{fimiani_rue_2021,
	title = {La rue est à nous. {Dal} mondo dell’arte a {Google} street view (e ritorno)},
	volume = {77},
	issn = {0035-6212},
	doi = {10.4000/estetica.14584},
	abstract = {Periphery looks at you with hate. This phrase in red neon struck the visitors of Landscapes, an exhibition by Domenico Antonio Mancini in the Lia Rumma Gallery in Naples, in 2019. It was not addressed to the public but to the nineteenth-century pictorial views relocated in the last room of the exhibition, as if repainted by the immaterial vandalism of the colored light. The exhibition’s theme was the visibility of contemporary suburban environments, now accessible through Google street view visualizations. Mancini’s non-representational Landscapes are Google addresses, not aesthetically appreciable but pragmatically challenging: the visitor must type on a touch screen to access to the outskirts of Naples, Palermo, Catania, Rome and Milan. The words at the end of the exhibition almost literally replicated a black graffiti drawn on Palazzo Missori in Milan. Are these relocation and remediation just about artification? What happens when, browsing Google street view, I take a close look at that graffiti recalling the political protests during the streets the 1960s? The deictic transitability in space and time of the hypermediated image can activate a fortuitous narrative and an open interpretation by looking back on the present as if it were past. Even a digital landscape is a moral landscape like that of public art for Danto, with a «internal beauty» whose meaning is not already embodied in architectural and artistic media but accessible and shareable through our portable devices.},
	language = {Italian},
	journal = {Rivista di Estetica},
	author = {Fimiani, Filippo},
	year = {2021},
	note = {Num Pages: 18},
	keywords = {Graffiti, Google street view},
	pages = {59--76},
}

@incollection{haveri_yarn_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Yarn bombing – the softer side of street art},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Haveri, Minna},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Yarn Bombing},
	pages = {103--112},
}

@incollection{keough_tagging_2000,
	address = {New York and Abingdon},
	series = {Routledge {Research} in {Art} and {Politics}},
	title = {Tagging 2.0. {Graffiti} {Research} {Lab}'s {Opposition} {Through} {Open}-{Source} {Technology}},
	isbn = {978-1-138-32590-6},
	abstract = {Evan Roth and James Powderly created the Graffiti Research Lab (GRL) in New York City in 2005. They had two specific goals in mind: to create open-source tools for traditional graffitists—tools that would lead to new graffiti forms and methods—and to initiate the reconsideration of graffiti amongst urban populations. Graffiti—which began appearing in its modern-day form in major cities in the late 1960s—was, and still is, viewed as vandalism by much of the public and disregarded as a valid form of art or self-expression. However, advertising, which began dominating urban environments at this same historical moment, remains legal and generally accepted. GRL developed low-tech, user-friendly forms of graffiti technology to force a reevaluation of the relationship between established systems, like advertising, and graffiti. GRL assisted graffitists in “getting up” and avoiding arrest and, through widely sharing these alternative forms of graffiti, encouraged greater public participation and understanding of the practice.]},
	language = {English},
	booktitle = {Social {Practice} {Art} in {Turbulent} {Times}: the revolution will be live},
	publisher = {Routledge},
	author = {Keough, Jessica},
	editor = {Schruers, Eric J. and Olson, Kristina},
	year = {2000},
	doi = {10.4324/9780429450167-6},
	note = {Num Pages: 13},
	keywords = {Graffiti, Graffiti Research Lab, Tagging},
	pages = {61--73},
}

@incollection{kramer_straight_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Straight from the underground. {New} {York} {City}'s legal graffiti writing culture},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Kramer, Ronald},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Graffiti, Graffiti writing, Underground, Writing, Legality},
	pages = {113--123},
}

@incollection{kramer_new_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {New {York} {City}'s moral panic over graffiti. {Normalizing} neoliberal penality and paving the way for growth machines},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Kramer, Ronald},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 12},
	keywords = {Graffiti, New York},
	pages = {404--415},
}

@incollection{lennon_trains_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Trains, railroad workers and illegal riders. {The} subcultural world of hobo graffiti},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Lennon, John F.},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 9},
	keywords = {Graffiti, Illegality, Train graffiti},
	pages = {27--35},
}

@incollection{macdonald_something_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Something for the boys? {Exploring} the changing gender dynamics of the graffiti subculture},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Macdonald, Nancy},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Graffiti, Gender},
	pages = {183--193},
}

@incollection{martin_american_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {American {Indian} graffiti},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Martín, Favian},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 12},
	keywords = {Graffiti, USA, American graffiti, Indian graffiti},
	pages = {124--135},
}

@incollection{pabon_ways_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Ways of being seen. {Gender} and the writing on the wall},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Pabón, Jessica N.},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 14},
	keywords = {Graffiti, Graffiti writing, Gender},
	pages = {78--91},
}

@incollection{palmer_battle_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {The battle for public space along the {Mapocho} {River}, {Santiago} de {Chile}, 1964–2014},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Palmer, Rodney},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 14},
	keywords = {Graffiti, Chili, Mapocho River, Santiago de Chile},
	pages = {258--271},
}

@incollection{peteet_wall_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Wall talk. {Palestinian} graffiti},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Peteet, Julie},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Graffiti, Palestine},
	pages = {334--344},
}

@incollection{phillips_deconstructing_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Deconstructing gang graffiti},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Phillips, Susan A.},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 13},
	keywords = {Graffiti, Gang graffiti},
	pages = {48--60},
}

@incollection{piano_boost_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {"{Boost} or blight?" {Graffiti} writing and street art in the "new" {New} {Orleans}},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Piano, Doreen},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 13},
	keywords = {Graffiti, USA, American graffiti, New Orleans},
	pages = {234--246},
}

@incollection{ross_history_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {History, types, and writers/artists of graffiti and street art},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Ross, Jeffrey Ian},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Graffiti writing},
	pages = {11--15},
}

@incollection{ross_theoretical_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Theoretical explanations of graffiti and street art/causes of graffiti and street art},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Ross, Jeffrey Ian},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art},
	pages = {137--140},
}

@incollection{ross_regionalmunicipal_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Regional/municipal variations/differences of graffiti and street art},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Ross, Jeffrey Ian},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 7},
	keywords = {Graffiti, Street art},
	pages = {215--221},
}

@incollection{ross_contemporary_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Contemporary graffiti and street art in the {UK}'s capital},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Ross, Jeffrey Ian},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, London, UK, England},
	pages = {272--287},
}

@incollection{ross_effects_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Effects of graffiti and street art},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Ross, Jeffrey Ian},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art},
	pages = {389--392},
}

@incollection{ross_how_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {How major urban centers in the {United} {States} respond to graffiti/street art},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Ross, Jeffrey Ian},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, City, USA},
	pages = {393--403},
}

@incollection{ross_how_2016-1,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {How {American} movies depict graffiti and street art},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Ross, Jeffrey Ian},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Movie, American graffiti, American movies},
	pages = {429--439},
}

@incollection{schacter_graffiti_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Graffiti and street art as ornament},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Schacter, Rafael},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 17},
	keywords = {Graffiti, Street art},
	pages = {141--157},
}

@incollection{schwender_does_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Does copyright law protect graffiti and street art?},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Schwender, Danwill D.},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Copyright},
	pages = {452--463},
}

@article{smith_between_2021,
	title = {Between {Memory} and {Mobilization}: {The} {Graffiti} and {Street} {Art} of the {Paris} {Commune}},
	volume = {49},
	doi = {10.1353/ncf.2021.0008},
	abstract = {Discussing his 1971 urban art installation, Les Gisants de la Commune de Paris, Ernest Pignon-Ernest stated he felt it necessary for art dedicated to the Paris Commune to be created in the street. Only there could it do justice to a movement built on popular seizure of urban space. In recent years, as 'street art' has emerged as a significant artistic movement, the affinity Pignon-Ernest asserted between art in the street and the Commune has continued to make itself felt. This article discusses three Paris-based street artists who have referenced the Commune: A2, Morèje, and Rue Meurt d'Art. Their work resists the Commune's erasure from collective memory. However, their strategies sometimes risk relegating it to the past, stripping it of its political radicalism. This, combined with street art's growing commercialization and institutionalization, poses questions about urban art's capacity to engage the Commune on an ideological—not just iconographic—level.},
	language = {English},
	number = {3-4},
	journal = {Nineteenth-Century French Studies},
	author = {Smith, Macs},
	year = {2021},
	note = {Num Pages: 20},
	keywords = {Graffiti, Street art, France, Paris},
	pages = {238--257},
}

@incollection{snyder_graffiti_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Graffiti and the subculture career},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Snyder, Gregory J.},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 10},
	keywords = {Graffiti},
	pages = {204--213},
}

@incollection{taylor_psychology_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {The psychology behind graffiti involvement},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Taylor, Myra F. and Pooley, Julie Ann and Carragher, Georgia},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 10},
	keywords = {Graffiti, Psychology},
	pages = {194--203},
}

@incollection{trahan_research_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Research and theory on latrinalia},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Trahan, Adam},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Graffiti, Latrinalia},
	pages = {92--102},
}

@incollection{valjakka_claiming_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Claiming spaces for urban art images in {Beijing} and {Shanghai}},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Valjakka, Minna},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 15},
	keywords = {Graffiti, Urban art, Shanghai, Beijing},
	pages = {357--371},
}

@incollection{valjakka_contesting_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Contesting transcultural trends. {Emerging} self-identities and urban art images in {Hong} {Kong}},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Valjakka, Minna},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 16},
	keywords = {Graffiti, Hong Kong},
	pages = {372--387},
}

@incollection{waclawek_pop_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Pop culture and politics. {Graffiti} and street art in {Montréal}},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Wacławek, Anna},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Canada, Montreal, Pop culture},
	pages = {247--257},
}

@incollection{weide_history_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {The history of freight train graffiti in {North} {America}},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Weide, Robert D.},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 12},
	keywords = {Graffiti, USA, Train graffiti, Freight train, North America},
	pages = {36--47},
}

@incollection{wells_graffiti_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Graffiti, street art, and the evolution of the art market},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Wells, Maia Morgan},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art},
	pages = {464--474},
}

@incollection{wilson_prison_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Prison inmate graffiti},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Wilson, Jacqueline Z.},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 17},
	keywords = {Graffiti, Prison, Inmate graffiti},
	pages = {61--77},
}

@incollection{yamakoshi_graffitistreet_2016,
	address = {Abingdon and New York},
	series = {Routledge international handbooks},
	title = {Graffiti/street art in {Tokyo} and surrounding districts},
	isbn = {978-1-315-76166-4},
	language = {English},
	booktitle = {Routledge handbook of graffiti and street art},
	publisher = {Routledge},
	author = {Yamakoshi, Hidetsugu and Sekine, Yasumasa},
	editor = {Ross, Jeffrey Ian},
	year = {2016},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Japan, Tokyo},
	pages = {345--356},
}

@incollection{abaza_repetitive_2017,
	address = {Abingdon and New York},
	title = {Repetitive {Repertoires}: {How} {Writing} about {Cairene} {Graffiti} has {Turned} into a {Serial} {Monotony}},
	isbn = {978-1-315-58576-5},
	abstract = {I think what I’m trying to note here is that over the past two years I felt like I was a service provider for many individuals and corporations. It was a oneway exchange of value. When some people say, “Give us your photos in return for us giving you trafﬁc,” that’s nice of them. But trafﬁc won’t pay my bills, nor is it equal in value.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Abaza, Mona},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 18},
	keywords = {Graffiti, Egypt, Cairo},
	pages = {177--194},
}

@incollection{andron_interviewing_2017,
	address = {Abingdon and New York},
	title = {Interviewing {Walls}: {Towards} a {Method} of {Reading} {Hybrid} {Surface} {Inscriptions}},
	isbn = {978-1-315-58576-5},
	abstract = {Most of us encounter grafﬁti and street art as part of our everyday experiences of the city, as they occupy spots on urban surfaces and coexist alongside a wide array of urban signage. Grafﬁti and street art have been researched as aesthetic categories, urban cultures, legal contentions, cultural commodities and placemaking tactics – but they are also, perhaps fundamentally, localized inscriptions. They take place in precise locations within the built environment, adapting to existing visual and material contexts and contributing to their appearance and development.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Andron, Sabina},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 18},
	keywords = {Graffiti},
	pages = {71--88},
}

@incollection{avramidis_graffiti_2017-1,
	address = {Abingdon and New York},
	title = {Graffiti and {Street} {Art}: {Reading}, {Writing} and {Representing} the {City}},
	isbn = {978-1-315-58576-5},
	abstract = {This is a volume dedicated to grafﬁti and street art. More precisely, this book is a testament to the multiple modes by which grafﬁti and street art have changed our ways of seeing, knowing and representing urban environments.1 Thus, we think it is only appropriate that the structure of this introductory chapter follows the traditional stages of grafﬁti production. This choice reﬂects our deep appreciation for the art of wall writing, but most importantly seeks to highlight the similarities between scholarly and grafﬁti writing: the attentiveness to the words, the placement of the ideas, and the small details when drawing an outline to name a few.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 23},
	keywords = {Graffiti, Street art},
	pages = {1--23},
}

@incollection{brighenti_expressive_2017,
	address = {Abingdon and New York},
	title = {Expressive {Measures}: {An} {Ecology} of the {Public} {Domain}},
	isbn = {978-1-315-58576-5},
	abstract = {In the context of the focus in this section of the book on the writing (but also representations and reading) of grafﬁti and street art, it may be interesting to notice how, in the mid 2010s, a slight yet perceptible tendency to disafﬁliate from the label of ‘street art’ has appeared. This positioning manoeuvre has been made more or less subtly and more or less contingently by some artists, and especially by various curators and gallerists. Certainly, several artists belonging to the big wave of street art of the early 2000s have sound idealistic, if not ideological reasons to be disappointed today. To them, as well as to several cultural critics, street art has, in the meantime, turned into the veritable mark of urban gentriﬁcation, the proof that capitalist dynamics have entirely recuperated the spontaneous creativity from below that characterized the early 2000s explosion of global street art.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Brighenti, Andrea Mubi},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 16},
	keywords = {Graffiti},
	pages = {119--134},
}

@incollection{edwards-vandenhoek_reading_2017,
	address = {Abingdon and New York},
	title = {Reading {Between} the [{Plot}] {Lines}: {Framing} {Graffiti} as {Multimodal} {Practice}},
	isbn = {978-1-315-58576-5},
	abstract = {This chapter outlines a reﬂexive and interpretative framework developed to navigate the complexity of material and temporal disclosure associated with the photographic re-framing of grafﬁti’s traces. It is embedded in broader research that seeks to interrogate how illicit grafﬁti shapes and transforms place in varied spatio - temporal contexts in Sydney and Melbourne. Grafﬁti’s transgressions are under - stood as a poetic process of revealing and concealing marks over time and space that leave indelible traces in the here and now, and can be read as texts, whether it be image, word, impression and/or gesture to form new or hidden narratives and places. The conceptual aim sets out to unravel the tensions and conversations embedded in grafﬁti’s discursive relations to expose plot lines inaccessible in approaches that emphasize the disparate classiﬁcation of decontextualized modes of practice. The challenge here is to ascertain how such a diverse and divergent practice with its range of modes, relations and situations that have a varied capacity for meaning making can be negotiated. The notion of meaning making being relational is twofold. It refers to the relations between or within grafﬁti texts, as well as the relation between the viewer and the photographic frame. This approach asserts the place and value of the materiality of grafﬁti as discursive sites of knowledge about the process, formation and transference of social meanings. The multimodal and intertextual handling of grafﬁti advanced here affords a hybrid, ﬂexible and less discriminatory place to negotiate the discursive, expressive and socio-semiotic dimensions of grafﬁti practice framed in situ, coupled with its performative and material aspects, and spatio-temporal compression. Readings from the researcher’s own empirical encounters in the landscape of grafﬁti production contextualize this discussion. These photographic framings embed a fertile mix of interactions, engagements and place-making that pries open grafﬁti’s parallel discursive arena, which counters normative modes of public expression to construct a relational socio-politics of place.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Edwards-Vandenhoek, Samantha},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 17},
	keywords = {Graffiti},
	pages = {54--70},
}

@incollection{ferrell_graffiti_2017,
	address = {Abingdon and New York},
	title = {Graffiti, {Street} {Art} and the {Dialectics} of the {City}},
	isbn = {978-1-315-58576-5},
	abstract = {As grafﬁti and street art have proliferated globally over the past half century they have become all the more complex and contradictory. This is in part a matter of scale; with the expanding cultural and geographic range of contemporary street art and grafﬁti has come an expanding variety of meanings and interpretations. It is also a matter of global politics. Often emerging in situations of economic inequality and social upheaval, grafﬁti and street art regularly come to embody the contested cultural dynamics of these situations (see for example Bushnell 1990; Lennon 2014). But above all it is a matter of the city; it is the urban character of street art and grafﬁti that guarantees their continued complexity and contradiction. Grafﬁti and street art are deeply urban phenomena, certainly the most visible forms of global urban culture and urban cultural transgression (Bofkin 2014). More than this, they are urban folk art – the distinctive folk art of the contemporary global city. To read street art and grafﬁti, to understand their nuances and their negations, then, we must read the contemporary global city as well. When we do, we ﬁnd that the city is itself a tangle of emerging contradictions, and a place of mutating political economy. In fact, it is the changing economic and political dynamics of the global city – and the messy conﬂation of street art and grafﬁti with these new forms of urban economy and control – that shape grafﬁti and street art today. Caught up in the dynamics of the contemporary city, grafﬁti and street art unfold as a series of dialectical tensions, crisscrossing between legality and illegality, visibility and invisibility, art and action, ephemerality and elongation. In the street, the dynamics of the contemporary city are encoded in the dialectics of its art; to read one is to read the other.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Ferrell, Jeff},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art},
	pages = {27--38},
}

@incollection{iveson_graffiti_2017,
	address = {Abingdon and New York},
	title = {Graffiti, {Street} {Art} and the {Democratic} {City}},
	isbn = {978-1-315-58576-5},
	abstract = {So, there are writers and artists, and there are cops. And the good guys and the bad guys are locked in a battle over who has the ‘right to write’ on urban surfaces. Right? Well, not quite. If your city is anything like mine (Sydney), the battle over grafﬁti on your streets now involves an ever-widening range of actors – the planners who (try to) regulate the uses of urban space, the politicians who make the criminal laws, the mainstream media who support the crime-ﬁghting efforts, the government-funded youth centres who run the grafﬁti workshops, the galleries who put on ‘urban art’ shows, the companies who manufacture the paint and sponsor the shows, the publishers who make the glossy books and magazines, the shops that sell the books and the prints and the paints and the markers, the writers and artists who get the sponsorship and do the commissions and the shows, the writers who bomb the hell out of their neighbourhoods and think art is for ‘fags’, the anti-grafﬁti enterprises selling technological ‘solutions’ to the grafﬁti problem, the property owners who hate grafﬁti and those who want (some form of) it, and so on and so forth.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Iveson, Kurt},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art},
	pages = {89--99},
}

@incollection{lamazares_sao_2017,
	address = {Abingdon and New York},
	title = {São {Paulo}’s {Pixação} and {Street} {Art}: {Representations} of or {Responses} to {Brazilian} {Modernism}?},
	isbn = {978-1-315-58576-5},
	abstract = {In the ﬁrst half of the twentieth century, Brazil aimed to couple political inde - pendence with cultural emancipation. The quest to deﬁne a national identity that was autonomous would serve as the basis of a new national project built on the premise of modernity. The formation of national identity was parallel to a modernist aesthetic – one that informed the growth of creative cities and Brazilian artistic production. While architecture and the arts once served to build a modern national identity, the chapter looks at how contemporary street art may be read as continuation or response to the modernist project. Pixação, São Paulo’s unique style of tagging is presented as a possible dystopian representation, one that illustrates the shortcomings of modernism.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Lamazares, Alexander},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 19},
	keywords = {Graffiti, Street art, São Paulo, Brasil},
	pages = {197--215},
}

@incollection{landry_defensible_2017,
	address = {Abingdon and New York},
	title = {Defensible {Aesthetics}: {Creative} {Resistance} to {Urban} {Policies} in {Ottawa}},
	isbn = {978-1-315-58576-5},
	abstract = {Ottawa has a grafﬁti problem. This problem manifest recently in a conﬂict over who has a right to use one of the two legal grafﬁti walls permitted in the city. A local university based activist group, BlakCollectiv, painted the text ‘Black Lives Matter’ using white wash and masking tape, somewhat oblivious to the history and politics of the prominent and prestigious wall. By the next morning, grafﬁti writers discovered the text, and painted over it while the local press were on hand to capture writers painting over the message (Figure 12.1).},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Landry, Deborah},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 15},
	keywords = {Graffiti, Canada, Ottawa},
	pages = {216--230},
}

@incollection{leventis_dead_2017,
	address = {Abingdon and New York},
	title = {Dead {Ends} and {Urban} {Insignias}: {Writing} {Graffiti} and {Street} {Art} ({Hi}){Stories} along the {U}.{N}. {Buffer} {Zone} in {Nicosia}, 2010-2014},
	isbn = {978-1-315-58576-5},
	abstract = {The United Nations Buffer Zone is a strip of land of varied width that runs from west to east and divides the island of Cyprus in two. In the heart of Nicosia, the island’s capital, the Buffer Zone (BZ), also called the Green Line, bisects the old city and its sixteenth-century fortiﬁcations (Figure 8.1). It is an urban landscape mentally and physically associated with a long history of armed conﬂict and violence.1 During the last decade, the words, colours and messages of grafﬁti and street art have reappeared and proliferated in the midst of this landscape,2 with often perception-altering results that affect both the place itself and its users.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Leventis, Panos},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 29},
	keywords = {Graffiti, Street art, Graffiti writing, Cyprus, Nicosia},
	pages = {135--163},
}

@incollection{macdowall_instafame_2017,
	address = {Abingdon and New York},
	title = {\#{Instafame}: {Aesthetics}, {Audiences}, {Data}},
	isbn = {978-1-315-58576-5},
	abstract = {This chapter examines the ways in which grafﬁti and street art are increasingly produced as digital objects, shaped by the architecture of digital platforms and the aggregated responses of audiences, transmuted into data. This process is neatly captured by the title of a recent exhibition at the Steinberg Museum of Art in New York.1 The ‘From Concrete to Data’ exhibition featured a mix of old school grafﬁti writers and documenters, street artists and contemporary artists working across all media, including many examples of screen-based media inﬂuenced by the aesthetics and practices of grafﬁti. Taken as a whole, this kind of work charts the transformation of grafﬁti from a form attached to the industrial landscape to one at home in the post-industrial city, one characterized not just by new materials and new economies – renovated buildings and gentriﬁed neighbourhoods – but one in which grafﬁti and street art has become a set of mobile aesthetic features that, like the older industries, shift to new physical materials and then begin to dematerialize.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {MacDowall, Lachlan John},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 19},
	keywords = {Graffiti, Street art, Instagram, Social media},
	pages = {231--249},
}

@incollection{schacter_street_2017,
	address = {Abingdon and New York},
	title = {Street {Art} is a {Period}, {PERIOD}: {Or}, {Classificatory} {Confusion} and {Intermural} {Art}},
	isbn = {978-1-315-58576-5},
	abstract = {Categorizing and classifying, organizing and ordering are some of the most classic of human traits. As most famously shown by the anthropologist Claude Lévi-Strauss (1962), our minds are constantly bent on cleaving the wood from the trees, ﬁnding ostensible order from within chaos, ‘classify[ing] out the universe’ (ibid.: 63) so as to create social and conceptual coherence in our lives.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Schacter, Rafael},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art},
	pages = {103--118},
}

@incollection{snyder_long_2017,
	address = {Abingdon and New York},
	title = {Long {Live} the {Tag}: {Representing} the {Foundations} of {Graffiti}},
	isbn = {978-1-315-58576-5},
	abstract = {This short chapter examines the inherent contradictions of grafﬁti often thought of in simple polarities, such as legal vs illegal, or art vs vandalism. My aim is to challenge these conceptual binaries by focusing on one of the most enduring and least understood aspects of grafﬁti writing, namely the tag. The impetus for this comes from a provocative legal piece produced with an ‘illegal aesthetics’, i.e. tags. The chapter starts by contextualizing my own ﬁrst ‘reading’ of grafﬁti tags, then talks about how the ‘writing’ of grafﬁti is practised, and concludes with a detailed discussion of TWIST (Barry McGee) and AMAZE’s (Josh Lazcano) collage of grafﬁti tags that vividly represents the contradictions of this subculture and its reception from the public. This chapter attempts to glorify in a small way, the most basic, and arguably the most hated, form of grafﬁti – the tag.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Snyder, Gregory J.},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 10},
	keywords = {Graffiti, Tagging},
	pages = {264--273},
}

@incollection{stavrides_december_2017,
	address = {Abingdon and New York},
	title = {The {December} 2008 {Uprising}’s {Stencil} {Images} in {Athens}: {Writing} or {Inventing} {Traces} of the {Future}?},
	isbn = {978-1-315-58576-5},
	abstract = {December 2008 marked an important turning point in the history of urban struggles in Athens. If by the term urban struggles we may describe not only struggles that have explicitly urban demands (e.g. affordable housing, transportation, antigentriﬁcation mobilizations, etc.) but also those that explicitly or implicitly target urban order, then December’s youth uprising was mainly expressed in actions of the second type.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Stavrides, Stavros},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 13},
	keywords = {Graffiti, Athens, Greece},
	pages = {164--176},
}

@incollection{vilaseca_representations_2017,
	address = {Abingdon and New York},
	title = {Representations of {Graffiti} and the {City} in the {Novel} {El} francotirador paciente: {Readings} of the {Emergent} {Urban} {Body} in {Madrid}},
	isbn = {978-1-315-58576-5},
	abstract = {The ﬁrst decade and a half of the new millennium has both condemned and embraced grafﬁti and street art. Ordinances worldwide have been passed that have clearly restricted creative expression on public and private property. New York City’s anti-grafﬁti campaign in the mid 1990s served as an urban renewal model for other global cities in the early 2000s.1 In an effort to improve the quality of life of neighbourhoods across the United Kingdom, the Anti-Social Behaviour Act was passed in 2003. Among other outcomes, it facilitated grafﬁti abatement programmes by providing local councils the legal framework to remove grafﬁti from public property.2 In 2005, the Bylaws for the Means to Foment and Guarantee Communal Living in Barcelona, Spain, established hefty ﬁnes of up to 3,000 euros for graphic expression on public space.3 Madrid followed suit with similar laws in 2007 and 2009.4 Los Angeles in the US, also in 2009, passed an ordinance requiring all new homes to be covered with a ﬁnish that resists spray paint. Although homes are private property, they are often visible from public spaces (sidewalks, streets) and hence grafﬁti and street art on private property affect how public space is experienced.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Vilaseca, Stephen Luis},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 14},
	keywords = {Graffiti, Spain, Madrid},
	pages = {250--263},
}

@incollection{young_art_2017,
	address = {Abingdon and New York},
	title = {Art or {Crime} or {Both} at the {Same} {Time}? {On} the {Ambiguity} of {Images} in {Public} {Space}},
	isbn = {978-1-315-58576-5},
	abstract = {When you walk along a city street, what do you see? Are you in the city centre? If so, you might be surrounded by skyscrapers, ofﬁce buildings, department stores, restaurants, cinemas, and what you will see is their signage, their concrete and glass construction, entrance doors, cars, pavements and municipal street furniture such as bins, post-boxes and lampposts. Are you in the suburbs, or some outlying residential area? Skyscrapers are uncommon there, and instead you will be able to see lower-level buildings, sometimes apartments, sometimes single homes; there might be local shops or transport stops, and there will still be some kinds of municipal street furniture. What about industrial and semi-industrial zones? It’s unlikely you would have arrived there on foot, so one thing you won’t be likely to see is pedestrian trafﬁc; such areas are rarely the chosen neighbourhoods for strolling (walking is such a minority activity in these areas that you might ﬁnd roads without pavements). Around you, you can see warehouses, storage depots, factories; there will be street signs but few other forms of municipal amenities.},
	language = {English},
	booktitle = {Graffiti and street art},
	publisher = {Routledge},
	author = {Young, Alison},
	editor = {Avramidis, Konstantinos and Tsilimpounidi, Myrto},
	year = {2017},
	note = {Num Pages: 15},
	keywords = {Graffiti, Art, Crime},
	pages = {39--53},
}

@incollection{hrychuk_kontokosta_contests_2021,
	address = {Oxford},
	series = {Oxford handbooks},
	title = {Contests in {Context}},
	copyright = {Num Pages: 12},
	isbn = {978-0-19-959208-1},
	abstract = {Inscriptions, dating mostly to the second and third centuries ce, and graffiti offer first-hand perspectives on the lives of gladiators and the organization of Roman spectacles. Examples from throughout the Roman world elucidate how inscribed evidence can fundamentally alter our understanding of gladiatorial contests, related monuments, and key actors. This article focuses on a range of inscriptions associated with distinct groups who were involved in Roman gladiatorial competitions and discusses the types of data that can be acquired from each. Inscribed public and tomb monuments as well as extant edicta demonstrate the contributions of elite sponsors and their role in the patronage of the games. Stelae dedicated by gladiatorial familiae celebrate individual gladiators, their training, and successes over worthy opponents. Epigraphs on tombstones hint at the social realities and daily challenges of gladiators. Graffiti offers multivariate viewpoints on the lived experience of performers and audiences from all social ranks.},
	language = {English},
	booktitle = {The {Oxford} {Handbook} of {Sport} and {Spectacle} in the {Ancient} {World}},
	publisher = {Oxford University Press},
	author = {Hrychuk Kontokosta, Anne},
	editor = {Futrell, Alison and Scanlon, Thomas F.},
	year = {2021},
	doi = {10.1093/oxfordhb/9780199592081.013.38},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Ancient graffiti, Gladiator},
	pages = {330--341},
}

@incollection{champion_medieval_2018,
	address = {Oxford},
	series = {Oxford handbooks},
	title = {Medieval {Graffiti} {Inscriptions}},
	isbn = {978-0-19-874471-9},
	abstract = {Although the study of medieval church graffiti inscriptions has a long pedigree, recent large-scale surveys have brought to light tens of thousands of previously unknown examples. Perhaps the most intriguing aspect of the new discoveries is the fact that the vast majority of these early graffiti, where intelligible, have been shown to have distinctly spiritual, devotional, or votive meaning. Whilst the most obvious of these take the form of prayers or invocations, sometimes written in the conventional Latin forms of the Orthodox Church, many others appear to have been created in non-traditional forms. Vast numbers of these early inscriptions appear to reflect aspects of lay piety and belief, having an apotropaic function, and represent a personal interaction between parishioner and the medieval church. Taken together they indicate that medieval graffiti were regarded as both accepted and acceptable forms of devotion.},
	language = {English},
	booktitle = {The {Oxford} {Handbook} of {Later} {Medieval} {Archaeology} in {Britain}},
	publisher = {Oxford University Press},
	author = {Champion, Matthew},
	editor = {Gerrard, Christopher and Gutiérrez, Alejandra},
	year = {2018},
	doi = {10.1093/oxfordhb/9780198744719.013.66},
	note = {Num Pages: 15},
	keywords = {Graffiti, Ancient graffiti, Medieval graffiti},
	pages = {626--640},
}

@incollection{coppens_late_2016,
	address = {Oxford},
	series = {Oxford handbooks},
	title = {Late {Dynastic}, {Greco}–{Roman}, and {Christian} {Times}: {Post}–{New} {Kingdom} {Graffiti}},
	isbn = {978-0-19-993163-7},
	abstract = {The chapter provides an overview of the history of the Valley of the Kings following its abandonment as a royal necropolis at the end of the New Kingdom and the dismantling and caching of the royal mummies in the Twenty-first Dynasty and early Twenty-second Dynasty. The valley was subsequently used for non-royal burials of individuals of lower rank throughout the Third Intermediate Period. After centuries of neglect during the Late Period, interest from visitors from all corners of the ancient world surged in Ptolemaic and especially Roman times. In Late Antiquity the valley hosted a small Christian community that reused a few tombs as lodgings and for their own religious purposes.},
	language = {English},
	booktitle = {The {Oxford} {Handbook} of the {Valley} of the {Kings}},
	publisher = {Oxford University Press},
	author = {Coppens, Filip},
	editor = {Wilkinson, Richard H. and Weeks, Kent R.},
	year = {2016},
	doi = {10.1093/oxfordhb/9780199931637.013.031},
	note = {Num Pages: 12},
	keywords = {Graffiti, Egypt, Roman graffiti, Ancient graffiti, Egyptology, Greek graffiti, Christian graffiti, Greco–Roman graffiti, New Kingdom graffiti},
	pages = {469--480},
}

@incollection{huntley_childrens_2018,
	address = {Oxford},
	series = {Oxford handbooks},
	title = {Children’s {Graffiti} in {Roman} {Pompeii} and {Herculaneum}},
	isbn = {978-0-19-967069-7},
	abstract = {The realities of childhood in the Roman world have been difficult to access archaeologically, in part because Roman children lacked a distinctive material culture. The remains of Pompeii and Herculaneum have yielded a somewhat unique type of evidence for children’s lives: graffiti. The chapter will explore how the location and subject matter of the graffiti reveal the realities of children’s lives, including the activities they participated in, the things that interested them, and their relationships with caretakers and peers. The chapter will also look at public areas where children’s graffiti turn up, focusing in particular on Pompeii’s Grand Palaestra, an enclosed space associated with the city’s youth organization. Finally, trends in the subject matter of the children’s graffiti attest to some of the things children frequently encountered and that help particular interest for them.},
	language = {English},
	booktitle = {The {Oxford} {Handbook} of the {Archaeology} of {Childhood}},
	publisher = {Oxford University Press},
	author = {Huntley, Katherine V.},
	editor = {Crawford, Sally and Hadley, Dawn M. and Shepherd, Gillian},
	year = {2018},
	doi = {10.1093/oxfordhb/9780199670697.013.20},
	note = {Num Pages: 11},
	keywords = {Graffiti, Pompeii, Roman archaeology, Roman graffiti, Ancient graffiti, Herculaneum, Child, Childhood, Children},
	pages = {376--386},
}

@incollection{baird_graffiti_2011,
	address = {New York and Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {The {Graffiti} of {Dura}-{Europos}: {A} {Contextual} {Approach}},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Baird, Jennifer A.},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 20},
	keywords = {Graffiti, Ancient graffiti, Greek graffiti, Dura-Europos},
	pages = {49--68},
}

@incollection{benefiel_dialogues_2011,
	address = {New York and Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {Dialogues of {Graffiti} in the {House} of the {Four} {Styles} at {Pompeii} ({Casa} {Dei} {Quattro} {Stili}, {I}.8.17, 11)},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Benefiel, Rebecca R.},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 29},
	keywords = {Graffiti, Pompeii, Roman archaeology, Roman graffiti, Ancient graffiti, Casa Dei Quattro Stili},
	pages = {20--48},
}

@incollection{huntley_identifying_2011,
	address = {New York and Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {Identifying {Children}’s {Graffiti} in {Roman} {Campania}: {A} {Developmental} {Psychological} {Approach}},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Huntley, Katherine V.},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 21},
	keywords = {Graffiti, Italy, Roman graffiti, Ancient graffiti, Child, Childhood, Children, Campania},
	pages = {69--89},
}

@incollection{keegan_blogging_2011,
	address = {New York and Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {Blogging {Rome}: {Graffiti} as {Speech}-{Act} and {Cultural} {Discourse}},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Keegan, Peter},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 26},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Ancient graffiti},
	pages = {165--190},
}

@incollection{mairs_egyptian_2011,
	address = {New York and Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {Egyptian ‘{Inscriptions}’ and {Greek} ‘{Graffiti}’ at {El} {Kanais} in the {Egyptian} {Eastern} {Desert}},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Mairs, Rachel},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 12},
	keywords = {Graffiti, Egypt, Greek archaeology, Ancient graffiti, Egyptology, Greek graffiti, Egyptian graffiti, El Kanais},
	pages = {153--164},
}

@incollection{taylor_graffiti_2011,
	address = {New York and Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {Graffiti and the {Epigraphic} {Habit}: {Creating} {Communities} and {Writing} {Alternate} {Histories} in {Classical} {Attica}},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Taylor, Claire},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 20},
	keywords = {Graffiti, Epigraphy, Greek archaeology, Ancient graffiti, Greek graffiti, Attica},
	pages = {90--109},
}

@incollection{zadorojnyi_transcripts_2011,
	address = {New York and Abingdon},
	series = {Routledge {Studies} in {Ancient} {History}},
	title = {Transcripts of {Dissent}? {Political} {Graffiti} and {Elite} {Ideology} {Under} the {Principate}},
	isbn = {978-0-415-87889-0},
	language = {English},
	booktitle = {Ancient {Graffiti} in {Context}},
	publisher = {Routledge},
	author = {Zadorojnyi, Alexei V.},
	editor = {Baird, Jennifer A. and Taylor, Claire},
	year = {2011},
	note = {Num Pages: 24},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Ancient graffiti},
	pages = {110--133},
}

@article{helmke_writing_2021,
	title = {Writing amidst the {Scribbles}: {The} {Role} and {Place} of {Writing} in {Ancient} {Maya} {Graffiti}},
	volume = {31},
	doi = {10.14324/111.444.2041-9015.1287},
	abstract = {The significant corpus of ancient Maya graffiti (c. 200 BC-AD 950) attests to the widespread practice of secondarily altering architectural surfaces during the course of their use. For the most part this corpus is highly figurative and includes a series of schematic elements that attest to their production by the hands of a variety of agents. As one of the largest corpora of graffiti from any early civilization, the figural representations include a wide array of themes. Some graffiti feature complex, narrative scenes that document important moments of ritual life of the ancient Maya. Almost paradoxically, amid the intricate and highly figurative scenes are hieroglyphic graffiti. What do these written graffiti record, and what is the degree of literacy that these attest to? This raises a series of interesting questions including whether written and figural graffiti were etched onto walls by the same individuals, or whether these represent different social segments each leaving their mark. From these observations follow a series of important ramifications as to authorship, the use of the built environment as well as the motivations behind the graffiti itself.},
	language = {English},
	number = {1 (Special Issue: Timeless Spaces 2019 Conference Proceedings)},
	journal = {Papers from the Institute of Archaeology},
	author = {Helmke, C. and Źrałka, Jarosław},
	year = {2021},
	note = {Num Pages: 28},
	keywords = {Graffiti, Scratch, Maya, Hieroglyphs, Precolombian},
	pages = {93--120},
}

@article{kikol_bus126_2023,
	title = {Bus126. {Vom} {Vandalismus} zum {Postvandalismus} – eine {Biografie}. {Ein} {Gespräch} von {Larissa} {Kikol}},
	volume = {287},
	language = {German},
	journal = {Kunstforum International},
	author = {Kikol, Larissa},
	year = {2023},
	note = {Num Pages: 8},
	keywords = {Graffiti, Vandalism},
	pages = {76--83},
}

@book{zralka_pre-columbian_2014,
	address = {Kraków},
	title = {Pre-{Columbian} {Maya} graffiti: {Context}, dating and function},
	isbn = {978-83-64449-16-1},
	abstract = {Graffiti have always been a popular means of expression for people from different social strata in ancient as well as modern societies. They constitute a rich source of information on both the daily life and religious activities of the people who created them. Although ancient graffiti are mostly known from the Old World, especially from the Roman Empire or Egypt, they were also very popular in the pre-Columbian world. Ancient Maya civilisation, which once thrived in the rainforests of Mexico and Central America, has an extremely extensive corpus of graffiti. Many Maya sites have graffiti of various types, including inscribed, painted, gouged, impressed and sketched with charcoal. Maya graffiti were usually executed on the plaster surfaces of architectural buildings: chiefly on walls, vaults, floors, as well as benches and other architectural elements. Most examples are figural images that usually represent people, animals, architectural buildings and geometrical designs. They may also depict supernatural beings, symbolic and religious objects and many other subjects, usually related to the socio-political and religious lives of the Maya elites.Despite architectural graffiti being broadly present in various Maya sites, they remain a relatively rarely studied phenomenon. Little interest has been shown in this kind of art and Maya graffiti tend to be published as minor appendices to larger archaeological reports. Moreover, in the case of many Maya sites, the graffiti were not even documented or recorded. This attitude of sidelining Maya graffiti stemmed from the fact that many scholars considered graffiti to be trivial scribbles or the inconsequential work of the Postclassic or Colonial populations squatting in Maya palaces and temples after they had been abandoned by their original inhabitants. Such long held views in the field are changing; recent studies by various scholars have shown that the meaning of graffiti is far more complex and sophisticated than previously thought. The current view is that graffiti were made by various authors in different periods of time and by people representing different social groups. This book constitutes a comprehensive treatment of the subject of graffiti and provides comparative iconographic data on graffiti from various Maya sites. It also has ample and up-to-date information about graffiti, including its dating, meaning, techniques of rendition and function.},
	language = {English},
	publisher = {Wydawnictwo Alter},
	author = {Źrałka, Jarosław},
	year = {2014},
	keywords = {Graffiti, Scratch, Maya, Precolombian},
}

@article{kikol_post-vandalismus_2023,
	title = {Post-{Vandalismus}. {Eine} Ästhetik der {Straße}},
	volume = {287},
	language = {German},
	journal = {Kunstforum International},
	author = {Kikol, Larissa},
	year = {2023},
	note = {Num Pages: 2},
	keywords = {Graffiti, Vandalism},
	pages = {44--45},
}

@article{kikol_asthetisches_2023,
	title = {Ästhetisches {Lernen} von der {Straße}},
	volume = {287},
	language = {German},
	journal = {Kunstforum International},
	author = {Kikol, Larissa},
	year = {2023},
	note = {Num Pages: 18},
	keywords = {Graffiti},
	pages = {46--63},
}

@article{hauffen_martha_2021,
	title = {Martha {Cooper}. {Taking} {Pictures}. {Urban} {Nation} 02.10.2020–01.08.2021},
	volume = {273},
	language = {German},
	journal = {Kunstforum International},
	author = {Hauffen, Michael},
	year = {2021},
	note = {Num Pages: 3},
	keywords = {Graffiti, Photography, Martha Cooper},
	pages = {260--262},
}

@article{varga_pottery_2024,
	title = {Pottery {Vessels} with graffiti {Discovered} in the {Fort} of {Ala} {I} {Batavorum} in {Dacia}},
	volume = {31},
	issn = {18973426},
	doi = {10.4467/20800909EL.24.010.19160},
	abstract = {This paper presents graffiti discovered on a few plates discovered in a barrack from the fort of ala I Batavorum milliaria in Dacia. Typical for the Batavian troops, the onomastics is Latin and Greek. The instrumenta prove that the soldiers scribbled their names on every-day use vessels and offer us a glimpse of the very men that lived there together.},
	language = {English},
	journal = {Electrum},
	author = {Varga, Rada and Rubel, Alexander and Bounegru, George},
	year = {2024},
	note = {Num Pages: 15},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Pottery, Ancient graffiti, Romania, Ceramics, Greek graffiti, Dacia, Geophysical prospection},
	pages = {127--141},
}

@book{el_rincon_de_las_boquillas_graffiti_2024,
	title = {Graffiti and street art around the globe 3},
	language = {English; Spanish},
	publisher = {Vicent Masmano},
	author = {{El Rincon de las Boquillas}},
	year = {2024},
	keywords = {Graffiti, Street art},
}

@incollection{agustin_aesthetics_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {The {Aesthetics} of {Social} {Movements} in {Spain}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Agustín, Óscar García},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_14},
	note = {Num Pages: 24},
	keywords = {Graffiti, Street art, Spain},
	pages = {325--348},
}

@incollection{glaveanu_art_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Art and {Social} {Change}: {The} {Role} of {Creativity} and {Wonder}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Glăveanu, Vlad Petre},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_2},
	note = {Num Pages: 19},
	keywords = {Graffiti, Street art},
	pages = {19--37},
}

@incollection{hamdy_arabic_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {The {Arabic} {Language} as {Creative} {Resistance}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Hamdy, Basma},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_7},
	note = {Num Pages: 21},
	keywords = {Graffiti, Street art, Arabic},
	pages = {155--175},
}

@incollection{helmy_sheherazade_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Sheherazade {Says} {No}: {Artful} {Resistance} in {Contemporary} {Egyptian} {Political} {Cartoon}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Helmy, Mohamed M. and Frerichs, Sabine},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_15},
	note = {Num Pages: 28},
	keywords = {Graffiti, Street art, Egypt, Political graffiti},
	pages = {349--376},
}

@incollection{howell_representations_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Representations of {Resistance}: {Ironic} {Iconography} in a {Southern} {Mexican} {Social} {Movement}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Howell, Jayne},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_12},
	note = {Num PAges: 24},
	keywords = {Graffiti, Street art, Mexico},
	pages = {277--300},
}

@incollection{innis_resisting_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Resisting {Forms}: {Prolegomena} to an {Aesthetics} of {Resistance}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Innis, Robert E.},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_4},
	note = {Num Pages: 21},
	keywords = {Graffiti, Street art},
	pages = {63--83},
}

@incollection{jarbou_resistance_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {The {Resistance} {Passed} {Through} {Here}: {Arabic} {Graffiti} of {Resistance}, {Before} and {After} the {Arab} {Uprisings}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Jarbou, Rana},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_6},
	note = {Num Pages: 41},
	keywords = {Graffiti, Street art, Arab uprising, Political graffiti},
	pages = {113--153},
}

@incollection{latorre_indigenous_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Indigenous {Images} of {Democracy} on {City} {Streets}: {Native} {Representations} in {Contemporary} {Chilean} {Graffiti} and {Muralism}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Latorre, Guisela},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_5},
	note = {Num Pages: 25},
	keywords = {Graffiti, Street art, Muralism, Chili},
	pages = {87--112},
}

@incollection{mcphie_embodied_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Embodied {Walls} and {Extended} {Skins}: {Exploring} {Mental} {Health} {Through} {Tataus} and {Graffiti}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Mcphie, Jamie},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_10},
	note = {Num Pages: 28},
	keywords = {Graffiti, Street art},
	pages = {223--250},
}

@incollection{nielsen_democratic_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {The {Democratic} {Potential} of {Artistic} {Expression} in {Public} {Space}: {Street} {Art} and {Graffiti} as {Rebellious} {Acts}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Nielsen, Cecilia Schøler},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_13},
	note = {Num Pages: 23},
	keywords = {Graffiti, Street art},
	pages = {301--323},
}

@incollection{smith_indigenous_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Indigenous {Graffiti} and {Street} {Art} as {Resistance}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Smith, Matthew Ryan},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_11},
	note = {Num Pages: 24},
	keywords = {Graffiti, Street art},
	pages = {251--274},
}

@incollection{teo_subjectivity_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Subjectivity, {Aesthetics}, and the {Nexus} of {Injustice}: {From} {Traditional} to {Street} {Art}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Teo, Thomas},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_3},
	note = {Num Pages: 24},
	keywords = {Graffiti, Street art},
	pages = {39--62},
}

@incollection{vicherat_mattar_speaking_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Speaking {Walls}: {Contentious} {Memories} in {Belfast}’s {Murals}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Vicherat Mattar, Daniela},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_8},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art},
	pages = {179--200},
}

@incollection{zanella_inventive_2017,
	address = {Cham},
	series = {Palgrave studies in creativity and culture},
	title = {Inventive {ReXistence}: {Notes} on {Brazil} {Graffiti} and {City} {Tension}},
	isbn = {978-3-319-63329-9},
	language = {English},
	booktitle = {Street art of resistance},
	publisher = {Palgrave Macmillan},
	author = {Zanella, Andrea Vieira},
	editor = {Awad, Sarah H. and Wagoner, Brady},
	year = {2017},
	doi = {10.1007/978-3-319-63330-5_9},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art, Brazil},
	pages = {201--222},
}

@article{feitosa_back_2024,
	title = {Back from the edge, a de-centred approach to ancient graffiti in {Brazilian} research},
	doi = {10.48035/rhsj-gh.31.4},
	abstract = {The paper starts with the trajectory of ancient graffiti study since the 19th century. This study was well inserted in the scholarly context, paying particular attention to the differences of language use in relation to standard learned Latin (or Greek). In the 20th century, beyond scholarship, there was an overwhelming normative and historical perception that graffiti represented most of all unlearned people, those who were unable to have access to learned culture. This improved the knowledge about graffiti, but it continued to focus on distance from the rule. In the late 20th century there was a growing critical approach, considering that graffiti may produce evidence about people's daily lives. In this context, the edge has been able to produce a plethora of innovative interpretation. Brazil produced a critical approach, centring on a couple of subjects: popular culture and female agency. Popular culture means highlighting the originality of ordinary people culture. Then, within this approach, female agency. The authors then discuss some graffiti, enabling to discuss popular culture and female agency. The paper concludes by stressing how graffiti may be a way of promoting life, fostering living together, against hatred and destruction.},
	language = {English},
	number = {31},
	journal = {Huarte de San Juan. Geografía e Historia},
	author = {Feitosa, Lourdes and Garraffoni, Renata and Funari, Pedro Paulo},
	year = {2024},
	note = {Num Pages: 15},
	keywords = {Graffiti, Brasil},
	pages = {51--65},
}

@incollection{benefiel_writing_2024,
	address = {Leiden and Boston},
	series = {Brill studies in {Greek} and {Roman} epigraphy},
	title = {Writing on {Columns}: {Graffiti} in the {Campus} of {Pompeii}},
	isbn = {978-90-04-68311-2},
	abstract = {This chapter analyzes the practice of writing on columns through focused examination of ancient graffiti in the Campus ad Amphitheatrum in Pompeii (Regio II.7.1–10). Featuring more than 400 handwritten wall-inscriptions, this large, colonnaded, multi-purpose space was the most heavily inscribed building in the entire city. Its 100+ columns were the preferred place to write, despite the physical restrictions of a curved surface articulated into 20 narrow flutes. We interrogate the space of the Campus and the distribution patterns of ancient graffiti through it, and we examine how ancient writers adapted their messages when they wrote on columns.},
	language = {English},
	booktitle = {Inscriptions and the epigraphic habit},
	publisher = {Brill},
	author = {Benefiel, Rebecca R. and Sypniewski, Holly M.},
	editor = {Benefiel, Rebecca and Keesling, Catherine M.},
	year = {2024},
	doi = {10.1163/9789004683129_009},
	note = {Num Pages: 24},
	keywords = {Graffiti, Italy, Pompeii, Roman archaeology, Roman graffiti, Ancient graffiti},
	pages = {145--168},
}

@incollection{bodel_epigraphic_2024,
	address = {Leiden and Boston},
	series = {Brill studies in {Greek} and {Roman} epigraphy},
	title = {Epigraphic {Culture} and the {Epigraphic} {Mode}},
	isbn = {978-90-04-68311-2},
	abstract = {Over the past half century the field of epigraphic studies has shifted away from a quasi-exclusive focus on the editing and interpretation of ancient Greek and Latin inscriptions to broader consideration of the place of inscribed writing in classical culture. Discussions of an “epigraphic habit” and of the relevance of inscriptions for evaluating ancient levels and types of literacy have developed independently and have followed different courses, to the extent that the very definition of “inscription” has once again been opened. This paper proposes a new way of assessing the “epigraphic” quality of any type of ancient writing along a scale of modality measured by the degree to which it takes advantage visually of its location, material support, language, writing technique, layout, or register of expression to enhance its meaning for its targeted audience. Various types of the form are illustrated, exempli gratia, with inscriptions drawn predominantly from Pompeii.},
	language = {English},
	booktitle = {Inscriptions and the epigraphic habit},
	publisher = {Brill},
	author = {Bodel, John},
	editor = {Benefiel, Rebecca and Keesling, Catherine M.},
	year = {2024},
	doi = {10.1163/9789004683129_002},
	note = {Num Pages: 44},
	keywords = {Graffiti, Italy, Pompeii, Roman archaeology, Roman graffiti, Ancient graffiti},
	pages = {1--44},
}

@book{benefiel_inscriptions_2024,
	address = {Leiden and Boston},
	series = {Brill studies in {Greek} and {Roman} epigraphy},
	title = {Inscriptions and the epigraphic habit: {The} epigraphic cultures of {Greece}, {Rome}, and beyond},
	volume = {20},
	isbn = {978-90-04-68311-2},
	abstract = {Inscriptions are a major feature of the Greek and Roman worlds, as inhabitants around the Mediterranean chose to commit text to stone and other materials. How did the epigraphic habit vary across time and space? Once adopted, how was the epigraphic habit variously expressed? The chapters of this volume analyze the epigraphic cultures of regions, cities, and communities through both large-scale analyses and detailed studies. From curse tablets in Britain to multilingual communities in Judaea-Palestine, from Greece to Rome to the Black Sea, and across nearly a millennium, the epigraphic outputs of cities and individuals underscore a collective understanding of the value of inscribed texts.},
	language = {English},
	publisher = {Brill},
	editor = {Benefiel, Rebecca and Keesling, Catherine M.},
	year = {2024},
	keywords = {Graffiti, Epigraphy, Inscriptions},
}

@inproceedings{baumann_graffiti_2024,
	address = {Lisbon},
	title = {Graffiti {Exploration} via {Interactive} {Web} {Maps}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.974},
	abstract = {This article explores the intersection of graffiti, street art, and cartography through web-based maps. Graffiti and street art pose challenges in representing their diverse and short-lived nature on maps. The ephemeral and location-specific characteristics of graffiti and street art are discussed, emphasising their connection to their original urban landscapes. Maps are proposed as vital tools for preserving their context. Current graffiti web maps are evaluated, revealing common (interactive) functionalities and limitations. The article advocates for user-friendly and advanced web maps. The nuanced representation of graffiti on maps, considering factors like size, shape, and orientation, is discussed. The development of a web map prototype showcasing graffiti along Vienna’s Danube Canal is detailed. The prototype utilises adaptive symbols to optimally represent graffiti across various map scales. Additionally, the option to view the map in a 3D mode is integrated to provide a more realistic view of the vertical dimensions of graffiti and their surroundings. The usability of the web map prototype is evaluated, identifying areas for improvement, especially in the visibility of graffiti features. In summary, the article underscores the unique character of graffiti and street art as map features linked to urban environments. It emphasises the potential of web maps but calls for technological and usability enhancements, contributing to a deeper understanding by preserving these art forms within their (spatial) contexts.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Baumann, Oskar},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, WWW (World Wide Web), Web mapping},
	pages = {33--47},
}

@inproceedings{davico_first_2024,
	address = {Lisbon},
	title = {The {First} {Complete} {Census} of {Public} {Artworks} in {Torino}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.978},
	abstract = {Since the end of the 20th century, public art has registered a new tendency towards growing institutionalisation. The self-managed spontaneity of murals is increasingly conveyed in projects conceived or supported by public or private institutions. Public art has played an important role in the policies aimed at reviving cities. Since this was implemented in Torino in the last quarter of the century, public art has grown remarkably in the city, especially in the outskirts. The project Arte per strada Torino (https://www.arteperstradatorino.it) aimed to create a portal containing the first complete census of artworks in public spaces in Torino (Italy) and its belt. This census was carried out through an analysis of existing repertoires of public art works in the city, integrated by interviews with qualified witnesses and detailed field surveys. The project also collects publications, documents and other websites related to the field of public art. The data for the census were collected from existing repertoires of public artworks in Torino, through systematic site inspections, as well as from the Municipality of Torino and local art associations. The period considered is from 1990 to the present, that is to say, the age in which Torino experienced a great flourishing of public art. The Arte per strada Torino website offers three different ways to access the artworks collected: a textual list, a photo gallery and an interactive map. This project offers a solid basis for analysing public art in Torino and its outlying area, which will be useful for policymakers, artistic associations, researchers and interested citizens.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Davico, Luca and Guerreschi, Paola and Montobbio, Luisa},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, Italy, Public art, Torino, Turin, Arte per strada Torino, Urban redevelopment},
	pages = {104--121},
}

@inproceedings{fernandez_merino_outer_2024,
	address = {Lisbon},
	title = {Outer {Space}, {Inner} {Time}. {Political} {Graffiti} and {Street} {Art}'s {Audience} {Research}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.982},
	abstract = {According to Velikonja (2020), there are three starting points of Graffiti and Street Art Research (GSAR): the contextualisation, the intentionality of the producer, and the reception, which is related to the audience/viewer/observant, where the audience is one of the starting points less approached in the literature. Consequently, I pretend to explore the potential level of analysis from time and space and its relationship with Graffiti and street art audiences. Time and space will not be considered in linear or geographic terms but in relational terms. Therefore, literature on the social construction of space, the historicity of phenomena from oral history, and audience studies will be considered. In this exploration, I intend to argue that to find the meaning and role of both Graffiti and its audience, it is necessary to consider literature that points to their relationship and how this develops. In this article, I delve into the ways scholars study Graffiti and Street Art audiences, highlighting their methodologies, techniques, and results. Then, I provide a fresh approach to Context in Graffiti and Street Art Research that integrates renewed emotional, temporal, and spatial elements. Lastly, drawing from both scholar’s experiences and my own, I propose embodiment as an innovative tool that has yet to be fully explored in this field. By utilising this means, we may be able to bridge some of the gaps that currently exist.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Fernández Merino, Francisca Andrea},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Audience, Embodyment, Social space, Understanding},
	pages = {186--195},
}

@inproceedings{flenghi_talking_2024,
	address = {Lisbon},
	title = {Talking {City}: {Voices} of {Hidden} {History} in the {Architecture} and {Urban} {Places} of {Rome}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.979},
	abstract = {Our cities today represent a complex intersection of material and immaterial culture, which can be described and promoted through possible heritage itineraries. Among the various topics of these itineraries, a topic of great interest for us is the writings traced throughout history on the wall surfaces of the city’s buildings to convey messages and opinions for the most diverse purposes. Their value is not only in the quality of the single artefact but also because they can serve as unique keys to understanding the society that produced them in depth, i.e., to comprehend the culture, customs, and ways of communication of a specific historical period. From this point of view, the inscriptions produced by the ruling classes, the secular and religious power are less exciting than those traced by single or common people. Therefore, these traces of the past are a fundamental historical resource since the people’s voice resides in them; they are an intangible heritage transmitted through the materiality of the supports and architectures on which they were traced or placed. Unfortunately, many of these inscriptions are hidden or barely visible within cities. Besides, their decoding is related to the type of handwriting, the engraving technique, and the content conveyed. Finally, in today’s society, there is a prevalent dominance of the image with clearly conveyed content, relegating these kinds of cultural products to an omitting background. The study presented in this paper, at an early stage of development, is developed within Rome, a city characterised by a complex and deep cultural stratification. The research aims to map some graffiti and ‘minor’ epigraphs (i.e., non-monumental or particularly solemn) and build narrative itineraries throughout the city, starting from a study of these particular traces within the architecture. By enhancing these historical sources through these routes, the architecture will become a narrative system capable of telling stories, giving voice to real-life stories and the immaterial culture condensed in those places, and rediscovering a stratified and hidden intangible heritage in the city.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Flenghi, Giulia and Ippoliti, Elena and Meschini, Alessandra and Russo, Michele and Tomasella, Noemi},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 25},
	keywords = {Graffiti, Italy, Epigraphy, Rome, Inscriptions, Past voices, Storytelling},
	pages = {122--146},
}

@inproceedings{michels_urban_2024,
	address = {Lisbon},
	title = {Urban {Art} {Mapping} and {How} to {Deal} with {Hot} {Spots}—{The} {Vagabundler} {Project}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.973},
	abstract = {This paper presents the non-commercial online graffiti archive “Vagabundler”, which holds numerous articles, interviews and city maps on urban art. The text explains the archiving system developed by the Vagabundler Collective, with examples from Buenos Aires in Argentina, Montréal in Canada and Berlin in Germany. Finally, the North Side Gallery in Berlin serves as an example to highlight the potential political influence of documentary evidence in legalising graffiti creation.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Michels, Gunther},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Berlin, Law, Archiving, Rome, Graffiti mapping, Graffiti website, Vagabunlder},
	pages = {22--32},
}

@inproceedings{schlegel_getting_2024,
	address = {Lisbon},
	title = {Getting {Hold} of the {Urban} {Chameleon}—{Towards} a {Platform} for {Graffiti} {Visualisation} and {Analysis}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.975},
	abstract = {This paper presents Urban Chameleon, an online platform currently developed within INDIGO, an academic project that aims to inventory, disseminate, and analyse contemporary graffiti along the Donaukanal (Eng. Danube Canal) in Vienna, Austria. Urban Chameleon serves as a digital space to visually and analytically explore these graffiti. The paper provides an in-depth overview of the platform’s development process, including data modelling underpinnings and Web development technologies. The text further discusses the platform’s potential applications for researchers, heritage professionals, graffitists and the wider public interested in engaging with the vibrant and dynamic graffiti-scape along the Danube Canal. In that way, the article contributes to the ongoing discourse on graffiti as a multi-faceted, modern cultural practice with heritage value.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Schlegel, Jona and Wieser, Martin and Verhoeven, Geert Julien Joanna},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 14},
	keywords = {Graffiti, Visualisation, INDIGO, Cesium, WWW (World Wide Web), Web mapping, Contemporary graffiti, JavaScript, Urban Chameleon, Wireframing},
	pages = {48--61},
}

@inproceedings{tenschert_eternal_2024,
	address = {Lisbon},
	title = {Eternal {Witnesses}—{Documentation} and {Analysis} of {Carved} {Historic} {Graffiti} and {Inscriptions} on {Stone} {Surfaces}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.980},
	abstract = {High-resolution documentation of graffiti carved into stone surfaces can help read nearly illegible characters. They can fade out due to outdoor conditions like weathering or biological coating. Indoor, the illegibility can be caused by delicately carved graffiti on a hard stone with a polished or shiny surface. These witnesses of people from former times are nonetheless important to tell stories about the place or object and help to enrich its history. This research aims to show how 3D scanning, especially structured light scanning, can help adequately document and analyse carved graffiti. Therefore, two case studies are discussed in this paper, highlighting different challenges while recording: an abandoned quarry in Bavaria, Germany, illustrating the problems of deteriorated surfaces with biological colonisation outdoors, and a gravestone in North Macedonia illustrating challenges occurring indoors with shiny, polished stone surfaces. The advantage of 3D documentation is, in both cases, to facilitate analyses, help researchers from different scientific backgrounds, and visualise and disseminate the results in a suitable way.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Tenschert, Ruth and Pallas, Leander and Kempgen, Sebastian and Bellendorf, Paul},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 16},
	keywords = {Graffiti, Germany, 3D, Laser scanning, Inscriptions, Deterioration, Stone surface},
	pages = {147--162},
}

@inproceedings{tretti-beckles_attitudes_2024,
	address = {Lisbon},
	title = {Attitudes and {Gazes} from {Graffiti}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.983},
	abstract = {Place-making is the process of building a ‘place’ through relationships, practices, and representations of meanings of a varied nature and with the participation of different actors. These actors play different roles as neighbours, producers, recipients, passersby and visitors. Place-making includes all these actors in their relationship with that ‘place’ and in their interrelationships, practices and in the processes of construction of meaning. Within the stimuli from which people build a sense of a place are the semiotic products that are on the street, for example, commercial signs, advertising, graffiti and urban art. In 2018, we began a project to archive and analyse the semiotic landscape of neighbourhoods in Costa Rica and Chile. Based on this work, two specific aspects caught our attention: people’s attitudes and semiotic competence regarding graffiti and street art. We understand semiotic attitudes as an evaluative mental disposition towards the representation of a semiotic object, particularly tags, throw-ups and pieces. This evaluative mental disposition can guide the acts and reactions of people towards those objects and spaces. Semiotic competence is conceptualised as the ability to produce and understand different semiotic products. In the case of this work, we focus on the gaze of throw-ups and the recognition of graphemes. For this paper, we present the preliminary results of two specific objectives of the research that we are developing: first, determining the semiotic attitudes of international and Costa Rican people regarding tags and throw-ups; second, identifying the reading routes and the recognition of graphemes in pieces in people outside the environment of graffiti and hip-hop culture. For the first objective, focus groups were held in Costa Rica with Costa Ricans and Germany with individuals of different nationalities. These focus groups were transcribed and analysed using the appraisal theory of linguistics. For the second objective, an eye tracker experiment was designed to record eye movements and responses regarding the graphemes of the graffiti. The partial results show people’s negative attitudes towards tags and throw-ups, as well as different reading patterns in the eye tracker between those who identified graphemes and those who did not.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Tretti-Beckles, Valentina and Vergara-Heidke, Adrián},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages:  21},
	keywords = {Graffiti, Place making, Eye tracking, Understanding, Appraisal, Attitudes, Gazes},
	pages = {196--216},
}

@inproceedings{trognitz_data_2024,
	address = {Lisbon},
	title = {The {Data} {Crew}—{Archive} with {ARCHE} and {Enrich} with {OpenAtlas}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.976},
	abstract = {In digital humanities research, different tools and services need to be integrated to allow for a seamless and streamlined workflow. With the example of project INDIGO, the tasks of archiving, annotating, enriching, and disseminating data with the digital archive ARCHE, the spatial database OpenAtlas, and ACDH-CH’s Vocabs Repository are described in detail. Each of the three services is presented along with its core tasks and how it is used within the exemplary workflow of project INDIGO. New functionality that was necessary for the integration of these services within INDIGO was implemented and is also described.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Trognitz, Martina and Carloni, Massimiliano and Koschiček-Krombholz, Bernhard},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 10},
	keywords = {Graffiti, Controlled vocabulary, Metadata, Database, Thesaurus, Preservation, Digital preservation, ARCHE, INDIGO, ACDH-CH, OpenAtlas},
	pages = {62--71},
}

@inproceedings{verhoeven_dissipating_2024,
	address = {Lisbon},
	title = {Dissipating and {Unravelling} {Bits} of {Graffiti} {Bytes}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.971},
	abstract = {In the year of Hip-Hop’s 50th anniversary and the 40th birthday of Wild Style, goINDIGO 2023 managed to bring various disciplines together to discuss the various ways of dissipating and understanding bits of graffiti bytes. The proceedings of this symposium pick up and reiterate where the previous proceedings left off: with the contemporary ways of disseminating old or new graffiti. Afterwards, several papers discuss practical and theoretical ways to unravel graffiti-scapes and develop new insights. In summation, tackling graffiti as sociocultural artefacts demands multidisciplinary frameworks. The editors hope the interconnected graffiti themes covered here and in the goINDIGO 2022 proceedings provide inspiration and an up-to-date overview of various framework components to deal with ancient and contemporary graffiti-scapes.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, Preservation, Digital preservation, Italy, Pompeii, Roman graffiti, INDIGO, Ancient graffiti, Ancient Graffiti Project, Digital approximxation, goINDIGO, Wild Style},
	pages = {6--11},
}

@book{verhoeven_disseminate_2024,
	address = {Lisbon},
	title = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	isbn = {979-8-3388-4342-0},
	abstract = {In the year of Hip-Hop’s 50th anniversary and the 40th birthday of Wild Style, goINDIGO 2023 managed to bring various disciplines together to discuss the various ways of dissipating and understanding bits of graffiti bytes. The proceedings of this symposium pick up and reiterate where the previous proceedings left off: with the contemporary ways of disseminating old or new graffiti. Afterwards, several papers discuss practical and theoretical ways to unravel graffiti-scapes and develop new insights. In summation, tackling graffiti as sociocultural artefacts demands multidisciplinary frameworks. The editors hope the interconnected graffiti themes covered here and in the goINDIGO 2022 proceedings provide inspiration and an up-to-date overview of various framework components to deal with ancient and contemporary graffiti-scapes.},
	language = {English},
	publisher = {Urban Creativity},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	doi = {10.5281/zenodo.13786065},
	keywords = {Graffiti, Street art, Preservation, Digital preservation, Visualisation, Conservation, Dissemination, INDIGO, goINDIGO},
}

@inproceedings{verhoeven_graphisvisualise_2024,
	address = {Lisbon},
	title = {{GRAPHIS}—{Visualise}, {Draw}, {Annotate}, and {Save} {Image} {Regions} in {Graffiti} {Photos}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.977},
	abstract = {A digital photo file contains the image pixel values along with associated photo metadata. Storing those metadata is enabled by various standards. For instance, the Exif standard enables the recording of technical photo metadata like the camera’s serial number and focal length, while the IPTC Photo Metadata Standard is the widely accepted norm for storing copyright and descriptive information in images (from unedited photos to AI-generated pictures). Since its 2019.1 version, the IPTC Photo Metadata Standard has facilitated the creation of image regions: groupings of image pixels—defined by a circle, rectangle, or any other polygonal shape—which can be annotated with region-specific metadata. Given the potential of image regions for graffiti photo annotation, the open-source and freely available software GRAPHIS was developed within the academic graffiti project INDIGO. GRAPHIS (Generate Regions and Annotations for PHotos using the IPTC Standard) allows users to generate and visualise image regions, annotate them with graffiti descriptions or transcriptions, and save them as metadata within the image. To adhere to the IPTC Photo Metadata Standard at every stage, project INDIGO also created a dedicated controlled vocabulary to contain all relevant concepts that can be used to define each image region’s role and content type. This paper starts with a general overview of metadata concepts, followed by a more in-depth look at Exif and IPTC photo metadata. After describing the IPTC Image Region property, the text details the workings of GRAPHIS and the controlled vocabulary development. An overview of use cases and potential software improvements conclude the text.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Verhoeven, Geert Julien Joanna and Wieser, Martin and Carloni, Massimiliano},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 32},
	keywords = {Graffiti, Metadata, Python, Exif, IPTC, INDIGO, Photo metadata, ExifTool, GRAPHIS (Generate Regions and Annotations for PHotos using the IPTC Standard), Image region, Software},
	pages = {72--103},
}

@inproceedings{verhoeven_each_2024,
	address = {Lisbon},
	title = {Each {Graffito} {Deserves} {Its} {Polygon}—{It} {Is} {About} {Time}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.981},
	abstract = {Time has remained one of the hardest-to-grasp properties of nature despite humans talking about time… all the time. However, even academic fields that are indifferent to the exact physical or philosophical characteristics of time must find ways to engage with the temporal dimension of their data. This applies to all of the Digital Humanities and maybe most to archaeology, a discipline focused on examining space- and time-bound anthropogenic activities. Like archaeological sites and landscapes, graffiti-scapes are spatially and temporally stratified. That is why the academic graffiti project INDIGO uses an archaeological lens to document, disseminate and investigate an urban graffiti-scape in space and time. However, since archaeologists still lack effective practical approaches to manage and visualise the temporal data dimension (besides a handful of data modelling standards and tools, both mainly created by geographers), INDIGO is currently developing graffiti-specific approaches to manage, visualise and analyse the uncertain spatio-temporal boundaries characterising these contemporary artefacts. After a general introduction to time and its relevance for archaeology and the study of graffiti, this paper explains why and how INDIGO uses polygons as digital representations for each real-world graffito. These polygons, stored in a human- and machine-readable file format and annotated with detailed temporal data, aim to provide a nuanced documentation of a graffiti-scape’s spatio-temporal dimensions.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 23},
	keywords = {Graffiti, Street art, GIS (Geographic(al) Information System), Vienna, Spatio-temporal, INDIGO, Temporal relationships, Donaukanal, Space-time, Temporality, Temporal reasoning, Temporal change, GeoJSON, Polygon, POLYGRAF},
	pages = {163--185},
}

@inproceedings{webb_building_2024,
	address = {Lisbon},
	title = {Building {Art} {Crimes}: {Highs} and {Lows}},
	isbn = {979-8-3388-4342-0},
	doi = {10.48619/indigo.v0i0.972},
	abstract = {This keynote address for the goINDIGO 2023 symposium is a personal telling of the author’s experiences in the world of graffiti documentation before, during and after working on Art Crimes (https://www.graffiti.org) with Susan Farrell. Art Crimes was created in 1993 and it was the first website dedicated to graffiti and street art. The paper attempts to highlight the risks to the practitioners and advocates of graffiti through personal stories and the challenges of organizing large quantities of images from diverse geographies.},
	language = {English},
	booktitle = {disseminate {\textbar} analyse {\textbar} understand graffiti-scapes. {Proceedings} of the {goINDIGO} 2023 international graffiti symposium},
	publisher = {Urban Creativity},
	author = {Webb, Brett},
	editor = {Verhoeven, Geert Julien Joanna and Schlegel, Jona and Wild, Benjamin and Wogrin, Stefan},
	year = {2024},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, USA, Hip hop, WWW (World Wide Web), American graffiti},
	pages = {12--21},
}

@book{andron_urban_2024,
	address = {Melbourne},
	title = {Urban {Surfaces} {Research} {Network} {Vol}. 1},
	abstract = {This publication is intended to inform research, practice, and public discussions on the role of surfaces in urban environments. The publication is the result of the first international workshop of the Urban Surfaces Research Network (USRN), established in 2023 by Sabina Andron, Konstantinos Avramidis, and Tom Ward. The USRN brings together researchers, practitioners, and policy makers, to examine the roles and uses of urban surfaces, and their contribution to the formation of urban cultures, politics, and atmospheres. It is a multidisciplinary group held together by a shared empirical interest and a passion to untangle the affordances of surfaces for citizenship, belonging, media, economy, law, and justice - the list continues.},
	language = {English},
	publisher = {Melbourne Centre for Cities, University of Melbourne},
	editor = {Andron, Sabina and Avramidis, Konstantinos and Ward, Tom},
	year = {2024},
	doi = {10.26188/26517895},
	keywords = {Graffiti, Street art},
}

@book{andron_urban_2024-1,
	address = {Melbourne},
	title = {Urban {Surfaces} {Research} {Network} {Vol}. 2},
	abstract = {This publication is intended to inform research, practice, and public discussions on the role of surfaces in urban environments. The publication is the result of the second international workshop of the Urban Surfaces Research Network (USRN), established in 2023 by Sabina Andron, Konstantinos Avramidis, and Tom Ward. The USRN brings together researchers, practitioners, and policy makers, to examine the roles and uses of urban surfaces, and their contribution to the formation of urban cultures, politics, and atmospheres. It is a multidisciplinary group held together by a shared empirical interest and a passion to untangle the affordances of surfaces for citizenship, belonging, media, economy, law, and justice - the list continues.},
	language = {English},
	publisher = {Melbourne Centre for Cities, University of Melbourne},
	editor = {Andron, Sabina and Avramidis, Konstantinos and Ward, Tom},
	year = {2024},
	doi = {10.26188/26518549},
	keywords = {Graffiti, Street art},
}

@book{andron_urban_2024-2,
	address = {Melbourne},
	title = {Urban {Surfaces} {Research} {Network} {Vol}. 3},
	abstract = {This publication is intended to inform research, practice, and public discussions on the role of surfaces in urban environments. The publication is the result of the third international workshop of the Urban Surfaces Research Network (USRN), established in 2023 by Sabina Andron, Konstantinos Avramidis, and Tom Ward. The USRN brings together researchers, practitioners, and policy makers, to examine the roles and uses of urban surfaces, and their contribution to the formation of urban cultures, politics, and atmospheres. It is a multidisciplinary group held together by a shared empirical interest and a passion to untangle the affordances of surfaces for citizenship, belonging, media, economy, law, and justice - the list continues.},
	language = {English},
	publisher = {Melbourne Centre for Cities, University of Melbourne},
	editor = {Andron, Sabina and Avramidis, Konstantinos and Ward, Tom},
	year = {2024},
	doi = {10.26188/26518561},
	keywords = {Graffiti, Street art},
}

@incollection{karlander_graffiti_2024,
	address = {Abingdon and New York},
	series = {Routledge handbooks in applied linguistics},
	title = {Graffiti},
	isbn = {978-0-367-76414-2},
	language = {English},
	booktitle = {The {Routledge} handbook of language and youth culture},
	publisher = {Routledge},
	author = {Karlander, David},
	editor = {Svendsen, Bente A. and Jonsson, Rickard},
	year = {2024},
	doi = {10.4324/9781003166849-27},
	note = {Num Pages: 12},
	keywords = {Graffiti, Graffiti writing},
	pages = {277--288},
}

@mastersthesis{chavez_graff_2017,
	address = {El Paso},
	title = {Graff' and the {City}: {Towards} a {Socially} {Conscious} {Aesthetic} {Theory} of {Graffiti}},
	abstract = {Art is one of the most universal and oldest human activities; it is a human impulse rather than a skill. The invention of art and language occurred about 30,000 to 70,000 years ago. This “cognitive revolution”, going from homo sapiens to homo sapien sapiens, gave us the imaginative powers of language and art. No society as far as we know of thus far has been able to live without some form of art. Yet its exact definition is hard to jot down, much less explain. Art’s constant movement, transformations, its disappearances/reappearances, and even its proclaimed “death” throughout history has always challenged the theorists’ and aesthetes’ attempts to capture art’s essence. But art, at is most basic and cruel form, is still just a human expression upon a surface- any surface; a Lebenswelt captured in a Leinwand , that materializes such abstract human expressions into non-superficial and substantive narratives. With graffiti for example, which will be the main focus of this study, both the message and the surface that graffito is painted upon happen to be non-superficial and highly consequential, since graffiti’s own narrative rests upon the socio-political narrative of contemporary property relations and a capitalist mode of production. Thus, all art forms, especially graffiti art, which is always at risk of being “buffed” by anti-graffiti state programs, are infinitely fleeting and in a state of becoming rather than in a state of being. Therefore, graffiti art must be seen as an open and never totalized process. This infinitely fleeting constitution of graffiti will enable us to understand the movement, separation, and distance necessary for a socially conscious critique of the subject-centered framework of Idealist aesthetics and Positivist epistemology. This critical (dis)stance will further enable a path to initiate my own theory of graffiti as a socially conscious moment in the lived-city.},
	language = {English},
	school = {The University of Texas at El Paso},
	author = {Chavez, Eric},
	month = may,
	year = {2017},
	keywords = {Graffiti, México},
}

@mastersthesis{dachs_change_2024,
	address = {Vienna},
	title = {Change {Detection} in {Graffiti} {Images}},
	abstract = {The thesis presents an empirical evaluation of change detection in graffiti images, a largely unexplored domain for change detection. To conduct this evaluation three steps were conducted: 1. Preparation of a dataset: As the available graffiti data is very scarce and highly correlated a new dataset had to be established. This was achieved by creating a synthetic dataset by adding digital graffiti to images of a graffiti wall. 2. Training of the models: To increase the performance of the state-of-the-art change detection models in the domain of graffiti images, the models were trained on graffiti data. The training was performed in different settings (finetuning and training from-scratch) as well as using different combinations of the available data. In this step, a simpler baseline model was implemented as well, to be able to evaluate the complexity of the task. 3. Evaluation: Finally, the models were evaluated on the synthetic as well as on a hand-labeled real-world dataset. The evaluation showed that the original models cannot be used without finetuning for change detection in graffiti images, achieving an average F1-Score of 0.134. All models showed a significant improvement after finetuning, on average the F1-Score increased to 0.612 for the models trained on all available data. For most models, synthetic data had an overall positive effect, especially since the precision could be improved for all models using synthetic data. The best-performing model was the baseline model, only trained on hand-labeled real-world data, achieving an F1-Score of 0.692.},
	language = {English},
	school = {Technische Universität Wien},
	author = {Dachs, Fabian},
	month = aug,
	year = {2024},
	doi = {10.34726/hss.2024.106190},
	keywords = {Machine learning, AI (Artificial Intelligence), Change detection, Deep learning, INDIGO},
}

@article{baldini_for_2023,
	title = {For a {Nuanced} {Appreciation} of {Urban} {Creativity}: {Unveiling} the {Social} {Subversion} in {Street} {Art} and {Graffiti}},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/819},
	abstract = {Why should we have a journal dedicated solely to graffiti and street art? This essay defends the rationale for establishing GSA. Since the rise to prominence of street artists such as Banksy and Shepard Fairey, there has been renewed interest in urban creativity. In many major cities around the world, city walls have been transformed into canvasses for artistic expression. However, these works do not fall into the same category. Graffiti and street art belong to a specific kind. I argue that graffiti and street art are forms of art whose primary function is to challenge the dominant order of visibility in urban spaces. They embody the art of social subversion. Often, for various reasons, works of official public art are miscategorized as street art. But rather than being subversive, official public art aims at establishing a new order of visibility. It is the art of social change. My interest in developing an account distinguishing between graffiti and street art, on the one hand, and official public art, on the other hand, is not purely theoretical.; it is also practical. I'd like to develop a distinction that can help us better appreciate different types of urban art while also securing discursive and critical spaces that are unique to each kind. Throwing everything into the same pot risks losing some of the unique characteristics of these various art forms. A more nuanced account, instead, may have a positive effect on cultural and urban policies regulating creative expression in the city.},
	language = {English},
	number = {2},
	journal = {Graffiti and Street Art},
	author = {Baldini, Andrea Lorenzo},
	year = {2023},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Public art, Subversive},
	pages = {8--19},
}

@article{ishii_being_2023,
	title = {Being in the peripheral: {How} {Street} {Culture} grows yet stays young},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/826},
	abstract = {Street Culture, compose of Hip Hop, Graffiti, Skateboarding and more, has impacted many aspects of popular culture today. In this essay, I would set Street Culture as complex of creative activities and by comparing with Kabuki culture, I would like to see their common points as cultural phenomena. And at the same time, seeking the origin of Street Culture’s mindset into their experience: Great Alienation. With this point of view, I would like to point out what is the unique point of Street Culture from the others. And I would try to foresee which direction Street Culture might take in the future and how it can be staying as unique phenomena.},
	language = {English},
	number = {2},
	journal = {Graffiti and Street Art},
	author = {Ishii, Tomohiro},
	year = {2023},
	note = {Num Pages: 3},
	keywords = {Graffiti, Street art, Hip hop},
	pages = {30--32},
}

@article{martinez_tapicerijuan_2023,
	title = {“{Tapicería} {Juan} {Luis}”. {A} relational and independent show between the public and the private},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/827},
	abstract = {Tapicería Juan Luis is an independent exhibition project inaugurated in Malaga (Spain) on April 1, 2023. It develops from a relationship of more than 6 months with an old upholsterer diagnosed with a personality disorder. Initially, the study arises due to the typographical and compositional interest that we feel when observing the way in which this subject arranges a series of posters and claim documents on the facade of his home, which, in the past, had functioned as his upholstery. The fact of using the public-private space for a personal matter aroused our interest immediately, and we decided to start investigating about it.},
	language = {English},
	number = {2},
	journal = {Graffiti and Street Art},
	author = {Martínez, Keko},
	year = {2023},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art},
	pages = {38--41},
}

@article{mone_urban_2023,
	title = {Urban creativity between metropolitan and museum space},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/824},
	abstract = {For some people if it is not illegal then it is not Street Art, but is that really the case or are other factors at play? Today there is a lot of discussion about Street Art, however is it talked about properly and in the correct way? How much does myth condition and influence our interpretations of this language? We talk about an art form seen as a voice of protest, of the people, of the marginalized, of those whom society relegates to the slums. An expression apt to convey messages as immediate as they are strong in order to reach everyone, without social or hierarchical differentiation. It is not an elitist art; on the contrary, it is the art of the people. For the first time, we are talking about an artistic language that truly enacts a process of “cultural democratization”. Often placed in open contrast to every inherent form of the social, cultural, artistic, and political system. Simplicity and immediacy have gone on to form solid foundations on which this movement still stands today. Like any self-respecting artistic innovation and avant-garde, this phenomenon is also in danger of being sucked, voluntarily or involuntarily, into the system that was initially so criticized. After all, even the well-known gallerist Steve Lazarides said, “Nothing in the history of art has remained underground forever. Evolving is part of a normal process of growth”. In this way, street art is commodified within a vicious circle made up of economies of unreachable value, implicated in the well-known gallery-exhibition-market mechanism, a context of which it was initially proposed not to be a part. Currently we are witnessing an increasing number of initiatives promoted by institutions and local authorities that feature precisely street art as a means of redeveloping dangerous or degraded areas. It frequently happens to see new “street art” exhibitions inaugurated at museums and galleries. A sort of recognition of its intrinsic value manifested through the misuse of words like “institutionalization” and “legitimization”. For many it would seem a paradox: an art born against institutions now operates alongside them. However, how much can this phenomenon of institutionalization be considered negative for urban creativity and actually paradoxical? Artists are well aware of their own work while art-experts in the field admit how much the so-called “Institutionalization of Street Art” is nothing more than a natural development that came about spontaneously and that the real problems are actually quite different.},
	language = {English},
	number = {2},
	journal = {Graffiti and Street Art},
	author = {Mone, Erica},
	year = {2023},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Museum, Definition},
	pages = {20--29},
}

@article{mvin_red_2023,
	title = {“{Red} {Dot} {Theory}”. {A} {Multifaceted} {Exploration} of {Urban} {Expression}},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/828},
	abstract = {The project was divided into two distinct parts: 1. The street performance that consisted of painting the “red dot” hundreds of thousands of times all over the city to achieve a noticeable “visual invasion” and stimulate public reactions, 2. The artistic documentation that led to the creation of a serie of multimedia works, sometimes interactives, addressing various sociological, urban, and anthropological topics, as well as several artistic notions such as symbolism or situationism. This artist talk will begin by providing an introduction to the performance’s process and protocol. This will be followed by a curated selection of the artist’s project documentation and related multimedia works, which will offer an in-depth exploration and a focus on its interactivity with the public. Finally, as a brief conclusion, we will witness the seamless alignment of “The Red Dot Theory” with the conference theme of “Numbers,” opening the door to a wider discussion. Through its deconstruction of tagging, the project showcases the influential role of numerical elements in urban creativity, exemplified by the symbolic visual invasion of countless “red dots” throughout Barcelona.},
	language = {English},
	number = {2},
	journal = {Graffiti and Street Art},
	author = {MVIN, Bertrand},
	year = {2023},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Spain, Barcelona, Red dot theory},
	pages = {42--52},
}

@article{nenko_urban_2023,
	title = {Urban {Art} {Laboratory} as a {Form} of {Engaging} with {Everyday} {Life}},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/829},
	abstract = {The paper reflects upon my curatorial experience in aninterdisciplinaryurbanart laboratory “The 25 Lines”, which was a 2,5 months collective process takingplace in St. Petersburg on the verge of 2020-20211. The main thesis of the lab was Guy Debord’s statement “Art should return to everyday life” and its main focus was the everydayness of the lines (the streets) of Vasilevsky island. The paper is based on the sociomantic analysis of 40 participants’writtenstatements and 25 artifacts resulting from their engagement with the lines, as well as my personal and my fellow curators’ experiences. In the paper I describe the processuality of the lab, which was built as an intermixture of studies in critical urban theory and performative situated practices, the complexity of this design creating a shared conceptual ground and lived experience space for participants with diverse backgrounds - from performative arts to anthropology. I articulate different research techniques (e.g. drift, dialogue, rhythm analysis, emotional mapping) used by participants to explore the everydayness of the 25 lines and discover their polysemy, human and non-human dynamics, complexity of relations and metaphoricity of their symbolic and material landscapes. I discuss the emergent 25 artifacts, which translated sensual and conceptual experiences of everydayness into a variety of forms - games, installations, artbooks, alternative maps, video-guides, and sculptures. I specifically underline how the emergent artworks broadcasted the direct speech and materiality of the line’s inhabitants’ worlds, places of memory, maps of movements, and other traces of everyday life, otherwise hidden and unrecognized. I summarize by considering the urban art lab as an educational and community-making format linking art, urban studies and everyday lifecriticalreflection, and providing space to envision an alternative culture of urban space.},
	language = {English},
	number = {2},
	journal = {Graffiti and Street Art},
	author = {Nenko, Oleksandra},
	year = {2023},
	note = {Num Pages: 1},
	keywords = {Graffiti, Street art},
	pages = {53},
}

@article{soares_neves_city_2023,
	title = {The {City} in {Dialogue}, {Reflections} of {Lisbon} and the {Underdogs} {Public} {Art} {Programme} [2013-2023]. {Book} {Review}},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/839},
	abstract = {This publication is a celebration of the 10-year relationship between Underdogs, a cultural platform, and the Lisbon institutional dimension of urban art, Galeria de Arte Urbana. It navigates a delicate balance, avoiding extremes and polarization, seeking recognition without fully realizing its potential—a book that, in its compromise, leaves room for a possible 10-year-old paradox to be explored. The absence of detailed information about the artists and authors is compensated by an innovative fusion of {\textbackslash}textquotedblThe Citizens{\textbackslash}textquotedbl texts with images, creating a nuanced, non-declarative narrative that encourages self-interpretation. The book not only serves as a visual feast but also as a exploration of the program's impact on the city's cultural fabric, examining the dynamic interplay between art, societal narratives, and the urban environment. As the final remarks unfold, the reader is left with a resonating appreciation for the Underdogs Public Art Programme's decade-long journey, celebrating its role in shaping a cityscape where art is not merely a visual spectacle but a powerful medium for cultural reflection and societal engagement.},
	language = {English},
	number = {2},
	journal = {Graffiti and Street Art},
	author = {Soares Neves, Pedro},
	year = {2023},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Portugal, Lisbon},
	pages = {34--37},
}

@book{suter_grafitti_1994,
	address = {Frankfurt/Main},
	edition = {3. aktualis. Aufl.},
	title = {Grafitti: {Rebellion} der {Zeichen}},
	isbn = {978-3-89501-032-3},
	language = {German},
	publisher = {Rita G. Fischer},
	author = {Suter, Beat},
	year = {1994},
	keywords = {Graffiti},
}

@book{alacevich_lost_1991,
	address = {Roma},
	title = {The lost graffiti of {Berlin}: {The} writing on the wall},
	isbn = {978-88-7301-003-6},
	abstract = {A wall is, above all, a linguistic sign, a sort of unspoken word. Mute. Voiceless. A petrified gesture that repeats the same thing over and over: stop, no entry, no exit. In this sense, a wall may well be the primordial form of prohibition and negation, a mute «no» which is louder than any «no» produced by other means. But what happens if on our wall as sign there suddenly appear other signs, which then ramity and proliferate until they cover all of the sur-face, stretching from one side to another, top to bot-tom? What happens then? Nothing. The wall re-mains; that «no» hasn’t been demolished; the negation has not, in its turn, been negated. Yet something has changed: the intrinsic value of the sign has altered, depreciated, degraded. For though the simple fact of having been used as innocuous backdrop for other signs has not abolished the wall’s nude power of interdiction, it has, however, ridiculed that power. Dirtied, scratched-over, violated? Or decorated, adorned and cosmetified? In the graffiti-gesture these opposed functions and intentions mix, inter-twine, superimpose one another, mingle and unite. So the paintings on the Berlin Wall were also a cosmetic operation similar to that regularly carried out by prisoners on their cell walls. Only it wasn’t the prisoners who prettied-up the Berlin Wall: it was done by other men, those who were outside and free. In their motives and styles we glimpse a not-so-very strange combination of ingenuity and astuteness. Surrealism and Dadaism, expressionism and pop-art, comic books and transavant-garde, even caricature and graphic art. Even fleeting traces and imprints are expressive, and the graffiti, viewed as a whole, seem the product of very mixed feelings, in which there throbs a secret, perhaps unconscious will to oblivion. This yearning for oblivion, collectively and perhaps unwittingly expressed, has finally been achieved. In fact, the Wall fell, and with it the graffiti that had so intricately and completely covered it. What remains? Memory. Some fragments gathered up by anonymous souvenir-hunters. And these color photographs: images which, for obvious reasons, should raise our spirits.e hold and believe that everything so long denied and repressed on the other side of the Wall.},
	language = {English},
	publisher = {Gremese},
	author = {Alacevich, Francesco and Alacevich, Alessandro and Guarini, Ruggero},
	year = {1991},
	keywords = {Graffiti, Berlin, Germany, Berlin Wall},
}

@book{will_graffiti_1999,
	address = {Stuttgart},
	series = {Topp: {Mit} {Farbe} gestalten},
	title = {Graffiti: {Kunst} aus der {Dose}},
	isbn = {978-3-7724-2575-2},
	abstract = {Im Gegensatz zu bisher erschienenen Überblicks- bzw. Nachschlagewerken zur Graffiti-Szene, etwa von Schwarzkopf \& Schwarzkopf (z.B. {\textbackslash}textquotedblGraffiti art{\textbackslash}textquotedbl, BA 4/95, {\textbackslash}textquotedblGraffiti-Lexikon{\textbackslash}textquotedbl, zuletzt BA 1/99) ist dieser Querformat-Band eine Anleitung zum Sprayen. Thorsten Will alias {\textbackslash}textquotedblShay{\textbackslash}textquotedbl, ein erfahrener Sprayer, bietet hier zahlreiche Infos, Tipps und Tricks für Sprayer in spe, eingeschlossen Warnungen von illegalem Sprühen und Nennung von legalen Möglichkeiten. Geschichte, Material und Untergründe bilden den Anfang, bevor etwas ausführlicher und auf die technische Seite des Sprühens - Vorbereitungen, vereinzelte Schritt-für-Schritt-Anleitungen und vor allem Beispiele für unterschiedliche {\textbackslash}textquotedblStyles{\textbackslash}textquotedbl - eingegangen wird. Den Schluss bilden Beispiele aus verschiedenen Städten, Insidertipps und ein Glossar. Sehr anschaulich durch eine gekonnte Mischung aus knappen, aber verständlichen Texten und vielen aussagekräftigen, gut reproduzierten Beispielfotos, kann der von praktischer Erfahrung zeugende Band angehenden Graffiti-Künstlern eine nützliche Hilfe sein. (2) (Roland Schwarz).},
	language = {German},
	publisher = {Frech},
	author = {Will, Torsten},
	year = {1999},
	keywords = {Graffiti},
}

@article{soares_neves_tracks_2023,
	title = {Tracks and {Traces}. {Exploring} the {World} of {Graffiti} {Writing} trough {Visual} {Methods}. {Book} review},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/832},
	abstract = {This review examines Peter Bengtsen's Tracks and Traces, a noteworthy exploration of graffiti writing through visual methods. The book presents a compelling perspective on graffiti as a form of personal expression, delving into its intricate unique details. Bengtsen's work stands out for its exceptional publication quality, for example with pages that unfold for big sized images, providing readers with a visually rich and engaging experience. The strength of the book lies in its well-referenced content, firmly grounded in experimental applied research. Bengtsen builds his arguments on a solid foundation, making the publication a valuable resource for those seeking a comprehensive understanding of graffiti from the visual methods point of view. Moreover, the book introduces transferable methodological approaches that contribute to its broader relevance beyond the immediate subject matter. A paramount hypothesis explored in the book revolves around the refined attentiveness of graffiti practitioners to the city environment. Bengtsen posits that individuals engaged in graffiti develop a heightened awareness of and connection to the urban landscape. This hypothesis adds a significant layer to the discourse on graffiti, shedding light on the symbiotic relationship between graffiti and the city. One of the commendable aspects of Tracks and Traces is its accessibility to readers new to graffiti as a subject. Bengtsen effectively navigates the intricacies of graffiti culture, making the book approachable without compromising on depth. The inclusion of visual methods enhances comprehension, allowing readers to grasp the essence of graffiti writing even if they are unfamiliar with the topic. In summary, Tracks and Traces by Peter Bengtsen emerges as a valuable contribution to the study of graffiti writing. Its focus on personal expression, high publication quality, rigorous research methodology, and accessible presentation makes it a recommended read for both scholars and newcomers interested in exploring the world of graffiti through a visual lens.},
	language = {English},
	number = {1},
	journal = {Graffiti and Street Art},
	author = {Soares Neves, Pedro},
	year = {2023},
	note = {Num pages: 8},
	keywords = {Graffiti, Street art, Book review},
	pages = {42--49},
}

@article{gerini_real_2023,
	title = {The real lives of street art artists: testimonies and writings},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/831},
	abstract = {The experiences of the street artists and the graffiti ones– which often began with vandal graffiti and repressed by law – are an essential element of the history of graffiti and street art of the last sixty years, as of the evolution of their art and so of the street art itself. However, to write this “real” story, one must have made an anthropological approach of the graffiti world, on the field work, by watching them act, by listening to them, by collecting their testimonies and life stories. As it is also necessary to have read their possible writings, on the web, in their fanzines, and even in articles or books that they have sometimes published themselves. Here one will find in a first part an obviously non-exhaustive inventory of this work that we have been carrying out for thirty years. And in a second part an amazing example. That of Antoine Château, a vandal graffiti artist in his teen ager years, and today an art teacher in high school and in other structures where he teaches young people both the practice of graffiti and its history: it is therefore himself, co-author of this article, who wrote the second part.},
	language = {English},
	number = {1},
	journal = {Graffiti and Street Art},
	author = {Gerini, Christian and Chateau, Antoine},
	year = {2023},
	note = {Num pages: 17},
	keywords = {Graffiti, Street art, Sweden, France, Education, Testimonies, Urbex},
	pages = {24--40},
}

@article{bonadio_street_2023,
	title = {Street {Art}, {Graffiti} and {NFTs}: {Copyright} issues on the streets of {Web3}},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/836},
	abstract = {There are numerous examples of street and graffiti artists using NFTs to monetize their physical art in the digital sphere. One reason for this might be that the digital medium combined with the cultural aspects surrounding the NFT scene, such as the sense of community connected to the art and tokens, also allows for street culture to be transferred with the street and graffiti art. One may think that in addition to this, Web3 and NFTs allow for a more democratic and direct link between artists who place their pieces in the street and their audiences. In this talk we will examine these background issues, and analyse the ideas and opinions of a number of street artists, graffiti writers and curators about the tokenisation of street art murals and exploitation via copyright. We will also combine legal analysis with artists’ real life experiences to discover fresh insights into the complexity of a rapidly evolving market for street art and graffiti. The talk is based on a chapter that is currently being written and will be published as part of a book examining NFTs and copyright from different perspectives.},
	language = {English},
	number = {1},
	journal = {Graffiti and Street Art},
	author = {Bonadio, Enrico and Egeland, Siri-Helen},
	year = {2023},
	note = {Num Pages: 1},
	keywords = {Graffiti, Street art, Blockchain, NFT},
	pages = {51},
}

@article{hoppe_bad_2023,
	title = {‘{Bad}’ {Street} {Art}: {The} {Artistic} {Practice} of {Res} {Publica} {Temporanea} and {Collettivo} {FX} in {Catania}, {Sicily}},
	volume = {1},
	issn = {2975-965X},
	url = {https://journals.ap2.pt/index.php/GSA/article/view/793},
	abstract = {This article deals with the artistic practice of the Italian street art collectives Res Publica Temporanea and Collettivo FX in Catania, Sicily, which has so far been neglected by academic research. The results of this study are the outcome of a field trip in April 2023 by invitation of the artists. The article recaps their work in different places, each of which marks problematic developments in the city of Catania (San Berillo, Librino, Palestra Lupo), and how it has changed over the years. While the first campaigns with ‘beautiful’ street art led to the usual effects of gentrification, subsequent and other interventions show a different, less elaborate style that runs counter to the interventions of funded public art. The case study is embedded in the discourse of current critical research that considers street art aesthetically and ideologically exhausted, and reflects on the use of its categories, often implicitly mixing ethical and aesthetic categories. Accordingly, in this article, I use the term ‘bad’ street art in two senses: firstly, as an ethical category, because of its implications in the processes of gentrification and commercialization, and secondly, as an aesthetic term, regarding a form of street art that is no longer beautiful decoration but appears formally and materially as a ‘poor’ style in combination with a simple iconography, developed in close consultation with local residents, thus returning to its roots in 1960s community-based art, in the context of which the term first appeared. The separation of categories helps to show that street art might be aesthetically repetitive but is still or again a useful tool within urban activism.},
	language = {English},
	number = {1},
	journal = {Graffiti and Street Art},
	author = {Hoppe, Ilaria},
	year = {2023},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Italy, Gentrification, Catania, Collettivo FX, Res Publica Temporanea},
	pages = {8--23},
}

@book{eigeltinger_graffiti_1983,
	address = {Berlin},
	title = {Graffiti für {Vespasian}: {Die} {Kunst} im {Pissoir}},
	isbn = {3-921495-34-2},
	language = {German},
	publisher = {Verlag Rosa Winkel},
	author = {Eigeltinger, Wilfried},
	year = {1983},
	keywords = {Graffiti, Toilet graffiti},
}

@book{di_giacomo_straat_2021,
	address = {Tielt},
	title = {{STRAAT}: {Quote} from the streets},
	isbn = {978-94-014-7970-7},
	abstract = {This catalogue for the new international graffiti and street art museum in Amsterdam, STRAAT, features work created on-site by the greatest artists of today's street art scene. STRAAT - Quotes from the Streets tells the story of street art as a full-fledged art movement and explores the evolution of 'art in the street', in addition to the development of the new museum. The catalogue is above all a feast for the eyes, with many full-page images of the best street art talent from around the world.},
	language = {English},
	publisher = {Lannoo},
	author = {Di Giacomo, Giovanna and Riva, Giulia},
	year = {2021},
	keywords = {Graffiti, Street art, the Netherlands, Amsterdam},
}

@article{hofmann_scholar_1959,
	address = {New York},
	edition = {CVIII (No. 36942)},
	title = {Scholar {Says} {Code} {Inscriptions} {Confirm} {Site} of {St}. {Peter}'s {Tomb}},
	abstract = {ROME, March 16 – The discovery of new evidence purported to prove that Apostle Peter was buried where St. Peter's Basilica now stands was announced by the Vatican today.},
	language = {English},
	journal = {The New York Times},
	author = {Hofmann, Paul},
	month = mar,
	year = {1959},
	note = {Num Pages: 1},
	keywords = {Graffiti, Rome, St. Peter, Thomb, Vatican},
	pages = {3},
}

@article{sn_graffiti_1899,
	address = {New York},
	title = {The {Graffiti} in {Rome}. {From} {Ainslee}'s {Magazine}},
	language = {English},
	journal = {The New York Times},
	author = {{S.n.}},
	month = jun,
	year = {1899},
	note = {Num Pages: 1
Has no volume and issue number.},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Ancient graffiti},
	pages = {21},
}

@article{sn_foreign_1863,
	address = {New York},
	edition = {XIII (No. 3801)},
	title = {Foreign {Items}},
	abstract = {– Experiments of an important nature have just been made at the fortress of Carlberg, in Sweden, upon the respective merits of armor-plates made in England, France and Sweden. Messrs. JOHN BROWN \& CO., of Sheffield, sent two plates, one 12 feet by 2 feet 6 inches, and one 6 feet by 3 feet 8 inches. Messrs. PETIN, GUADET \& CO., of Lyons, sent two plates, each of 7 feet 6 inches by 3 feet 3 inches. The Montala Iron Works Company, of Sweden, sent two plates of 12 feet by 2 feet 6 inches, and one 6 feet by 3 feet 8 inches. All the plates were of 4 1/2 inches thickness, and then bolted to a teak target backed with iron-plating, and supported by a massive stone pier. The two upper plates in the target were the French, and each was secured by 11 bolts. The next plate below was the longest Swedish, and this was secured by 29 bolts. Below this was a tier of two short plates, one Swedish and one English, each secured by 24 bolts; and the lowest plate was a long English, secured like the Swedish by 29 bolts. Each plate received six shots from the ordinary 68-pounder naval gun. The French and Swedish plates broke to pieces, and the English plates remained uninjured, and free from cracks. The shot used were of Swedish iron, and exhibited great toughness, as compared with the shot used in the English service – the core, or centre of the shot, after striking, being of double the weight of the core or the English shot. – The following is from the Paris correspondent of the Liverpool Journal: {\textbackslash}textquotedblThe golden sceptre to be presented by the Mexican deputation to the Archduke MAXIMILIAN was seen by a few of the initiated in Paris during the stay of the notables here. It is a thick gold stick, about the size, in circumference, of a very fat Alderman's thumb, and about eighteen inches in length. The gold is from the mines in Mexico, and the four large emeralds which adorn the handle are likewise of Mexican produce. The ruby fixed at the end, and which is said to send back the seven rays of the star in the sunlight, was taken from the watch-chain of ITURBIDE, where that unfortunate monarch wore it for some time, always with the intention of having it engraved as a signet ring, indicative of the imperial dignity which it was his intention to have borne with so much magnificence. The fleuron into which the head of the sceptre is carved, represents something very like a fleur de lis, at which our gazers here were most astonished. But Mexican art has not as yet reached a very high standard, and the exact emblem intended for representation is not absolutely evident to the sight. The sceptre is rich enough, and will serve us as an imperial policeman's baton, to be used according to the inspector's orders.{\textbackslash}textquotedbl – The Emperor NAPOLEON's speech on the opening of the session of the Corps Legislatif, according to Galignani, consisted of 2,044 words. The transmission by telegraph from the central station in Paris commenced as soon as it was ascertained that the reading had been completed, which was about 1 1/2. The average time occupied in the transmission to the principal cities of France and Europe was an hour and a quarter. The capitals for which the longest time was required from a want of direct communication were Rome, St. Petersburgh, Athens and Lisbon. The speech was nevertheless received everywhere before the evening, and the journals of the whole of Europe produced it on the following morning, the same as those of Paris. – A letter from Soukum-Kale says: {\textbackslash}textquotedblYou are, of course, aware that SCHAMYL some years back, for getting his brilliant career, accepted a seraglio and a pension of 1,500 roubles per month from Russia, which he now enjoys at Kalungo. He had then as lieutenant MAHOMED EMIN, who has been at St. Petersburgh, where he was well received by the Emperor, He is now in the Turkish territory, and the chief mountaineers having heard that he wishes to return to Circassia, have intimated to him that if he does so it will be at his own peril, as they cannot consider him anything but a Russian employe.{\textbackslash}textquotedbl – The Star (London) has this paragraph, which it heads. {\textbackslash}textquotedblAmerican Commercial Honor:{\textbackslash}textquotedbl {\textbackslash}textquotedblAt the period of the last panic in the American commercial world the house of Messrs. JAMES MCHENRY, at Liverpool, succumbed to the pressure of the times. The honor and integrity of Mr. MCHENRY did not, however, depart with his failing fortune, for since than he has more than surmounted the height of his former commercial standing. A few days ago Mr. MOELEY, the Liverpool banker, on opening one of his London letters, found therein a cheek on the Bank of England for \&\#163;47,000, with the name of JAMES MCHENRY attached. This check covered the sum with interest due to the Bank of Mr. MOZLEY when the Messrs. MCHENRY suspended payment.{\textbackslash}textquotedbl – Count KISSELEFF, Envoy Extraordinary and Minister Plenipotentiary of Russia at Rome, will shortly repair to Paris, where his marriage with the Princess RUSPOLI, of Rome, widow of the Duke MARINO TORLONIA, will take place. The marriage is to be celebrated in France, because the laws of the Pontifical Government do not authorize a marriage at Rome of a Roman subject of the Catholic religion with a Protestant or a schismatic. It is for this reason that the affianced couple repair to Paris in order to return to Rome married. – The exhumation of the remains of BEETHOVEN, which recently took place under official recognition, has been protested against by the family of the great composer, having taken place without their knowledge, and being opposed to their will. They declare that this {\textbackslash}textquotedblprofanation{\textbackslash}textquotedbl has awakened the most painful feelings, and {\textbackslash}textquotedblthat they will strenuously oppose the carrying out of all further projects already conceived and made known in that matter.{\textbackslash}textquotedbl –{\textbackslash}textquotedblThe mortal remains of ROBESPIERRE, SAINT JUST and LEHAS,{\textbackslash}textquotedbl says the Paris Patrie, {\textbackslash}textquotedblhave just been discovered by some workmen occupied in digging the foundations of a house at the Batignolles, at the angle of the Rue du Rocher and the old Chemin de Ronde. These men, who played so important a part in the revolution, were buried at the above spot, the cemetery of the Madeleine being too full at the period of their death to admit of fresh interments.{\textbackslash}textquotedbl – The Finance Committee of the Danish Parliament has just resolved to recommend the grant of \vphantom{\{}\}50,000 to Prince CHRISTIAN of Denmark, in consideration of the expense he incurred at the marriage of his daughter ALEXANDRA the Princess of Wales; and a further \vphantom{\{}\}50,000 to the King of the Hellenes to defray the expenses of his recent visits to many principal courts of Europe, previously to his final departure for Greece. – In some recent excavations under Mount Palatine, toward the Valabrum, walls covered with stucco have been found, and sundry scrawl marks, technically known as graffiti, lead to the conclusion that a public school was kept on the premises. Local antiquarians dignify the discovery as the academic establishment for Imperial pages of the palace under the early CAESARS. – A marriage is arranged and will shortly take place between Sir HENRY HAVELOCK, son of the late Maj.-Gen. Sir HENRY HAVELOCK, of Lucknow, and Lady ALICE MORETON, daughter of the Countess Dowager of Ducie. A marriage is also arranged to take place between Mr. WALTER SMYTH, brother to Sir FREDERICK SMYTH, and Miss LOUISA HERBERT, daughter of Mr. WM. HERBERT, of Clytha. – The chronicler of the Paris Nation states that at one of the late races at Vincennes, a workman of the Faubourg St. Antonie, on seeing some ladies of the demimonde approaching in splendid equipages, exclaimed, {\textbackslash}textquotedblMake room there for the rag-gatherers of the future!{\textbackslash}textquotedbl His words were caught up by the bystanders, who seemed to think them quite appropriate. – The future Queen of Greece is designated most unhesitatingly in the person of EUGENIE, second daughter of MARIA, Duchess of Leuchtenberg. The promessi sposi have already met at St. Petersburgh, and are mutually plighted. The bride's mother is now in Italy with her elder daughter, whose hand is also disposed of to Prince UMBERTON, the heir apparent of the Italian throne. – On the 18th ult., the jubilee of the battle of Leipzig was celebrated all over Germany; the song of Arndt, {\textbackslash}textquotedblWas ist des Deutschsen Vaterland,{\textbackslash}textquotedbl was sung, and the name of the composer published for the first time. He is Herr JOHANNES COTTA, born at Ruhia, in the Thuringlan Forest. When a student of theology at Jena, in 1814, he composed Arndt's song. He is now a clergyman at Willerstedt, a small village in Thuringla. – The Quarterly Journal of Science is the title of a new periodical, the first number of which is to be published on the 1st of January. It is intended to be popular in style, but supported by a numerous array of scientific men of the highest character, the editors being Mr. JAMES SAMUELSON, editor of the Popular Science Review, and Mr. WILLIAM CROOKES F.R.S., editor of the Chemical News. – The Paris Monde publishes a circular from the Bishop of Beauvals, in which he forbids all per sons, who have not a special license, from reading distributing, or keeping La Vie de Jesus. He call upon them to destroy any copies they may have in their possession, as the book is an accursed libel, in which absurdity and impiety are mixed up in equal portions – {\textbackslash}textquotedbla fragile and hideous edifice.{\textbackslash}textquotedbl – The Empress of the French has ordered from a Spanish artist a grand picture representing her visit to Madrid, and which picture is to be hung in the Tuileries. Her Majesty gave 60,000 reals to the servants of the Queen of Spain's palace, and made large presents to several charitable establishments. – A characteristic letter from Mr. RUSKIN has appeared, in which that eminent critic excuses himself from attending an art meeting in Liverpool, because he is so shocked at the condition of Polish affairs. He says that a country {\textbackslash}textquotedblwhich will not fight for its ideas is not likely to have anything worth painting.{\textbackslash}textquotedbl – The London Times has a long and favor able notice of Mr. HAWTHORNE's work, Our Old Home It opens thus: {\textbackslash}textquotedblMr. HAWTHORNE is, after WASHINGTON IRVING, the best prose writer that America has produced, and somewhat in IRVING's manner he now favors us with a description of scenes in England, the old home of his fathers.{\textbackslash}textquotedbl – It is said Capt. SPEKE is to be knighted; and it is probable that one of the first motions in the next session of Parliament will be to reimburse him for the losses he has sustained through leaving his regiment, and the expenses incurred in the act of devotion which has opened up to the world a hitherto unknown country. – A statement has been issued showing the comparative strength of the Danish and Prussian navies, from which it appears that the navy of Denmark mounts 768 guns, and that of Prussia 390. The corps of officers shows a numerical superiority in favor of Denmark. – The London Times, Daily News, Telegraph and Star all think that the appointment of Dr. TRENCH to the Archbishopric of Dublin the best that could be made, and that it is calculated to satisfy the great majority of reasonable churchmen on bolt sides of the Irish Channel. – The London correspondent of the Northern Whig states that the intended establishment of the May Fair Magazine, under Miss BRADDON's editorship, is abandoned, and that the Temple Bar will still retain the benefit of the lady's services, a new novel by her being commenced in the January number. – The Yelverton cause, it is believed, will be ready for the House of Lords in February – the case for the respondent, the Hon. Mrs. THERESA LONG WORTH or YELVERTON, being in an advanced state of preparation, and the appellant's having been lodged, before the House of Lords rose. – GARIBALDI has addressed a letter to the Workingmen's Association in Ravenna, in which he declares that NAPOLEON is the great enemy of Italy, and that it should be the aim of every Italian to {\textbackslash}textquotedblun-Bonapartiae{\textbackslash}textquotedbl his native land. – The admirers of GEORGE SAND will be gratified to learn that the celebrated authoress of Lella, Consuelo, and Mauprat, has just finished a new romance, Mademoiselle La Quintime. – Messrs. LONGMAN \& CO. have suspended the publication of Mr. DANIEL HOME's Incidents of my Life, in consequence of a threat from Sir DAVIS BREWSTER of legal proceedings, on account of Mr. HOME's abuse of him in the book. – It is said that HANDEL'S {\textbackslash}textquotedblOde for St. Cecilia's Day,{\textbackslash}textquotedbl which was one of the principal attractions at the Dusseldorf Musical Festival, will be brought forward during the coming season by Herr and Mme. GOLDSCHMIDT. – {\textbackslash}textquotedblHistoricus,{\textbackslash}textquotedbl who has written so ably in the Times relative to international rights, is Dr. MORLEY, the author of {\textbackslash}textquotedblThe History of the Lowlands.{\textbackslash}textquotedbl – The Times announces that Dr. ARTHUR PENRHYN STANLEY will succeed the Archbishop of Dublin as Dean of Westminster. – A fund is in course of being raised for the erection of a memorial in honor of the late EDWARD BACHE, the composer. – A vast quantity of corn is being imported from England into France to ameliorate the quality of French corn. – The Dutch fleet in the Japanese waters is to be immediately reinforced by twelve vessels, carrying 223 guns. – The Annamite Ambassadors are preparing to proceed to Spain, being also accredited to the Court of Madrid. – PANCANI, the tenor, {\textbackslash}textquotedblhas created a sensation in Moscow, in MEYERBEER's {\textbackslash}textquotedblProphete.{\textbackslash}textquotedbl – The Paris journals speak in enthusiustic terms of their newly-found tenor, FRASCHINI. – The Prince of Wales has consented to become petron of the Licensed Victuelers' Asylum.},
	language = {English},
	journal = {The New York Times},
	author = {{S.n.}},
	month = nov,
	year = {1863},
	note = {Num Pages: 1},
	keywords = {Graffiti, Roman archaeology, Roman graffiti, Ancient graffiti, Palatine},
	pages = {5},
}

@article{sn_graffiti_1881,
	address = {New York},
	edition = {XXX (No. 9201)},
	title = {Graffiti or wall-scribblings},
	abstract = {—De spite his withering touch, Time, the destroying angel, has here and there permitted some of the most fragile and evanescent things to remain as silent memorials of long past generations.},
	language = {English},
	journal = {The New York Times},
	author = {{S.n.}},
	month = mar,
	year = {1881},
	note = {Num Pages: 1},
	keywords = {Graffiti, Pompeii, Roman graffiti, Ancient graffiti, Greek graffiti},
	pages = {4},
}

@book{bushnell_moscow_1990,
	address = {London},
	title = {Moscow {Graffiti}: {Language} and subculture},
	isbn = {978-0-04-445168-6},
	abstract = {First Published in 1990, Moscow Graffiti is a unique and unprecedented look at the graffiti that began to appear for the first time on the walls of Moscow and other Soviet cities in the late 1970s. John Bushnell first traces the social and cultural changes that fostered the emergence of a multifaceted Soviet subculture and the appearance of graffiti. He explains the common graffiti argot of Russian slang, English, and pictographs, and then examines the disparate groups that produced it-adolescent gangs, heavy metal fans, pacifists, punks, hippies, and even the fans of a popular Soviet novel (Mikhail Bulgakov’s The Master and Margarita). Through graffiti these conflicting and alienated groups produce an explicit cultural alternative to the official culture they disdain. Fully illustrated with over eighty drawings and photos, Moscow Graffiti is a unique look at an underexplored area of Soviet society. The book will prove fascinating reading to all those interested in Soviet society, history, and popular culture.},
	language = {English},
	publisher = {Unwin Hyman},
	author = {Bushnell, John},
	year = {1990},
	keywords = {Graffiti, Moscow, Russia},
}

@article{diniz_pandemic_2024,
	title = {Pandemic, {Routine} {Activities}, and {Graffiti} in {Belo} {Horizonte}: {Has} {Social} {Isolation} {Led} to {City} {Saturation}?},
	volume = {76},
	issn = {0033-0124},
	doi = {10.1080/00330124.2024.2355185},
	abstract = {The COVID-19 pandemic triggered a series of social isolation measures that reduced the movement of people in public spaces. This condition created a natural experiment to test the theory of routine activities and its applicability in the study of graffiti. Continuing the monitoring carried out in the hypercenter of Belo Horizonte since 2011, this study assesses the impacts of restrictions on the movement of people on the amount of graffiti found in that location. It starts from the hypothesis that the social restriction measures reduced the number of capable guardians (surveillance), expanding the opportunities for the practice of graffiti tagging and, consequently, favoring its expansion. A survey of existing graffiti in the hypercenter was carried out in 2022, and its results were compared with previous surveys conducted in the study area in 2011, 2015, 2017, and 2019, allowing the hypothesis to be tested.},
	language = {English},
	number = {5},
	journal = {The Professional Geographer},
	author = {Diniz, Alexandre M. A. and Ribeiro, Ludmila M. L. and Lopes, Erick Vinicius Pereira and Libório, Matheus Pereira},
	year = {2024},
	note = {Num Pages: 13},
	keywords = {Graffiti, Brazil, COVID-19, Belo Horizonte, Pandemic},
	pages = {662--674},
}

@article{gralinska-toborek_heterogenic_2024,
	title = {Heterogenic nature of guerrilla gardening},
	volume = {16},
	doi = {10.1080/20004214.2024.2421577},
	abstract = {For some time now, researchers from various academic disciplines have been engaged in the study of green guerrilla gardening, a grassroots activity involving the planting of vegetation in public spaces. In essence, they view it as a social movement with the objective of reclaiming control of public space and modifying its functionality. However, Author identifies a greater diversity within this movement, which he categorises into four basic types of activity: gardening, activism, art and farming. Each of these categories can be further subdivided into distinct areas of focus, including the beautification of urban spaces, the promotion of social change, the provision of food sources, the advancement of education, and the fostering of community building. The diverse nature of guerrilla gardening allows it to fulfil a multitude of roles and objectives. It can therefore be concluded that the phenomenon is heterogeneous, and that the term used to describe it should be understood more broadly in order to encompass this range of activities. Empirical research is increasingly indicating a discrepancy between the practice of gardeners and the expectations of theorists. For example, the use of military terminology, while humorous, can be seen as an overly optimistic expectation of the actions of these often humble gardeners, while emphasising an activist (political) stance. Furthermore, the author notes that research on guerrilla gardening lacks in-depth aesthetic reflection.},
	language = {English},
	number = {1},
	journal = {Journal of Aesthetics \& Culture},
	author = {Gralinska-Toborek, Agnieszka},
	year = {2024},
	note = {Num Pages: 10},
	keywords = {Graffiti, Guerilla gardening},
}

@article{hartford_real_1992,
	address = {New York},
	chapter = {LI},
	edition = {CXLI (No. 48941)},
	title = {The {Real} {Message} {Of} the {Graffito}},
	abstract = {I was pleased to see the plight of the waterworks buildings brought to the attention of Long Islanders in {\textbackslash}textquotedblGatehouses of Old Waterworks Suffer Neglect and Worse{\textbackslash}textquotedbl [ April 5 ] . I was disturbed, however, at one inaccuracy in the report. The actual graffito painted on the inside of the building that was razed read, {\textbackslash}textquotedblSpeak English or Die.{\textbackslash}textquotedbl The sentiment is truly disturbing and speaks volumes about the attitude of some suburban youths toward, one would suppose, recent immigrants. By printing the phrase as {\textbackslash}textquotedblSpeak English and die,{\textbackslash}textquotedbl the article rendered it meaningless. I believe a correction deserves to appear because of the attitude implicit in the graffito and its bearing on the issue of English as a national language.},
	language = {English},
	journal = {The New York Times},
	author = {Hartford, Bill},
	month = apr,
	year = {1992},
	keywords = {Graffiti, English, Language},
	pages = {12},
}

@article{khan_writing_2024,
	title = {The writing on the wall: {Identity}, placemaking and territoriality in {Karachi}'s graffiti culture},
	volume = {7},
	issn = {26665581},
	doi = {10.1016/j.wss.2024.100214},
	abstract = {This article explores the spatiality of political graffiti and urban murals and the role they play in placemaking, territoriality and identity building amongst Karachi's migrant communities. From Independence in 1947 to the present day, the city has been the site of several waves of in-migration, both domestic and international, resulting in a migrant megacity. Through shared migration experiences and cultural heritage, political patronage and spatial clustering, communities have consolidated and reimagined ethnic identities into political ones. These ethno-political entities demarcate territories of dominance and spaces of tension using political graffiti. This tool for placemaking and territory marking is an urban declaration of power on the walls of the city. More recently, political graffiti has been deliberately replaced by civil society actors in the form of murals changing the provocative ethno-political sloganeering to a nationalistic counter narrative. With multiple actors – political and apolitical - sentiments and stories now vying for space through their occupation of the city's walls, these surfaces become spaces of declaration, dialogue and at times, erasure. Through a process of diachronic documentation, this article shows that the walls of the city are a palimpsest of political opinion and identity; each subsequent layer in dialogue with the layer that precedes it. The authors of each layer through a process of placemaking, construct, deconstruct and reconstruct narratives of identity, ownership and belonging.},
	language = {English},
	journal = {Wellbeing, Space and Society},
	author = {Khan, Sadaf Sultan},
	year = {2024},
	note = {Num Pages: 9},
	keywords = {Graffiti, Political graffiti, Pakistan, Immigrants, Karachi},
	pages = {100214},
}

@article{sn_its_1973,
	address = {New York},
	edition = {CXXII (No. 42001)},
	title = {It's a {Graffito} in {Latin}, {And} {It}'s a {Palindrome}},
	abstract = {ROME, Jan. 20—Scholars of antiquity and addicts of word play rejoice! A long‐forgotten palindrome has been found among the Latin graffiti scrawled on the walls or a tavern of the Roman imperial age that is being explored by archelogists. A palindrome is a word or phrase reading the same forward and backward —“madam.” The newly found Latin specimen is “Roma summus amor” (“Rome supreme love”). The Vatican newspaper, L'Osservatore Romano, announcing the discovery, said the palindrome was “quite new, meaning new to the present age. The tavern was part of a food market, identified as the Macellum Liviae, whose ruins were located in recent exacavations under the present Basilica of St. Mary Major, one of Rome's largest churches.},
	language = {English},
	journal = {The New York Times},
	author = {{S.n.}},
	month = jan,
	year = {1973},
	note = {Num Pages: 1},
	keywords = {Graffiti, Italy, Roman archaeology, Roman graffiti, Ancient graffiti, Macellum, Macellum Liviae, Palindrome},
	pages = {57},
}

@article{schwarz_capturing_2024,
	title = {Capturing dissent: forensic photography of graffiti in the late {German} {Democratic} {Republic}},
	issn = {2162-2671},
	doi = {10.1080/21622671.2024.2419367},
	abstract = {Through a document analysis of archival materials, this paper explores visual landscapes of graffiti, produced by the German Democratic Republic’s Ministry for State Security (MfS) photographers in Leipzig from 1980 to 1989. Capturing visual dissent through forensic photography and its subsequent displacement from public view are two entwined territorial practices that appear to concern aesthetics yet are inherently political. Four selected photographs illustrate the main findings: First, a logic of invisibilisation as a means of deterritorialisation, and second, contradictions in MfS photo practices that highlight the contingent character of repairs to the brittle architecture of state sovereignty in the late GDR.},
	language = {English},
	journal = {Territory, Politics, Governance},
	author = {Schwarz, Anke},
	year = {2024},
	note = {Num Pages: 19},
	keywords = {Graffiti, Germany, Photography, Documentation, Forensic photography, GDR (German Democratic Republic)},
	pages = {1--19},
}

@article{shih_grarffiti_2024,
	title = {{grARffiti}: {The} {Reconstruction} and {Deployment} of {Augmented} {Reality} ({AR}) {Graffiti}},
	volume = {12},
	doi = {10.3390/technologies12090169},
	abstract = {Graffiti relies on social instrumentation for its creation on spatial structures. It is questioned whether different mechanisms exist to transfer social and spatial hierarchies under a new model for better engagement, management, and governance. This research aims to replace physical graffiti using augmented reality (AR) in smartphones. Contact-free AR graffiti starts with the creation of 3D graffiti; this is followed by an AR cloud platform upload, quick response (QR) code access, and site deployment, leading to the secondary reconstruction of a field scene using smartphone screenshots. The working structure was created based on the first 3D reconstruction of graffiti details as AR models and second 3D reconstruction of field graffiti on different backgrounds using a photogrammetry method. The 3D graffiti can be geotagged as a personal map and 3D printed for collections. This culture-engaged AR creates a two-way method of interacting with spatial structures where the result is collected as a self-governed form of social media. The reinterpreted context is represented by a virtual 3D sticker or symbolized name card shared on the cloud. The hidden or social hierarchy was reinterpreted by a sense of ritual without altering any space. The application of digital stickers in AR redefines the spatial order, typology, and governance of graffiti.},
	language = {English},
	number = {9},
	journal = {Technologies},
	author = {Shih, Naai-Jung and Kung, Ching-Hsuan},
	year = {2024},
	note = {Num Pages: 20},
	keywords = {Graffiti, AR (Augmented Reality)},
	pages = {169},
}

@inproceedings{alzate_graffiti_2021,
	address = {New York},
	title = {Graffiti and government in smart cities: a {Deep} {Learning} approach applied to {Medellín} {City}, {Colombia}},
	isbn = {978-1-4503-8838-2},
	doi = {10.1145/3460620.3460749},
	abstract = {Graffiti is an element of graphic expression that manifests different states of the human being. However, for many governments worldwide, it has been an element of discord between them and the communities that express themselves through graffitis. This article proposes identifying graffiti and concentration zones through Computer Vision and object detection and localization to support public policy management in smart cities. ASUM-DM methodology is used to achieve the aim. Initially, the current problems faced by municipal governments in the management of public graffiti policy are identified. Then available datasets of images from Google Street View (GSV) and other acquired datasets are identified for the case study carried out in the city of Medellín (Colombia) and border municipalities. A training dataset of 1,395 images and a production dataset of 71,100 panoramas is placed on strictly using the experimental method of the division of training data, validation, and a production sample, to make a correct estimation of the generalization error. As a result of the training process, we obtained an Average Precision of 69,14\%, which presented a high precision Tag of 89.23\%, and low precision of 59.13\% in Mural. Finally, it is possible to build heat maps of graffiti concentration areas that could guide rulers to create or improve public policies related to graffiti expression.},
	language = {English},
	booktitle = {Proceedings of {DATA}'21: {International} {Conference} on {Data} {Science}, {E}-learning and {Information} {Systems} 2021},
	publisher = {ACM},
	author = {Alzate, Javier Rozo and Tabares, Marta S. and Vallejo, Paola},
	editor = {Lara Torralbo, Juan Alfonso and Aljawarneh, Shadi A. and Radhakrishna, Vangipuram and N., Arun},
	year = {2021},
	keywords = {Graffiti, Machine learning, Google street view, AI (Artificial Intelligence), Deep learning, Graffiti detection, CNN (Convolutional Neural Networks), Colombia, Smart city, Medellín City},
	pages = {160--165},
}

@article{andron_urban_2024-3,
	title = {Urban {Surfaces}, {Graffiti}, and the {Right} to the {City}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Andron, Sabina and Kelly, Katelyn and Shirey, Heather and Tulke, Julia},
	year = {2024},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, Book review, Book forum},
	pages = {37--47},
}

@book{andron_urban_2024-4,
	address = {Abingdon and New York},
	series = {Space, materiality and the normative},
	title = {Urban surfaces, graffiti, and the right to the city},
	isbn = {978-1-032-59751-5},
	abstract = {This landmark book focuses on urban surfaces, on exploring their authorship and management, and on their role in struggles for the right to the city. Graffiti, pristine walls, advertising posters, and municipal signage all compete on city surfaces to establish and imprint their values on our environments. It is the first time that the surfacescapes of our cities are granted the entire attention of a book as material, visual, and legal territories. The book includes a critical history of graffiti and street art as contested surface discourses and argues for surfaces as sites of resistance against private property, neoliberal creativity, and the imposition of urban order. It also proposes a seven-point manual for a semiotics of urban surfaces, laying the ground for a new discipline: surface studies. Page after page and layer after layer, surfaces become porous and political and emerge as key spatial conditions for rethinking and re-practicing urban dwelling and spatial justice. They become what the author terms the surface commons. The book will appeal to a wide readership across the disciplines of urban studies, architectural theory and design, graffiti, street art and public art, criminology, semiotics, visual culture, and urban and legal geography. It will also serve as a tool for city scholars, policy makers, artists, and vandals to disrupt existing imaginaries of order, justice, and visibility in cities.},
	language = {English},
	publisher = {Routledge},
	author = {Andron, Sabina},
	year = {2024},
	keywords = {Graffiti, Art, Architecture, London, UK, Crime, Built environment},
}

@article{blanche_tracing_2024,
	title = {Tracing the {Overlooked} {Origins} of {Street} {Art} and {Graffiti}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Blanché, Ulrich},
	year = {2024},
	note = {Num Pages: 11},
	keywords = {Graffiti, Street art, New York},
	pages = {15--25},
}

@article{brighenti_tracks_2024,
	title = {Tracks and {Traces}: {Exploring} the {World} of {Graffiti} {Writing} through {Visual} {Methods}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Brighenti, Andrea Mubi},
	year = {2024},
	note = {Num Pages: 3},
	keywords = {Graffiti, Street art},
	pages = {49--51},
}

@article{castro_mae_2024,
	title = {M{ÃE}, {MÃO} – {A} {Case} of {Outsider} {Graffiti} in {Monchique}, {Portugal}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Castro, Isabel Carrasco},
	year = {2024},
	note = {Num Pages: 14},
	keywords = {Graffiti, Street art, Portugal, Monchique},
	pages = {106--119},
}

@article{cooper_role_2024,
	title = {The {Role} of {Documentary} {Photography} in the {Heritage} of {Graffiti} and {Street} {Art}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Cooper, Martha and Seixo Rodrigues, Lara},
	year = {2024},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Martha Cooper},
	pages = {52--55},
}

@article{de_jongh_repainting_2024,
	title = {Repainting {Subway} {Art} – ‘{A} {Reincarnation} of the {Bible} of {Graffiti} in {Slow} {Motion}’},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {de Jongh, Daniël},
	year = {2024},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art, Subway, Subway art},
	pages = {80--91},
}

@article{de_jongh_here_2024,
	title = {Here {Today}, {Gone} {Tomorrow}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {de Jongh, Daniël},
	year = {2024},
	note = {Num Pages: 10},
	keywords = {Graffiti, Street art},
	pages = {26--35},
}

@article{fekner_art_2024,
	title = {On {Art} and {Music}: ‘{Musicians} were painting… {Watch} the street.’},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Fekner, John},
	year = {2024},
	note = {Num Pages: 5},
	keywords = {Graffiti, Street art, Music},
	pages = {9--13},
}

@article{garcia_garcia_graffiti_2024,
	title = {Graffiti {Identification} {System} {Using} {Low}-{Cost} {Sensors}},
	volume = {8},
	doi = {10.9781/ijimai.2023.05.001},
	abstract = {This article introduces the possibility of studying graffiti using a colorimeter developed with Arduino hardware technology according to the Do It Yourself (DIY) philosophy. Through the obtained Red Green Blue (RGB) data it is intended to study and compare the information extracted from each of the graffiti present on different walls. The same color can be found in different parts of a single graffiti, but also in other graffiti that could a priori be of different authorship. Nevertheless, graffiti may be related, and it may be possible to group graffiti artists and {\textbackslash}textquotedblgangs{\textbackslash}textquotedbl that work together. The methodology followed for the construction of the colorimeter and its real application in a practical case are described in four case studies. The case studies describe how graffiti were identified and recognized and they provide a comparison of the collected color samples. The results show the added value of the colorimeter in the graffiti recognition process, demonstrating its usefulness on a functional level. Finally, the contributions of this research are outlined, and an analysis is carried out of the changes to be made to the proposed method in the future, for improved graffiti color identification.},
	language = {English},
	number = {6},
	journal = {International Journal of Interactive Multimedia and Artificial Intelligence},
	author = {García García, Miguel and González Arrieta, María Angélica and Rodríguez González, Sara and Márquez-Sánchez, Sergio and Da Silva Ramos, Carlos Fernando},
	year = {2024},
	note = {Num Pages: 10},
	keywords = {Graffiti, Colorimeter, Colour values, Graffiti identification},
	pages = {51--60},
}

@incollection{gordienko_open_2018,
	address = {Cham},
	series = {{LNCS} {Sublibrary}: {SL1} – {Theoretical} {Computer} {Science} and {General} {Issues}},
	title = {Open {Source} {Dataset} and {Machine} {Learning} {Techniques} for {Automatic} {Recognition} of {Historical} {Graffiti}},
	isbn = {978-3-030-04220-2},
	abstract = {Machine learning techniques are presented for automatic recognition of the historical letters (XI–XVIII centuries) carved on the stoned walls of St. Sophia cathedral in Kyiv (Ukraine). A new image dataset of these carved Glagolitic and Cyrillic letters (CGCL) was assembled and pre-processed for recognition and prediction by machine learning methods. The dataset consists of more than 4000 images for 34 types of letters. The explanatory data analysis of CGCL and notMNIST datasets shown that the carved letters can hardly be differentiated by dimensionality reduction methods, for example, by t-distributed stochastic neighbor embedding (tSNE) due to the worse letter representation by stone carving in comparison to hand writing. The multinomial logistic regression (MLR) and a 2D convolutional neural network (CNN) models were applied. The MLR model demonstrated the area under curve (AUC) values for receiver operating characteristic (ROC) are not lower than 0.92 and 0.60 for notMNIST and CGCL, respectively. The CNN model gave AUC values close to 0.99 for both notMNIST and CGCL (despite the much smaller size and quality of CGCL in comparison to notMNIST) under condition of the high lossy data augmentation. CGCL dataset was published to be available for the data science community as an open source resource.},
	language = {English},
	booktitle = {Neural {Information} {Processing}},
	publisher = {Springer International Publishing},
	author = {Gordienko, Nikita and Gang, Peng and Gordienko, Yuri and Zeng, Wei and Alienin, Oleg and Rokovyi, Oleksandr and Stirenko, Sergii},
	editor = {Cheng, Long and Leung, Andrew Chi Sing and Ozawa, Seiichi},
	year = {2018},
	doi = {10.1007/978-3-030-04221-9_37},
	note = {Num Pages: 11},
	keywords = {Machine learning, Deep learning, Historic graffiti, Ancient graffiti, Medieval graffiti, Automated detection, CNN (Convolutional Neural Networks), Kyiv, tSNE (t-distributed Stochastic Neighbour Embedding), Ukraine},
	pages = {414--424},
}

@article{hannerz_fame_2024,
	title = {{FAME}! {The} {Totemic} {Principle} {In} {Subcultural} {Graffiti}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Hannerz, Erik},
	year = {2024},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art},
	pages = {63--70},
}

@article{rato_nascimento_anderson_2024,
	title = {Anderson ‘{Rato}’ {Nascimento} – {Pixador} from {Rio} de {Janeiro} (1991–2024)},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {‘Rato’ Nascimento, Anderson and Karl, Maëlle},
	year = {2024},
	note = {Num Pages: 6},
	keywords = {Graffiti, Street art, Brasil, Rio de Janeiro, Pixador, Rato},
	pages = {56--61},
}

@inproceedings{nahar_autonomous_2017,
	address = {Piscataway},
	title = {Autonomous {UAV} forced graffiti detection and removal system based on machine learning},
	isbn = {978-1-5386-0435-9},
	doi = {10.1109/UIC-ATC.2017.8397582},
	abstract = {This paper proposes a smart graffiti clean-up system based on an autonomous Unmanned Aerial Vehicle (UAV) platform. This smart clean system is based on edge detection and machine learning algorithms to realize the detection and tracking of graffiti image in real time. In Graffiti detection, we aim to build a model to detect graffiti on walls which can help navigate the UAV to the correct coordinate and estimate the area of the graffiti. The data set which contain graffiti images are trained using machine learning techniques which will be used for the detections of the graffiti patterns. This will automate the process of detecting the location of the graffiti based on the edge detection technique and the model will be able to estimate the area of the graffiti. To achieve obstacle detection, and collision, a smart navigation approach is also proposed with the help of LiDAR and external camera. The overall graffiti cleanup system contains hardware and software that allow the user to use spray enamel with the reach and scale of an autonomous UAV.},
	language = {English},
	booktitle = {2017 {IEEE} {SmartWorld}, {Ubiquitous} {Intelligence} \& {Computing}, {Advanced} \& {Trusted} {Computed}, {Scalable} {Computing} \& {Communications}, {Cloud} \& {Big} {Data} {Computing}, {Internet} of {People} and {Smart} {City} {Innovation} ({SmartWorld}/{SCALCOM}/{UIC}/{ATC}/{CBDCom}/{IOP}/{SCI})},
	publisher = {IEEE},
	author = {Nahar, Prakhar and Wu, Kang-hua and Mei, Sitao and Ghoghari, Hadiyah and Srinivasan, Preethi and Lee, Yueh-lin and Gao, Jerry and Guan, Xuan},
	year = {2017},
	note = {Num Pages: 8},
	keywords = {Graffiti, AI (Artificial Intelligence), Deep learning, Clustering, K-means, Remote sensing, UAS (Unmanned Aerial System), Graffiti detection, CNN (Convolutional Neural Networks), Airborne remote sensing, Graffiti clean-up, LAAP (Low-Altitude Aerial Photography)},
	pages = {1--8},
}

@article{ramirez_nunez_oral_2024,
	title = {Oral {Tradition} and {Heritage} in the {Practice} of {Graffiti} and {Street} {Art} in {Mexico} {City}},
	volume = {4},
	issn = {2535-549X},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Ramírez Núñez, Rubí Celia},
	year = {2024},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Mexico},
	pages = {71--78},
}

@book{schacter_monumental_2024,
	address = {Cambridge},
	title = {Monumental graffiti: {Tracing} public art and resistance in the city},
	isbn = {978-0-262-04922-1},
	abstract = {What graffiti says about contemporary society, and why it demands our urgent attention as a form of civic expression. What is graffiti—vandalism, ornament, art? What if, rather than any of those things, we thought of graffiti as a monument? How would that change our understanding of graffiti, and, in turn, our understanding of monument? In Monumental Graffiti, curator and anthropologist Rafael Schacter focuses on the material, communicative, and contextual aspects of these two forms of material culture to provide a timely perspective on public art, citizenship, and the city today. He applies monument as a lens to understand graffiti and graffiti as a lens to comprehend monument, challenging us to consider what the appropriate monument for our contemporary world could be. Monumental Graffiti unpacks today's iconoclastic moment, showing us why graffiti demands our urgent attention as a form of expression that challenges power structures by questioning whose voices are included in—and whose are excluded from—public space. Written from twenty years of embedded research on graffiti, the book includes works from graffiti writers such as 10Foot, Delta, Egs, Honet, Mosa, Petro, Revok, and Wombat, alongside those of artists such as Francis Alÿs, Jeremy Deller, Thomas Hirschhorn, Jenny Holzer, Klara Liden, Gordon Matta-Clark, William Pope.L, Cy Twombly, and many more. Richly illustrated, this study of graffiti as monument and monument as graffiti is as fascinating as it is ethnographically expansive.},
	language = {English},
	publisher = {The MIT Press},
	author = {Schacter, Rafael},
	year = {2024},
	keywords = {Graffiti, Conflict graffiti, Monumental graffiti},
}

@article{tremblin_actumentary_2024,
	title = {The {Actumentary}: from {Documented} {Action} to {Action}-{Documentary}},
	volume = {4},
	issn = {2535-549X},
	abstract = {Through a series of examples, this essay explores the way in which artists’ documentation of their actions in urban space has contributed to the development of what I term action-documentary practices – or actumentary. These practices are transformative in that urban intervention becomes a tool for documentary and experimental writing. I argue that action-documentary is formed in the reciprocal relationship that exists between urban action and its capture. This facilitates two levels of reception: the first where the urban action operates as a work of art in the real world, and the second where the documentation of the original action is no longer simply at the service of the action, but ultimately becomes an action in its own right that serves as an autonomous, supplemental narrative device. Through its viewing as action-documentary, the action documented can gain a certain intensity and replicate the effected experience in a different way.},
	language = {English},
	number = {2},
	journal = {Nuart Journal},
	author = {Tremblin, Mathieu},
	year = {2024},
	note = {Num Pages: 13},
	keywords = {Graffiti, Street art, Documentation},
	pages = {92--104},
}

@article{marine_divided_2021,
	title = {Divided discourse: {Establishing} a methods-centered approach to latrinalia research},
	volume = {23},
	issn = {1461-4456},
	doi = {10.1177/14614456211001608},
	abstract = {Past research on bathroom graffiti (latrinalia) has utilized disparate collection and analysis methodologies. Here, we seek to devise a rigorous, unified methodological framework for the collection and analysis of latrinalia. We begin by reviewing the disjointed methodological approaches and findings of previous research on bathroom graffiti in order to trace the limitations which prevent generalizability across datasets in comparable, meaningful ways. We also target some of the specific arguments and research questions presented in previous studies. Then, using study of bathroom graffiti, we sketch a replicable, scalable methodological framework for studying bathroom graffiti in order to analyze the discourse of a large corpus of latrinalia collected from the bathrooms of George Mason University in Virginia. This article as a whole illustrates that until the field aligns collection and analysis methods – defining what constitutes discourse, collecting data from male and female bathrooms, and accounting for the number of buildings, restrooms, and stalls – the seminal questions of the field will never be adequately addressed. We conclude by discussing the limitations of our research design and pointing toward potential future directions in latrinalia research.},
	language = {English},
	number = {3},
	journal = {Discourse Studies},
	author = {Marine, Jonathan and Biller, Brandon and Tuckley, Lauren},
	year = {2021},
	note = {Num Pages: 22},
	keywords = {Graffiti, Latrinalia, Toilet graffiti, Bathroom graffiti},
	pages = {274--295},
}

@book{moore_city_2023,
	address = {Lisbon},
	title = {The {City} in {Dialogue}– {Reflections} of {Lisbon} and the {Underdogs} {Public} {Art} {Programme} [2013–2023]},
	language = {English; Portuguese},
	publisher = {Underdogs},
	editor = {Moore, Miguel},
	year = {2023},
	keywords = {Graffiti, Art, Portugal, Lisbon},
}

@article{dougherty_advertising_1967,
	address = {New York},
	edition = {CXVI (No. 39912)},
	title = {Advertising: {Computers} {Generating} {Talk}},
	abstract = {Computers may not talk yet, but they generate talk. John Sasso, president of Basford, Inc., spun off to Wellesley, Mass., last week, to acquaint a seminar of the Association of Industrial Advertisers with his experiences with electronic data processing.},
	language = {English},
	journal = {The New York Times},
	author = {Dougherty, Philip H.},
	month = may,
	year = {1967},
	note = {Num Pages: 1},
	keywords = {Graffiti, Computer},
	pages = {51},
}

@article{emerson_paris_1968,
	address = {New York},
	edition = {CXVII (No. 40323)},
	title = {Paris {Revolt} {History} {Was} {Scribbled} on the {Walls}. {Graffiti}, {Such} as '{Be} {Realistic}, {Ask} the {Impossible},' {Are} {Now} {Compiled} in {Book}},
	abstract = {PARIS, June 17 — The best reading in Paris — sour, joyous; stinging and farcical at times -was on the walls of the city's university and high school buildings during the May uprising.},
	language = {English},
	journal = {The New York Times},
	author = {Emerson, Gloria},
	month = jun,
	year = {1968},
	note = {Num Pages: 1},
	keywords = {Graffiti, France, Paris},
	pages = {16},
}

@article{ferris_graffiti_2002,
	address = {New York},
	chapter = {Section Westchester},
	edition = {CLI (No. 52235)},
	title = {Graffiti as {Art}. {As} a {Gang} {Tag}. {As} a {Mess}.},
	abstract = {TO most people, graffiti is scrawl on the wall, defacement of property. To others, it can be a form of artistic expression. For some local police officers versed in deciphering the modern hieroglyphics, graffiti can track gangs and help determine the identities of their members. However it is regarded, graffiti is spreading in Westchester, on playground equipment in Dobbs Ferry, a white wall of a historic villa along the Old Croton Aqueduct trail in Irvington, the back of a building in downtown Ardsley that faces the New York State Thruway, and the side of a house under construction on the Yonkers-Greenburgh border. It has also appeared with a vengeance on street signs and local highways, where bridge pillars and retaining walls beckon like big blank canvases. New markings cover several layers of faded scrawls along the concrete barriers at the hairpin turn leading from the Cross County Parkway into the southbound Hutchinson River Parkway, for instance. And in Greenburgh, the yellow and black signs along both sides of Jackson Avenue indicating a curve in the road at the intersection of Old Jackson Avenue are persistent targets for a vandal wielding red spray paint. ”It's a never-ending battle and it's very frustrating,” said Colleen McKenna, a spokeswoman for the New York State Department of Transportation, which spends \vphantom{\{}\}400,000 a year in Westchester to combat graffiti through a contract with ELQ Industries of Mamaroneck. ”We clean it off one day and it seems like a day or two later, it's back.” Sometimes, the cleanup itself is unsightly. Each batch of concrete comes out a different color, so no one shade of paint can match every surface. Cleanup crews often cover patches of graffiti with blotches of paint rather than an entire new coat. Graffiti is becoming a more common part of the suburban wallpaper, perpetrated not just by gang members but teenagers of all social echelons. ”It was more prevalent in the cities, but it appears to be migrating,” said Lieut. Don McArthur of the Westchester County Police, which patrols the parkways. ”There are no numbers to back that up, but it's a constant battle. We've arrested kids from Scarsdale painting graffiti on bridge abutments. It doesn't know any economic strata.” In Putnam County, officials have been vexed by vandals who persistently cover an abandoned railroad bridge visible on Route 6 with large white letters. After a crew painted over the word ”Brewster,” preceded by an expletive, someone circumvented a secure fence and put up the name ”Andrew” to memorialize Andrew McArdle, a high school student who died in a car crash in January. Graffiti covering a nearby fence read ”Miss you, Andrew's Bridge,” and ”\#68,” his football jersey number. Retaining walls and buildings along Metro-North tracks also attract taggers, graffiti perpetrators who put up their tags, or signatures. ”You can see the various places where they've put graffiti that they were taking their lives in their hands,” said Tom Kelly, a spokesman for the Metropolitan Transportation Authority police, which patrols Metro-North property. ”Where there's a will, there's a way. They cut holes in fences and put their stuff up in the middle of trestles. The only way someone could do that is by dangling over the side.” Catching graffiti vandals in the act is difficult. ”If we get graffiti, they'll stake it out,” Mr. Kelly said. ”If we have a problem, then you sense from the patterns when a particular wall is getting hit. If it's not there at 9 o'clock and it shows up at 10, then we'll take an unmarked car and we'll watch, but usually, it's a hit-and-miss kind of thing.” One evening last month, at 10 o'clock, a 14-year-old Yonkers resident whose alias is Chubbs and did not want his name used, went with a few friends down to the Ludlow train station with spray paint and wide-tip markers. By Chubbs's account, they had the run of the place for an hour before the police arrived. Though he said he is only a dabbler, Chubbs's friends are teenagers for whom graffiti is integral to their lives. ”All the kids do it at school,” he said. ”They write on the walls in the bathroom, scratch their initials in the glass. You walk by and you're like, 'Yeah, that's me right there.' ” Chubbs was arrested for putting up graffiti that night. If he is caught at it again, he will go to jail, where he has already spent two days for stealing a car for a joy ride. MOST graffiti is done by hit-and-run guerrillas who enjoy playing cat-and-mouse with the police and revel in their rebel image. In certain areas, however, the messages carry more sinister meanings. For Kenneth Davis, a Yonkers community police officer, who has been tracking graffiti for the last decade, the wall markings offer a useful barometer of gang activity. He teaches his techniques to new recruits at the Westchester Police Academy in Valhalla and has given PowerPoint presentations on graffiti to many groups; last month, for instance, he spoke at a conference in Chicago sponsored by the National Gang Crime Research Center. On a recent tour of Yonkers neighborhoods, in a doorway just west of Ashburton Avenue and North Broadway, Officer Davis pointed to scribble that read BHW, which stands for Body Hurtin' Warburton, a local gang that haunts Warburton Avenue. The tag also included a list of members – Burgah, Blaque and Kid – who pledge allegiance to the crew. Along Lawrence Street and its tributaries in the city's southwest corner, the Lawrence Posse marked their territory with their distinctive TLP tags. At Bruce Avenue and Lawrence Street, the group also put up a roll call. Officer Davis will be seeking information from his sources about Boy Boy, Demo and Murdock, three names new to him. Community police officers in Greenburgh also track gang activity through graffiti. Black felt tip pen markings covering a sign at the entrance to the Greenburgh Housing Authority property at 9 Maple Street included the initials CK with an arrow pointing down, which stood for Crip Killers, along with a roll call of nine names. Some groups that claim an affiliation with national syndicates like the Bloods and the Crips are like Little League teams that name themselves after the Yankees, Mets or Cubs but have no official connection, though bonafide members of the Bloods and Crips have infiltrated parts of Westchester, according to Greenburgh police officers. Whether local or national in scope, gangs often turn to violence to protect their turf. The Greenburgh police have compiled a list of 25 suspected gang members who are responsible for at least 250 felonies. Knowing how to translate gang markings makes it easier to track suspects. ”Once I get the groups, the individuals start coming out,” Officer Davis said. ”The hardest thing is finding their true identity, because they hide behind so many street names, but with the graffiti, I can identify core members, monitor recruiting and departures, and predict the strength of a gang. They don't think we realize what their markings mean, but no one said they were rocket scientists.” WHETHER graffiti is gang messages or random scribbling, the best way to stop graffiti in a particular area, say those on the front lines, is to clean it up as soon as possible and the taggers will move on. The White Plains Business Improvement District removes it immediately and the city's downtown is relatively graffiti free. ”Graffiti is a quality-of-life issue that needs to be addressed immediately,” said Kathleen Gunn, the organization's executive director. ”Fortunately, we don't have that big a problem, partly because we have a lot of police presence here, but it's like the broken-window theory: when it does appear, it needs to be controlled.” Yonkers has also made headway by going after the writers and by serving notice to property owners, who have 24 hours to remove the mess. After that time, Richard Fedor, graffiti coordinator for the city's Department of Public Works, will have his three-man crew clean it up and send a bill. ”I try to cut them some slack,” he said. ”If they call me right away, and it's not a real big job, I'll do it for nothing. But if they leave it up and it becomes worse, then I have to charge.” The biggest job he ever tackled was at the New York City water-treatment plant on Palmer Road. It took his crew 10 hours and the bill came to \vphantom{\{}\}1,600, which the agency was happy to pay, he said. Mr. Fedor's crew uses a chemical called Scram-It, which is brushed on and then removed with a power-washer that sprays a concentrated blast of hot water. Last month, Insane and Fens, two vandals whose marks can be found all over the city, left their calling cards in two-foot-high silver letters on the side of a brick building at 209 Riverdale Avenue in Yonkers along with the initials FSV, which stood for Famous Subway Villains. Erol Liguori, the building's owner, called Mr. Fedor, who removed it that afternoon. ”My attitude is that every day it's here, they're gaining more air time, so I say hit it right away,” said Mr. Liguori, owner of Prolific Art Galleries, which has its offices in the building. ”A lot of landlords don't have my attitude and the city ends up looking terrible.” Mr. Liguori had no control over the graffiti that surrounded his building on the corner of Downing Street. ”Sexy thug wuz here” and ”Murderuz,” written with a black felt tip pen, marred a lightpost that stands a foot away from his building's wall. On the same post, Oz and Fane engaged in a subtle game of one-upmanship. Oz put his tag up first, but Fane crossed it out with a green slash, then put his signature next to his handiwork as if challenging his rival. The mailbox on the corner showed evidence of being painted over several times and someone wrote the almost illegible mark ECKS on the doorway of the building across the street. Officer Davis, an art major in college who has studied graffiti like a scholar, marvels at the resilience of wall painting. ”It's been around since the first signs of civilization,” he said. ”Today, it channels the basic instincts of communication and self-worth. It will be on the first lunar station. I don't think it can ever be stopped, but it can be managed.” Spray-Paint Artists Who Create Open-Air Galleries, Legally OUTLAW graffiti scribblers tarnish the reputation of legitimate graffiti artists, who put up their pieces with property owners' permission. Carlos Lopez, director of Off the Wall, an AIDS education and awareness program founded 10 years ago by Ken Davis, a Yonkers community police officer, and run by the Yonkers Community Action Program, tries to channel the creative impulse into constructive outlets and frames his message in a form that youths can relate to. Though they have created more than 30 large-scale murals around town, the group suffers from the stigma attached to graffiti art. ”I have approached established artists to work with us and when they found out they would be working with graffiti, they turned us down,” Mr. Lopez said. ”We're not like kids off the street, tagging up on anybody's stuff. We're doing something positive and working on a higher level, but the knuckleheads ruin it for everybody.” Graffiti art emerged as a key component of hip-hop culture in the mid-1970's. Though break dancing faded, rap and the distinctive styling of spray-paint artists endure as an expression of inner city youth, despite being co-opted by mass marketers, Mr. Lopez said. Off the Wall has helped turn parts of Yonkers into an open-air art gallery. The group makes ”masterpieces,” large works known as ”pieces,” which take several hours of planning and execution, along with dozens of cans of paint. Financing for the program, which has a budget of \vphantom{\{}\}69,000 a year, comes from the New York State Department of Health, the AIDS Institute and a New York State Community Service block grant. Across from the group's headquarters on Ashburton Avenue and Jones Place, in a rundown part of town, stands a 10-foot-high, 30-foot-wide antidrug mural that is almost as pristine as the day Alexis Hiraldo (whose tag is Nekst), 18 years old, and Daniel Gomez (Blame), 17, created it two months ago. The main section depicts a boxing ring. The message: ”Don't Get in the Ring with Hard Hitting Heavyweights.” Off the Wall's logo, emblazoned in bold letters in the lower left corner, along with amoeba-like splotches of color, add abstract flourishes. In the mid-1990's, Off the Wall helped transform hundreds of square feet along a concrete walkway in the Vark Street Playground into a showcase. Eighteen artists put up their tags along 4-by-6-foot sections of the wall, which have faded and chipped over the years. Only a few neighborhood youths have added unauthorized tags and irreverent remarks over the years, though one artist's work has been completely crossed out. Mr. Lopez plans to hold an event later this fall that will wipe the slate clean and put up new work. He is inviting some of the region's best-known artists to contribute and give local teenagers something to strive for. ”Some people use graffiti in a destructive manner,” Mr. Lopez said. ”It can be constructive, too.” Mr. Lopez offers the ultimate incentive: \vphantom{\{}\}400 to \$650 for a mural, and he pays artists to give school presentations. ”Once kids sit down and meet my artists, they know we came from the same streets,” he said. ”Once I grab them and get them in here for 15 minutes, I've got them for the whole year and we can do AIDS education, job-training and college preparation.”},
	language = {English},
	journal = {The New York Times},
	author = {Ferris, Marc},
	month = sep,
	year = {2002},
	note = {Num Pages: 2},
	keywords = {Graffiti},
	pages = {pages 1 \& 6 (overall pages 439 \& 444)},
}

@article{jaffe_street_1963,
	address = {New York},
	edition = {CXII (No. 38487)},
	title = {Street {Art} {Show} {Opens} in {Bronx}. 2-{Day} {Exhibition} '{Competes}' {With} {Washington} {Square}},
	abstract = {The outdoor art show on Washington Square in Greenwich Village got some fair competition yesterday–about 10 miles to the north.},
	language = {English},
	journal = {The New York Times},
	author = {Jaffe, Natalie},
	month = jun,
	year = {1963},
	note = {Num Pages: 1},
	keywords = {Street art, New York, USA, Bronx, Show},
	pages = {78},
}

@article{rothman_morris_camera_2002,
	address = {New York},
	chapter = {Section G},
	edition = {CLII (No. 52330)},
	title = {Camera {Is} {Graffiti}'s {Unwelcome} {Audience}},
	abstract = {WHAT flashes and shouts when it sees something moving, helping to stop crime? No, it is not some kind of high-tech police robot, but a much simpler invention: a modified film camera that is being used in Milwaukee, Los Angeles and other cities to deter graffiti vandalism. The camera is a Vivitar 35-millimeter flash model that has been equipped with a motion detector and a digital voice recorder-player and housed in a rugged steel and clear plastic case. The system, which works on five C batteries, is mounted on a tree or pole overlooking an area where graffiti vandals might be tempted to do their work. If the system detects motion in the area, it fires the camera and flash and issues ”a pretty darn loud” warning, said Ken Anderson, president of Q-Star Technology, in Chatsworth, Calif., which makes the system. The warning, which can be recorded by the owner of the system, is usually something like: ”Stop! This is a restricted area. We have just taken your photograph,” and can be recorded and played back in any two languages. Mr. Anderson, a former technology newsletter publisher who developed the camera system as a hobby, said it was meant as an alternative for governments and companies that spend a lot of money on removing graffiti. Milwaukee, for example, which has more than 200 bridges that are targets of graffiti vandals, spent about a million dollars two years ago on removal. The money paid for crews who sandblasted graffiti or otherwise removed it from bridges and repainted them, said Paul Novotny, the bridge maintenance manager for the city. Now the city uses about 20 of the modified cameras in eight locations to deter vandals. The cameras cost \$3,000 each and are frequently moved from location to location, to keep ”taggers,” as the vandals are called, guessing. ”Every place we put them in at least pushes the kids away from the area that the camera is focused on,” Mr. Novotny said. ”They don't go under that bridge anymore.” The film can be changed as needed – the system comes with a kind of remote control for determining, from the ground, how many exposures remain. But even if all the exposures are used up, the system will keep firing the camera and flash and activating the audio player as a deterrent. The California Water Service Company's Westlake District recently installed a camera at a reservoir in Ventura County that is a favorite gathering place for teenagers, who would hang out at night with blankets, pizzas and beer on top of the concrete holding tank and paint to their hearts' content. No more. ”Since the camera has gone in, we haven't had a problem,” said Elaine Marchessault, district manager at the water company. ”Not one bottle, not one can, not one piece of trash and no graffiti.” So far, no one has been caught with spray can in hand, arrested and convicted. And no one has complained about being spied upon. Graffiti vandals, though, are finding ways to protest. Last month, in Lynwood, Calif., a city of 60,000 people and 26 anti-graffiti cameras, a tagger climbed to the top of a pole where a camera was mounted and spray-painted it, said Rudolph Brown, of the public works department in Lynwood. The camera did not catch the act: its batteries were dead.},
	language = {English},
	journal = {The New York Times},
	author = {Rothman Morris, Bonnie},
	month = dec,
	year = {2002},
	note = {Num Pages: 1},
	keywords = {Graffiti},
	pages = {3},
}

@article{sn_street_1875,
	address = {New York},
	edition = {XXIV (No. 7421)},
	title = {The {Street} {Art} {School}. {Paintings} {On} {Exhibition}–{A} {Notable} {Department} {At} {Yale}–{Needs} {Of} {The} {School}–{Gen}. {Putnam} at {Bunkerhill}.},
	abstract = {One of the attractions of Commencement week at Yale is the annual exhibition of paintings in the halls of the Street Art School. The present is the sixth year that Prof. Weir, at great pains and...},
	language = {English},
	journal = {The New York Times},
	author = {{S.n.}},
	month = jun,
	year = {1875},
	note = {Num Pages: 1},
	keywords = {Street art},
	pages = {5},
}

@article{sn_street_1935,
	chapter = {Section Books},
	edition = {LXXXV (No. 28373)},
	title = {Street {Art} {Show} {Yields} \vphantom{\{}\}7,061 cash. {With} \vphantom{\{}\}3,000 in {Orders} {Added}, {Exhibit} {Is} {Most} {Successful} {Since} {First}, in 1932.},
	abstract = {When the street lights around Washington Square came on at nightfall yesterday the 450 artists who had exhibited at the eighth open-air art show packed up their unsold wares and went home, having made a total of \$7,061 in the nine-day showing.},
	language = {English},
	journal = {The New York Times},
	author = {{S.n.}},
	month = sep,
	year = {1935},
	note = {Num Pages: 1},
	keywords = {Street art, USA, Show},
	pages = {19},
}

@article{brock_grand_1923,
	address = {New York},
	chapter = {Section SM},
	edition = {LXXIII (No. 24018)},
	title = {Grand {Street} {Art} {Theatre}. {The} {Neighborhood} {Playhouse} {Imports} the {Russian} {Method} for {Irish} {Plays}},
	abstract = {Yeats's wench, beautiful, ambitious, gutter-bred, thwarted, betrayed, sardonically tricked at the very last into the very Queenship she coveted.},
	language = {English},
	journal = {The New York Times},
	author = {Brock, H. I. and Koiransky, Alexander},
	month = oct,
	year = {1923},
	note = {Num Pages: 1},
	keywords = {Street art, Theatre, USA, Paris},
	pages = {9},
}

@article{sn_street_1932,
	address = {New York},
	edition = {LXXXI (No. 27109)},
	title = {Street {Art} {Sales} {Barred} {By} {Herrick}. {Poor} {Artists} to {Fight} {Ruling} {City} {Charter} {Forbids} {Mart} in {Washington} {Square}},
	abstract = {Offers of free gallery and wall space were received yesterday by the committee of forty artists acting in behalf of 500 impecunious artists of Greenwich Village who are too poor to hang their canvases in galleries, after the announcement by Park Commissioner Walter R. Herrick that it would be against the law under the City Charter to permit an art fair in the streets around Washington Square in the European manner.},
	language = {English},
	journal = {The New York Times},
	author = {{S.n.}},
	month = apr,
	year = {1932},
	note = {Num Pages: 1},
	keywords = {Street art, USA, Charter, Washington},
	pages = {23},
}

@article{sn_street_1932-1,
	address = {New York},
	chapter = {Section Books Art},
	edition = {LXXXI (No. 27162)},
	title = {Street {Art} {Show} {Yields} \$9,716 {In} 9 {Days} in {Washington} {Sq}.},
	language = {English},
	journal = {The New York Times},
	author = {{S.n.}},
	month = jun,
	year = {1932},
	note = {Num Pages: 1},
	keywords = {Street art, USA, Show, Washington},
	pages = {13},
}

@article{bosi_street_2020,
	title = {Street art graffiti: {Discovering} their composition and alteration by {FTIR} and micro-{Raman} spectroscopy},
	volume = {225},
	doi = {10.1016/j.saa.2019.117474},
	abstract = {Paints used in street art are modern materials subjected to degradation processes, which are very complex and difficult to predict without taking into account of several factors. This study investigates three outdoor murals in Lazio, – namely “graffiti”, a word now used to indicate a spontaneous street art tendency consisting in images and writings realized by spray paints in public spaces to provoke passersby -with the aim to discover materials application techniques and chemical composition and figure out whether alteration phenomena occurred. Twenty-two samples were collected, and their stratigraphy was studied by optical microscopy. Fourier Transformed Infrared spectroscopy was used to identify binders and their degradation products in paints and preparatory layers, while for characterization of organic pigments used in all different stratigraphy layers of samples micro-Raman spectroscopy analyses was carried out. Furthermore, micro-Raman spectroscopy allowed to study an unusual patina formed on the surface of a pink paint. This information is useful for artists as well as for conservators, who must face numerous issues related to the preservation of this modern and labile kind of artistic expression, very fashionable nowadays but often created without care for materials duration. Conservation issues were also deepened by interviews with several contemporary mural authors. Artists underlined how contemporary murals are a very heterogeneous means of expression. Different cultural tendencies coexisting result in different attitude towards conservation.},
	language = {English},
	journal = {Spectrochimica acta. Part A, Molecular and biomolecular spectroscopy},
	author = {Bosi, Adele and Ciccola, Alessandro and Serafini, Ilaria and Guiso, Marcella and Ripanti, Francesca and Postorino, Paolo and Curini, Roberta and Bianco, Armandodoriano},
	year = {2020},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, FT-IR (Fourier Transform Infrared Spectroscopy), Raman spectroscopy, Spectroscopy},
	pages = {117474},
}

@misc{boys_when_2024,
	title = {When does graffiti become heritage},
	url = {https://audiotrails.co.uk/when-does-graffiti-become-heritage/},
	abstract = {From cave paintings to modern day street art, humans have been leaving their marks on walls for tens of thousands of years. But when does ‘vandalism’ become graffiti? And when does graffiti become art, or heritage? Dan Boys from Audio Trails attempts to leave his own mark on the subject.},
	language = {English},
	urldate = {2024-11-19},
	journal = {Audio Trails},
	author = {Boys, Dan},
	year = {2024},
	keywords = {Graffiti, Street art, Cultural heritage, Heritage},
}

@book{whitford_getting_1992,
	address = {London},
	title = {Getting {Rid} of {Graffiti}: {A} practical guide to graffiti removal and anti-graffiti protection},
	isbn = {978-0-419-17040-5},
	abstract = {This book provides, for the first time, clear, authoritative guidance on removing graffiti and protecting surfaces from further attack.},
	language = {English},
	publisher = {E \& FN SPON},
	author = {Whitford, Maurice J.},
	year = {1992},
	keywords = {Graffiti, Graffiti removal, Graffiti protection},
}

@article{agutter_illicit_2014,
	title = {Illicit autobiographies: 1980s graffiti, prisoner movement, recidivism and inmates’ personal lives at the {Adelaide} {Gaol}, {South} {Australia}},
	volume = {78},
	doi = {10.1080/03122417.2014.11682005},
	abstract = {An examination of over 4500 items of graffiti at the old Adelaide Gaol, South Australia, revealed individual details of prisoners who served time during the gaol’s 141 years of operation (1847–1988). Analysis of the locations and dates of graffiti made by male prisoners in the 1980s, from which the majority of the assemblage dates, makes it possible to track individuals’ movements in, out and around the Gaol, and to link this patterning to recidivism rates. Elements of prisoners’ personal lives recorded in the graffiti (such as faith, humour, personal affiliations, race, age and hometown) are also explored and are shown to reveal private details not recorded elsewhere, exposing what was important to an individual’s sense of self, as well as what was important for him to reveal to others, providing an alternative history of life in gaol.},
	language = {English},
	number = {1},
	journal = {Australian Archaeology},
	author = {Agutter, Rhiannon},
	year = {2014},
	note = {Num Pages: 8},
	keywords = {Graffiti, Australia, Adelaide Gaol, Prison graffiti, South Australia},
	pages = {100--107},
}

@article{edwards-vandenhoek_you_2015,
	title = {You aren’t here: {Reimagining} the place of graffiti production in heritage studies},
	volume = {21},
	issn = {1354-8565},
	doi = {10.1177/1354856514560309},
	abstract = {Centred on the theorization, design and implications of the Sydney Graffiti Archive, this article considers how the virtual image archive intervenes in the experience of graffiti to shift negative perceptions about graffiti as damage to cultural heritage. As a parallel discursive arena (see Fraser, 1995; Hauser, 1998), the Sydney Graffiti Archive infiltrates and transgresses normative conceptions of place and cultural narratives through the formation and circulation of unofficial visual discourses embedded in graffiti photographs. This article evaluates the place of the archive as a heuristic device and heterotopic entity and encourages new ways of seeing illicit graffiti, and other everyday digital cultures of commemoration, in that it reshapes present relations to the past through photographic reframing, image digitization, interface design and user engagement. Essentially, this research is about hacking into, recovering and honouring graffiti’s discursive sites to reimagine graffiti’s place as digital heritage.},
	language = {English},
	number = {1},
	journal = {Convergence: The International Journal of Research into New Media Technologies},
	author = {Edwards-Vandenhoek, Samantha},
	year = {2015},
	note = {Num Pages: 22},
	keywords = {Graffiti, Photography, Digital heritage, Documentation},
	pages = {78--99},
}

@incollection{boust_scientific_2020,
	address = {Paris and Napoli},
	series = {Collection du {Centre} {Jean} {Bérard}},
	title = {Scientific imaging on paintings and graffiti},
	copyright = {Num Pages: 4},
	isbn = {979-10-370-0394-2},
	language = {English},
	number = {52},
	booktitle = {The villa of {Diomedes}},
	publisher = {Hermann and CJB},
	author = {Boust, Clotilde and Maigret, Anne},
	editor = {Dessales, Hélène},
	year = {2020},
	doi = {10.3917/herm.dessa.2020.01.0153},
	keywords = {Graffiti, NIR fluorescence, NIR photography, NUV photography, Painting, RTI (Reflectance Transformation Imaging), Egyptian blue, Nikon D3, Nikon D610, Raking light},
	pages = {153--156},
}

@incollection{dajnowski_you_2024,
	address = {Abingdon and Boca Raton},
	title = {You can clean but cannot touch. {Graffiti} removal from prehistoric pictographs at {Hueco} {Tanks} {State} {Park} \& {Historic} {Site} using laser ablation process},
	isbn = {978-1-032-47995-8},
	abstract = {The Hueco Tanks State Park \& Historic Site, near El Paso, Texas, USA, is culturally and spiritually significant for several Native American Tribes. It has the largest concentration of prehistoric mask pictographs (rock paintings) in North America. This National Historic Landmark, also a popular recreational destination, was vandalized numerous times over the past century. The pictographs and rock formations were disfigured by extensive graffiti paint. Laser ablation was used to remove the graffiti without affecting the original pictographs and rock formations. This process has restored the legibility and beauty of the pictographs while respecting their sacred legacy. To carefully assess the laser cleaning treatment, it was necessary to analyze the pictograph and graffiti. The site is considered sacred, so physical sampling of the pictographs was not permitted. A mobile lab was set up at the cave sites to perform in situ, non-invasive Raman (Bravo and Sentinel, Bruker Scientific, LLC), infrared (Alpha II, Bruker Scientific, LLC), XRF (Tracer 5i, Bruker Nano), and microscopic analysis of the pictographs. Goethite, hematite, quartz, gypsum, feldspar, and calcium oxalate were detected. The graffiti paints were sampled and analyzed using FTIR, Py-GCMS, and SEM-EDS. Cellulose nitrate and alkyd-based paints with chrome yellow, Prussian blue, iron oxide, burnt umber, zinc oxide, calcium carbonate, and barium sulfate pigments/fillers were detected.},
	language = {English},
	booktitle = {Lasers in the {Conservation} of {Artworks} {XIII}},
	publisher = {CRC Press/Balkema},
	author = {Dajnowski, A. and Tague, T. J. and Roberts, T. and Strutt, M. and Price, B. A. and Kelly, N. M. and Tague, D. W. and Sutherland, K. R. and Dajnowski, B. A.},
	editor = {Siano, Salvatore and Ciofini, Daniele},
	year = {2024},
	doi = {10.1201/9781003386872-10},
	note = {Num Pages: 8},
	keywords = {Graffiti, USA, Rock art, Graffiti removal, Laser, El Paso, Hueco Tanks State Par, Texas},
	pages = {96--103},
}

@article{dickinson_making_2008,
	title = {The {Making} of {Space}, {Race} and {Place}: {New} {York} {City}'s {War} on {Graffiti}, 1970—the {Present}},
	volume = {28},
	issn = {0308-275X},
	doi = {10.1177/0308275X07086556},
	abstract = {This article examines New York City's war on graffiti from 1970 until the present and the ways in which the city's reaction to the popular youth practice was largely shaped by the neoliberal restructuring process occurring throughout the same period. It explores the racialization and criminalization of the youth who practiced graffiti, and the ways in which this process manifested itself as a contestation over the use of urban space. Finally, it explores the practice of graffiti and the role of cultural practices more generally in relation to an anti-racist discourse.},
	language = {English},
	number = {1},
	journal = {Critique of Anthropology},
	author = {Dickinson, Maggie},
	year = {2008},
	note = {Num Pages:19},
	keywords = {Graffiti, New York, USA, Criminology, Youth, 1970s, Neoliberalism, Poverty},
	pages = {27--45},
}

@article{ombretta_crime_2015,
	title = {Crime {Art} on the stone: graffiti vandalism on cultural heritage and the anti-graffiti role in its surfaces protection},
	volume = {84},
	issn = {0369-8963},
	doi = {10.2451/2015PM0023},
	abstract = {Apparently perceived like an easy thing commonly used, spray paint is a very complex product composed by substances strongly penetrating particularly into the porous materials. This characteristic is very hazardous for our cultural heritage. The problem concerning the surfaces protection from paints and signs is very hard to solve, both for the difficulty to remove these substances and for the variety of the materials that react in a different manner to the various paints and cleaning treatments because of their different physical-chemical characteristics. With the aim to evaluate the damages originated by the spray paints on the stones and the efficacy of anti-graffiti products, some laboratory tests have been carried out. Two different limestones have been selected like supports: a little porous, polishable wakestone and a very porous bio-calcarenite with very scarce mechanical properties. Both these limestones are used as coverings and structural elements of buildings and monuments around Mediterranean basin. Concerning the spray paint cans, the most popular Montana mtn94 has been used, and two commercial anti-graffiti have been applied as protective products. Using Scanning Electron Microscope, Infrared Spectrometry, Colorimetry, Mercury Intrusion Porosimetry and Contact Angle Analysis the interactions stone-paint, stone-antigraffiti and paint-anti-graffiti have been investigated. In order to evaluate the real efficacy of the anti-graffiti, some cleaning and removal paint tests have been carried out. The research highlights that the anti-graffiti cause variations concerns the colour and/or the wettability in both limestones. Their effects are strictly related to the stonework and their microstructure but also the interaction with the paint is influent too.},
	language = {English},
	number = {3A},
	journal = {Periodico di Mineralogia},
	author = {Ombretta, Cocco and Maura, Carboni and Gianfranco, Carcangiu and Paola, Meloni and Arianna, Murru and Franca, Persia and Laura, Solla},
	year = {2015},
	note = {Num Pages:18},
	keywords = {Graffiti, Cultural heritage, Vandalism, Graffiti removal, Limestone},
	pages = {435--452},
}

@article{pellis_multi-analytical_2022,
	title = {A multi-analytical approach for precise identification of alkyd spray paints and for a better understanding of their ageing behaviour in graffiti and urban artworks},
	volume = {165},
	issn = {01652370},
	doi = {10.1016/j.jaap.2022.105576},
	abstract = {Contemporary graffiti and murals became an artistic expression worthy of attention worldwide as well as their conservation. The application of spray paints with increasing technical performance mirrors the variety of the chemical composition of these increasingly common painting materials. An insight into the formulation and the ageing process is extremely important to predict and prevent the possible decay phenomena observed on outdoor urban artworks. This paper aims to investigate the relationship between the macroscopic outcomes and the chemical changes occurring on spray paints after the ageing by a multi-analytical approach. A systematic artificial ageing procedure was performed on multiple sets of concrete mock-ups painted with three different alkyd-based spray paints and in three different light-sensitive colours. The colour variation was assessed by colorimetric measurements, the changes in the paint cross section were observed by scanning electron microscopy, Fourier transform infrared spectroscopy (FTIR) was applied both to characterize the spray paints and to detect the chemical changes of the organic compounds during the ageing. A significant and innovative contribution to this research is the application of the evolved gas analysis-mass spectrometry (EGA-MS) and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) with tetramethylammonium hydroxide in double-shot mode. These two analytical methodologies allowed an accurate classification of the different alkyd-based binders, the identification of plasticizers, organic pigments and other components often hard to spot in complex formulations, and an analysis of their fate following ageing.},
	language = {English},
	journal = {Journal of Analytical and Applied Pyrolysis},
	author = {Pellis, G. and Bertasa, M. and Ricci, C. and Scarcella, A. and Croveri, P. and Poli, T. and Scalarone, D.},
	year = {2022},
	note = {Num Pages: 14},
	keywords = {Graffiti, Alkyd spray paint, Chemical analysis, Paint, Py-GC/MS analyses},
	pages = {105576},
}

@article{polson_tag_2024,
	title = {From the {Tag} to the \#{Hashtag}: {Street} {Art}, {Instagram}, and {Gentrification}},
	volume = {27},
	issn = {1206-3312},
	doi = {10.1177/12063312221090608},
	abstract = {One of the key trends that can be seen in gentrifying environments is the use of “street art” murals, which are increasingly connected to official government-sanctioned “street art festivals,” to decorate the walls of urban neighborhoods—sometimes located in officially designated “arts” or “creative districts.” In this article, I consider the role that Instagram practices have played in the popularization of such districts. In a case study of Denver’s RiNo Art District, I argue that as street art is used to turn everyday urban environments into sites of adventurous exploration, the sharing of images from these discoveries on social media helps to make territories more familiar and thus more open to socioeconomic change. This case is considered as an example of how mediatization is connected to gentrification processes.},
	language = {English},
	number = {1},
	journal = {Space and Culture},
	author = {Polson, Erika},
	year = {2024},
	note = {Num Pages:15},
	keywords = {Street art, Instagram, Gentrification, Tags, Hashtag, Tagging},
	pages = {79--93},
}

@article{prikule_linguistic_2024,
	title = {A {Linguistic} {Study} of {Street} {Art} and {Graffiti} in {The} {Streets} of {Porto}},
	volume = {12},
	doi = {10.34630/e-rei.vi12.5805},
	abstract = {This article narrates my experience of studying Portuguese via Street Art and Graffiti in the urban settings of Porto city and Greater Porto Area. It examines the linguistic aspects of the city scape, and also describes the research process I carried out during my stay in the north of Portugal, explaining the terms used in different contexts, the research methods used and the conclusions I arrived to. The article also describes the output produced - the Portoscript Game - aimed at providing a subjective experience, while meandering through the hilly streets and establishing personal routes with the help of a set of flash cards. Globally, the article views the urban space as an experimental platform for self-discovery and a mirror of collective consciousness, using cognitive theory and semiotics to decipher the ideas. It also touches upon the typology of the words and categories of the found text, discussing the benefits and risks of the methods chosen, as they lead to a less traditional scientific output.},
	language = {English},
	journal = {E- Revista De Estudos Interculturais},
	author = {Prikule, Laura},
	year = {2024},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, Portugal, Porto},
}

@article{rolston_brothers_2009,
	title = {“{The} {Brothers} on the {Walls}”: {International} {Solidarity} and {Irish} {Political} {Murals}},
	volume = {39},
	issn = {0021-9347},
	doi = {10.1177/0021934706297876},
	abstract = {The article considers in detail a particular aspect of the political murals painted by the republican movement in Northern Ireland, namely their references to international themes rather than solely Irish matters. These murals are seen as an instance of solidarity with people in struggle elsewhere—against imperialism and state oppression—and thus represent recognition by Irish mural painters of their affinity to liberation movements elsewhere. As such, the phenomenon points to the potential of subaltern nationalism to be progressive. Finally, the article briefly considers the difficulties facing the other main mural tradition in Northern Ireland, that of the loyalists, to engage in a similar process of recognition and solidarity.},
	language = {English},
	number = {3},
	journal = {Journal of Black Studies},
	author = {Rolston, Bill},
	year = {2009},
	note = {Num Pages: 25},
	keywords = {Graffiti, Sociology, UK, Murals, Political graffiti, Nationalism, Ireland, Northern Ireland, Peace},
	pages = {446--470},
}

@article{rolston_women_2018,
	title = {Women on the walls: {Representations} of women in political murals in {Northern} {Ireland}},
	volume = {14},
	issn = {1741-6590},
	doi = {10.1177/1741659017718037},
	abstract = {The article documents the under-representation of women in political wall murals in Northern Ireland. There are significantly fewer representations of women than of men in these murals. Where women do appear, it is within a number of specific themes: as political activists, prisoners, victims or historical or mythological characters. The findings will be located within an analysis which sees the murals as a specific articulation of gender as a dimension of political mobilisation during conflict and in the period of transition from conflict. In short, the images sometimes reinforce and at other times challenge gender role expectations and norms. The extent of that reinforcement and challenge differs significantly between republican and loyalist murals. Nowhere do women receive representational equality with men, but in relation to loyalist murals, that absence comes close to being tantamount to silence.},
	language = {English},
	number = {3},
	journal = {Crime, Media, Culture: An International Journal},
	author = {Rolston, Bill},
	year = {2018},
	note = {Num Pages:25},
	keywords = {Graffiti, Gender, Sociology, UK, Murals, Sex, Political graffiti, Nationalism, Ireland, Northern Ireland, Peace},
	pages = {365--389},
}

@article{sanmartin_weathering_2020,
	title = {Weathering of graffiti spray paint on building stones exposed to different types of {UV} radiation},
	volume = {236},
	issn = {09500618},
	doi = {10.1016/j.conbuildmat.2019.117736},
	abstract = {The weathering capacity of UV-A, UV-B and UV-C radiation (i.e. long, medium and short wave) was tested on granite, rhyolite and biocalcarenite samples and glass slide supports coated with silver, black, blue and red graffiti paint. Physical and chemical changes occurred in the red, blue and silver paints, but not the black paint. Red and blue paints appeared be sensitive to UV-B and UV-C radiation, and they were not altered by artificial daylight or UV-A radiation. By contrast, all three types of UV radiation caused chemical changes in silver paint. Unexpectedly, physical changes in the paint and photodegradation were not correlated.},
	language = {English},
	journal = {Construction and Building Materials},
	author = {Sanmartín, P. and Pozo-Antonio, J. S.},
	year = {2020},
	note = {Num Pages: 13},
	keywords = {Graffiti, NUV (Near-UltraViolet), Graffiti removal, Alkyd paint, Natural stone, Stone cleaning, UV (UltraViolet), Weathering},
	pages = {117736},
}

@article{sluka_peace_1996,
	title = {Peace process images, symbols and murals in {Northern} {Ireland}},
	volume = {16},
	issn = {0308-275X},
	doi = {10.1177/0308275X9601600404},
	language = {English},
	number = {4},
	journal = {Critique of Anthropology},
	author = {Sluka, Jeffrey A.},
	year = {1996},
	note = {Num Pages: 7},
	keywords = {Graffiti, Sociology, UK, Murals, Political graffiti, Nationalism, Ireland, Northern Ireland, Peace},
	pages = {381--387},
}

@article{wills_key_2022,
	title = {Key characterization efforts to support the graffiti ink removal and care of {Mark} {Rothko}’s painting ‘{Black} on {Maroon}’ 1958},
	volume = {10},
	issn = {2050-7445},
	doi = {10.1186/s40494-022-00770-x},
	abstract = {Analytical characterization efforts carried out in support of the conservation treatment of Mark Rothko's painting 'Black on Maroon' 1958 (Tate T01170), involving the removal of graffiti (tag) ink, are summarized. The proprietary ink product, of unfamiliar and unknown composition, was investigated using a suite of analytical techniques (IR spectroscopy, GC–MS, ICP-MS, pyrolysis GC–MS, thin layer chromatography, SEC, MALDI-TOF–MS, and UHPLC-MS) to identify key colorants and other components. The ink solubility properties proved vital to informing the solvent selection process for the ink removal procedure, which helped enable the re-display of the painting at Tate Modern in 2014. The possible impact of ink residues remaining within the cotton duck canvas support of the conserved painting was also explored using mockup canvas mechanical strength data, measured before and after ‘soiling’ at two ink levels to assess whether the ink residues had any immediate and possible longer-term effects on canvas properties. These findings, elucidated using a range of complementary analytical techniques, provide information on this hitherto-unknown graffiti product, contribute to a growing body of knowledge in this area, and offer analytical approaches which may be useful for the characterization of similar unknown materials, whether used to damage, augment, or create works of art.},
	language = {English},
	number = {1},
	journal = {Heritage Science},
	author = {Wills, Scott T. and Ormsby, Bronwyn A. and Keefe, Melinda H. and Sammler, Robert L.},
	year = {2022},
	note = {Num Pages: 18},
	keywords = {Graffiti, Art, Painting, Graffiti removal, Tagging, Spectroscopy, Chemical analysis, Mark Rothko, Rothko},
	pages = {Article 143},
}

@book{doh_street_2018,
	address = {Bristol},
	title = {Street {Art} {And} {Graffiti}: {A} dissertation by street artist {John} {D}'oh},
	isbn = {978-1-910089-76-7},
	abstract = {This insider view of the world of street art is essential reading for teachers and students working on urban art projects and is also aimed at more general admirers of graffiti and street art. John D’oh started to adorn the streets with art when he was a teenager in Filton, Bristol and has developed into one of the city’s most respected artists. His work stands out for its political commentary, humour and technical innovation. He produced this book after being asked over a number of years to help students with their dissertations examining various aspects of street art and in response to interest from academics looking for behind-the-scenes insights into the art form. It can also be read as a personal, enjoyable and fun-filled journey through the art world. John D’oh expresses informed and often controversial views on subjects including the appropriation of artworks by global companies, the use of graffiti in marketing and the ongoing debate about exhibiting street art in museums. He also claims that street art is currently in its ‘baroque’ period and suggests where it might go next.},
	language = {English},
	publisher = {Tangent Books},
	author = {D'oh, John},
	year = {2018},
	keywords = {Graffiti, Street art, UK},
}

@article{bragaglia_another_2024,
	title = {Another sign on the wall: {Graffiti} slogans between dissent and post-political dynamics},
	volume = {42},
	issn = {2399-6544},
	doi = {10.1177/23996544241230185},
	abstract = {This paper contributes to the debate on the ‘post-political city’ in urban studies. This debate has highlighted that the ‘post-political’ seems now an inherent condition of contemporary cities. However, empirical analysis reflects a more complex reality where dissent in urban space can challenge the idea of a ‘post-political city’ by default. Among the expressions of dissent within urban space, ‘graffiti slogans’ offer interesting insights if contextualised within the post-political theory. To support my thesis, I analyse the case study of Porta Palazzo in Turin (Italy), an urban area undergoing deep urban and social transformations. Drawing on Rancière, on the walls of Porta Palazzo, ‘politics’ and ‘police order’ are constantly intertwined through graffiti slogans created, modified and erased.},
	language = {English},
	number = {7},
	journal = {Environment and Planning C: Politics and Space},
	author = {Bragaglia, Francesca},
	year = {2024},
	note = {Num Pages: 18},
	keywords = {Graffiti, Italy, Political graffiti, Turin, Slogans, Urban transformation},
	pages = {1224--1241},
}

@article{castejon_porcel_nautical_2024,
	title = {Nautical {Graffiti} from the {Torre} de {Rame} ({Los} {Alcázares}): {Probable} {Evidence} of {Ottoman}-{Berber} {Harassment} {Along} the {Coasts} of the {Former} {Kingdom} of {Murcia} ({Spain})},
	volume = {53},
	issn = {10572414},
	doi = {10.1080/10572414.2023.2253306},
	abstract = {The discovery of historical graffiti in the Torre de Rame, a 17th-century watchtower built in Los Alcázares (Region of Murcia, Spain), has led to the study of a valuable and large set of nautical graffiti. The analysis of these representations, together with that of the tower, reveals that they represent vessels that crossed the Mediterranean Sea at a time when there was confrontation between Ottoman-Berber pirates and Corsairs and the Christian kingdoms. This, together with other evidence, suggests that the authors of these motifs engraved on the walls were sailors who were part of this tragic struggle.},
	language = {English},
	number = {1},
	journal = {International Journal of Nautical Archaeology},
	author = {Castejón Porcel, Gregorio and Rabal Saura, Gregorio},
	year = {2024},
	note = {Num Pages: 19},
	keywords = {Graffiti, Spain, Historical graffiti, Nautical archaeology, Los Alcázares, Murcia, Ottoman, Ottoman-Berber},
	pages = {254--272},
}

@article{cook_crafting_2024,
	title = {Crafting a ‘senseplace’: the touch, sound and smell of graffiti},
	volume = {19},
	issn = {1745-8927},
	doi = {10.1080/17458927.2024.2337104},
	abstract = {This article explores the senses of touch, sound and smell through the craft work of subcultural graffiti to develop a new understanding of place. It draws from ethnographic data collected from 18 months of research edgework involving active participation in the field. Firstly, it positions graffiti as craft work involving practice, skilled use of tools, insightful judgments and use of the body. Secondly, because graffiti can provoke strong practitioner feelings it explores sensory engagements. In forming this somatic link between the senses and craft work this article reveals how a particular personal consciousness regarding place is produced by an individual practitioner. It then discusses how sensory engagements through graffiti craft practice produce a conceptual reconfiguration of space and this is posited as a senseplace.},
	language = {English},
	number = {2},
	journal = {The Senses and Society},
	author = {Cook, Richard},
	year = {2024},
	note = {Num Pages: 18},
	keywords = {Graffiti, Edgework, Craft work, Senseplace, Senses, Smell, Sound, Touch},
	pages = {122--139},
}

@book{schlusche_graffiti_2024,
	address = {Berlin},
	title = {Graffiti expressionism: {DARE} / {Sigi} von {Koeding} in {Basel}},
	isbn = {978-3-422-80231-5},
	abstract = {Many sprayers who do not abandon graffiti as a temporary phase of youthful rebellion, but have made it central – as name-writing – to their now legal work, are reminiscent of the 20th century Expressionists and their self-referential positions. Using the example of Basel graffiti legend Sigi DARE von Koeding, who died at an early age, the author explores whether everything that Expressionism originally represented and still stands for today can be rediscovered in the brightly-coloured, expressive works of one of the best name-writers. The name-writing of graffiti-sprayers as a new stylistic movement in art Graffiti Expressionism Sigi DARE von Koeding},
	language = {German; English},
	publisher = {Deutscher Kunstverlag},
	author = {Schlusche, Kai Hendrik},
	year = {2024},
	keywords = {Graffiti, Street art, Switzerland, Basel},
}

@book{sofia_graffiti_tour_sofia_2023,
	address = {Sofia},
	title = {Sofia {Urban} {Art}: {A} history of graffiti and street art from the 90s to now},
	isbn = {978-619-04-0147-6},
	abstract = {SOFIA URBAN ART collects the history of graffiti in the Bulgarian capital from the 90s to today. The book is the work of Sofia Graffiti Tour and traces the path from experimental and protest inscriptions through the first {\textbackslash}textquotedblbombs{\textbackslash}textquotedbl and {\textbackslash}textquotedblboom{\textbackslash}textquotedbl after 2000 to the large murals and the transformation of graffiti into an invariable part of modern urban culture. In 256 pages, dressed in hard covers and authentic design, through photographs, documentary materials, interviews and articles, SOFIA URBAN ART traces the exciting development of the graffiti scene in Sofia in three separate decades. In the book you will find over 600 archival footage and interviews with urban legends such as Nasimo, Ndoe, Vapsky, Destructive Creation, emircA, 140 ideas, More, Jay63 and others. And the authors of the edition are Nikolay Bizev, Stella Bizeva, Tsvetan Bizev.},
	language = {English; Bulgarian},
	publisher = {Sofia Graffiti Tour},
	author = {{Sofia Graffiti Tour}},
	year = {2023},
	keywords = {Graffiti, Street art, Urban art, Bulgaria, Sofia},
}

@book{strehle_nur_2024,
	address = {Zürich},
	title = {Nur fliegen kann er nicht. {Harald} {Naegeli}. {Die} {Biografie} {Res} {Strehle}},
	isbn = {978-3-257-07180-1},
	abstract = {Harald Naegeli, Mensch voll Poesie, Künstler voll Liebe zur Natur und Kämpfer für die Utopie und das Museum auf der Straße. Diese Biografie erzählt über Leben und Schaffen des introvertierten Zeichners, der an seinen »Urwolken« im Großformat über Jahre nur einzelne Striche ergänzt, sowie den extrovertierten Sprayer und politischen Dadaisten, der in wenigen Sekunden Hauswände aufwertet – denn mit dem Begriff »Sachbeschädigung« kann er überhaupt nichts anfangen. Wann fing Harald Naegeli an, der Sprayer von Zürich zu sein? Wie sah die Kindheit des Tierfreunds und Lyrikbegeisterten aus? Was geschah zwischen der jahrzehntelangen polizeilichen Verfolgung des illegalen Sprayers ab 1979 und der Auszeichnung mit dem Kunstpreis in seiner Heimatstadt Zürich 2020? Journalist und Autor Res Strehle hält nach drei Jahren Gesprächen, Recherchen und chancenlosen Schachpartien gegen den Künstler und Dadaisten Rückschau auf ein beispiellos bewegtes Leben.},
	language = {German},
	publisher = {Diogenes},
	author = {Strehle, Res},
	year = {2024},
	keywords = {Graffiti, Biography, Harald Naegeli},
}

@article{webster_tikal_1963,
	title = {Tikal {Graffiti}},
	volume = {6},
	language = {English},
	number = {1},
	journal = {Expedition Magazine},
	author = {Webster, Helen T.},
	year = {1963},
	note = {Num Pages: 12},
	keywords = {Graffiti, Maya, Mesoamerican, Tikal},
	pages = {36--47},
}

@article{amyx_inscribed_1957,
	title = {Inscribed {Sherds} from the {Amyklaion}},
	volume = {61},
	issn = {0002-9114},
	doi = {10.2307/500356},
	language = {English},
	number = {2},
	journal = {American Journal of Archaeology},
	author = {Amyx, D. A.},
	year = {1957},
	note = {Num Pages: 2},
	keywords = {Graffiti, Ancient graffiti, Sherds},
	pages = {168--169},
}

@article{bruner_gender_1980,
	title = {Gender differences in graffiti: {A} semiotic perspective},
	volume = {3},
	issn = {01480685},
	doi = {10.1016/S0148-0685(80)92260-5},
	abstract = {Male and female restroom graffiti analyzed from a semiotic point of view as texts, structures of meaning, illuminate basic societal processes. We learn that there are fundamental gender differences in patterns of communication in same-sex encounters, and we see revealed in such humble data as toilet graffiti a silent political discourse about the distribution of power in American society. These understandings, however, are only achieved if we move beyond a positivist perspective to the underlying level of meaning and if we construct an interpretation that takes account of both the male and the female data, simultaneously.},
	language = {English},
	number = {2-3},
	journal = {Women's Studies International Quarterly},
	author = {Bruner, Edward M. and Kelso, Jane Paige},
	year = {1980},
	note = {Num Pages: 14},
	keywords = {Graffiti, Gender, Semiotics},
	pages = {239--252},
}

@article{gach_graffiti_1973,
	title = {Graffiti},
	volume = {35},
	issn = {0010-0994},
	doi = {10.58680/ce197317701},
	language = {English},
	number = {3},
	journal = {College English},
	author = {Gach, Vicki},
	year = {1973},
	note = {Num Pages: 3},
	keywords = {Graffiti, Students, College},
	pages = {285--287},
}

@article{glazer_subway_1979,
	title = {On {Subway} {Graffiti} in {New} {York}},
	volume = {54},
	language = {English},
	journal = {National Affairs},
	author = {Glazer, Nathan},
	year = {1979},
	note = {Num Pages: 10},
	keywords = {Graffiti, New York, USA, Subway, American graffiti, Subway graffiti},
	pages = {3--11},
}

@article{kostka_aspects_1974,
	title = {Aspects of {Graffiti}},
	volume = {8},
	abstract = {As a natural part of our environment, graffiti is both spontaneous and functional—free from design conventions and often the sole communication weapon of an oppressed people. It can be a personal identification or it can mark the boundaries for an urban street gang. Its history is probably as old as writing itself. Graffiti has adapted personal expression to whatever space, writing tool, surface, or viewing requirements the environment demands.},
	language = {English},
	number = {4},
	journal = {Visible Language},
	author = {Kostka, Robert},
	year = {1974},
	note = {Num Pages: 7},
	keywords = {Graffiti},
	pages = {369--375},
}

@article{nilsen_grammar_1980,
	title = {The {Grammar} of {Graffiti}},
	volume = {55},
	issn = {00031283},
	doi = {10.2307/455094},
	language = {English},
	number = {3},
	journal = {American Speech},
	author = {Nilsen, Don L. F.},
	year = {1980},
	note = {Num Pages: 6},
	keywords = {Graffiti, Graffiti writing, Grammar, Morpheme},
	pages = {234--239},
}

@article{peretti_graffiti_1977,
	title = {Graffiti and {Adolescent} {Personality}},
	volume = {12},
	language = {English},
	number = {45},
	journal = {Adolescence},
	author = {Peretti, Peter O. and Carter, Richard and McClinton, Betty},
	year = {1977},
	note = {Num Pages: 12},
	keywords = {Graffiti, Adolescent},
	pages = {31--42},
}

@article{rhyne_graffiti_1972,
	title = {Graffiti: a {Nonreactive} {Measure}?},
	volume = {22},
	issn = {0033-2933},
	doi = {10.1007/BF03394089},
	abstract = {The purposes of this research were to test whether wall writing (which has been proposed as a nonreactive measure) would be influenced by the presence of a model, to determine the rate of people who would make inscriptions, and to add to the literature on the effects of another person’s behavior as a model, with particular reference to a socially frowned upon behavior. Stalls were checked after the departure of each S, 45 males in a no-model condition, 49 in a model-present condition. In scription rates were 8.2\% in the model-present and 6.7\% in the no-model present conditions. Within the limits of the present work, graffiti did appear to be a nonreactive measure.},
	language = {English},
	number = {2},
	journal = {The Psychological Record},
	author = {Rhyne, Linda D. and Ullmann, Leonard P.},
	year = {1972},
	note = {Num Pages: 4},
	keywords = {Graffiti},
	pages = {255--258},
}

@incollection{trentin_medieval_2010,
	address = {Newcastle upon Tyne},
	title = {Medieval and {Post} {Medieval} graffiti in the churches of {Cyprus}},
	isbn = {978-1-4438-2571-9},
	language = {English},
	booktitle = {Proceedings of {POCA} 2007: {Postgraduate} {Cypriot} {Archaeology} {Conference}},
	publisher = {Cambridge Scholars Publishing},
	author = {Trentin, Mia Gaia},
	editor = {Christodoulou, Skevi and Satraki, Anna},
	year = {2010},
	doi = {10.13140/RG.2.1.3845.3527},
	note = {Num Pages: 25},
	keywords = {Graffiti, Church, Cyprus, Medieval graffiti, Church graffiti, Post-medieval graffiti},
	pages = {297--321},
}

@article{trentin_form_2021,
	title = {Form, {Content}, and {Space}: {Methodological} {Challenges} in the {Study} of {Medieval} and {Early} {Modern} {European} {Graffiti}},
	volume = {31},
	doi = {10.14324/111.444.2041-9015.1283},
	abstract = {Scholars of various disciplines have focused their attention on European Medieval and Early Modern graffiti during the last decade, thus confirming and reinforcing the value of this peculiar written evidence. Their contributions demonstrate that graffiti can offer valuable information to different fields of study (e.g. shipbuilding, palaeography, history, social culture, and visual culture) through a glimpse into past daily life. Due to their nature, graffiti present a completely free graphic expression, which may appear in either textual or pictorial forms, or both. This characteristic makes their study rather challenging due to the two different mechanisms of communication they employ. In the case of textual graffiti, the content is transmitted through linguistic codification, while pictorial graffiti require a decoding process that is more complex and articulated. The first challenge, though, is to find a way to record and compare both evidence on the same graphic and verbal levels. Furthermore, as for any other epigraphic evidence, the graffiti analysis must take into account the writing surfaces and the context, two elements that are fundamental for the final interpretation of this source. This paper will address these methodological issues concerning the preliminary phase of graffiti documentation and classification/cataloguing. The starting point has been the recent debate and application of FAIR data principles in the field of Humanities, which aim to create quality data, easily exchanged in a digital environment, fostering knowledge in the field. Since this approach has not yet been applied to graffiti studies, the paper aims to stimulate a dialogue on innovative and objective methodological approaches within the researchers’ community.},
	language = {English},
	number = {1 (Special Issue: Timeless Spaces 2019 Conference Proceedings)},
	journal = {Papers from the Institute of Archaeology},
	author = {Trentin, Mia Gaia},
	year = {2021},
	note = {Num Pages: 25},
	keywords = {Graffiti, Cyprus, Medieval graffiti, Post-medieval graffiti},
	pages = {1--25},
}

@article{wagner_texts_2024,
	title = {Texts and contexts: {Linguistic} landscapes, graffiti, film, and literature in {L2} classes},
	volume = {57},
	issn = {0042-062X},
	doi = {10.1111/tger.12269},
	abstract = {Given that societies across the globe are increasingly multicultural and multilingual, the notion of communicative competence grounded in constricting definitions of national cultures and languages reflects neither our instructional realities nor the sociolinguistic reality of the languages and cultures we teach. To foster students’ development of second language (L2) competence grounded in an awareness of the symbolic construction of language and culture as well as “tolerance for ambiguity” (Kramsch, 2006), students must create with L2, rather than just reproduce what they have learned. After briefly outlining changing conceptions of language competency, this paper first describes how public uses of language and images through signs and graffiti make up a given place's linguistic landscape (LL), defines an evolving concept, and illustrates how it can be effectively used in L2 instruction. Then it highlights how a variety of LL-based activities help language learners become cognizant of their own sociolinguistic contexts and provides concrete examples from intermediate to advanced-level classes in two distinctly different German programs. The different approaches encourage students to combine LL-based activities with visual, literary, and film analysis to develop symbolic competencies that prepare them to negotiate unpredictable and diverse cultural norms.},
	language = {English},
	number = {1},
	journal = {Die Unterrichtspraxis/Teaching German},
	author = {Wagner, Susanne M. and Hoecherl‐Alden, Gisela},
	year = {2024},
	note = {Num Pages: 16},
	keywords = {Graffiti, Classroom},
	pages = {16--31},
}

@article{taylor_reflectance_2024,
	title = {Reflectance {Transformation} {Imaging} for the {Recording} of {Incised} {Graffiti}},
	volume = {12},
	issn = {2326-3768},
	doi = {10.1017/aap.2023.34},
	abstract = {Precolumbian Maya graffiti is challenging to document because it is complex, multilayered, and difficult to see with the naked eye. In the Maya Lowlands, precolumbian graffiti occurs as etched palimpsests on parts of substructures such as stucco walls of residences, palaces, and temples that are frequently only accessible through dark and narrow tunnel excavations. Experienced iconographers or epigraphers with advanced drawing skills are the most qualified researchers to accurately record, analyze, and interpret precolumbian Maya graffiti. Because these scholars have a vast knowledge of conventions and styles from multiple time periods and sites, they are less likely to document the complex and seemingly chaotic incisions incorrectly. But as with many specialists in Maya archaeology, iconographers and epigraphers are not always available to collaborate in the field. This raises the question, how might an archaeologist without advanced training in iconography accurately record graffiti in subterranean excavations? Advances in digital applications of archaeological field recording have opened new avenues for documenting graffiti. One of these is Reflectance Transformation Imaging (RTI), a method that uses a moving light source and photography in order to visualize, interact with, and analyze a three-dimensional object in a two-dimensional image. With practice, RTI images can easily be produced in the field and later shared with specialists for the purposes of analysis and interpretation. Performed on a series of 20 unique graffiti from the Maya archaeological site of Holtun (two examples are presented here), RTI shows promise as a viable technique for documenting and preserving graffiti as cultural heritage.},
	language = {English},
	number = {2},
	journal = {Advances in Archaeological Practice},
	author = {Taylor, Rachel Gill and Callaghan, Michael and Kovacevich, Brigitte and Cardona Caravantes, Karla J. and Clarke, Mary},
	year = {2024},
	note = {Num Pages: 11},
	keywords = {Graffiti, RTI (Reflectance Transformation Imaging), Scratch, Maya, Precolombian},
	pages = {122--132},
}

@article{fraihat_resisting_2024,
	title = {Resisting subjugation: {Palestinian} graffiti on the {Israeli} apartheid wall},
	volume = {47},
	issn = {0141-9870},
	doi = {10.1080/01419870.2023.2247473},
	abstract = {In 2002, Israel started the construction of a 708-kilometer wall to control the Palestinian territories. The Wall offered a massive canvas, which the Palestinians used to develop graffiti and murals. The artwork and graffiti are location-specific, ephemeral, transitory, and unstable. This paper aims to document, archive, and analyze discourse and themes emerging from the artwork that developed on the Wall between 2018 and 2022. The analysis of these images has revealed that, while the purpose of building the Wall was to curb and stifle their resistance, Palestinians turned it into a platform where they were able to express their commitment to national resistance, freedom, justice, love, poetry, business, and even personalization of their own stories. The Wall has also attracted international solidarity and sparked a new protest movement called “struggle tourism”, focusing on the Palestinian presence in the region's physical, moral, and political landscape.},
	language = {English},
	number = {13},
	journal = {Ethnic and Racial Studies},
	author = {Fraihat, Ibrahim and Dabashi, Hamid},
	year = {2024},
	note = {Num Pages: 30},
	keywords = {Graffiti, Resistance, Murals, Israel, Palestine, West Bank},
	pages = {2707--2736},
}

@article{benefiel_dialogues_2010,
	title = {Dialogues of {Ancient} {Graffiti} in the {House} of {Maius} {Castricius} in {Pompeii}},
	volume = {114},
	issn = {0002-9114},
	doi = {10.3764/aja.114.1.59},
	abstract = {Ancient graffiti have traditionally been studied as brief texts, but that is only part of the information they communicate. I propose a more comprehensive approach that considers their content and form and situates them more firmly within their physical and social environment. Engaging more closely with the spatial context of graffiti informs us about the ancient use of space and the human activity within it. It also allows us to see what else, besides text, was inscribed on the walls of Pompeii. The concept of the dialogue offers a flexible model of inquiry and provides a fresh perspective for examining the numerous graffiti of a residential space. From number games to drawings to clever compositions of poetry, the graffiti of the House of Maius Castricius reveal wide participation and a strong interest in the act of writing, a popular activity here and throughout Pompeii.},
	language = {English},
	number = {1},
	journal = {American Journal of Archaeology},
	author = {Benefiel, Rebecca R.},
	year = {2010},
	keywords = {Pompeii, Roman archaeology, Roman graffiti, Ancient graffiti, House of Maius Castricius},
	pages = {59--101},
}

@book{lehmann_maclaim_2006,
	address = {Mainaschaff},
	title = {Ma'{Claim}: {Finest} photorealistic graffiti},
	isbn = {978-3-939566-00-7},
	abstract = {Nicht viele Graffiti-Formationen können behaupten, sich innerhalb kurzer Zeit an die Spitze einer weltweiten Bewegung gearbeitet zu haben. „Ma’Claim“ kann das, und dieses Buch zeigt warum. Die Crew aus der ehemaligen DDR hat einen internationalen Durchbruch erlangt, der seines gleichen sucht. Mit ihrem Mix aus klassischen Graffitischriftzügen und Fotorealismus, in der Ma’Claim’schen Sprache auch „Graffoto“ genannt, waren sie bereits Anlass zahlreicher Diskussionen innerhalb der Graffitiszene. Gleichzeitig finden sie immer mehr Anhänger und Nachahmer. Nicht weiter schlimm, „denn wie könnte jemand ehrlicher sagen, dass er meine Pieces mag?“ (RUSK). Unterteilt in 15 Kapitel, werden zu Beginn die Mitglieder von Ma’Claim in sehr persönlichen und ausführlichen Portraits vorgestellt, gefolgt von diversen Arbeiten und Produktionen der Crew. Doch dieses Buch geht einen Schritt weiter als die üblichen Graffiti-Publikationen. „Ma’Claim – finest photorealistic graffiti“ eröffnet dem Leser die Kunst des fotorealistischen Sprühens. In dem Kapitel „Weimar City“ geht es zunächst um Techniken, die das Sprühen großer Bilder vereinfachen. Es werden Kniffe wie z.B. der Dosenzirkel oder auch die Benutzung von Schlagschnüren vorgestellt und erklärt. Im darauf folgenden Kapitel „Cans \& Caps“ geht es um die Sprühdose an sich. Sehr ausführlich werden die einzelnen Inhaltsstoffe besprochen und auch Probleme aufgezeigt, die durch die Benutzung unterschiedlicher Lacke entstehen können, bis man dann schließlich im „How 2“-Kapitel dazu kommt, zu erfahren, wie es denn eigentlich funktioniert – das fotorealistische Sprühen. Anhand schrittweiser Erklärungen zu verschiedenen Motiven (u.a. Hautstrukturen, Bewegungsunschärfe, Augen, Metalleffekte) wird diese Technik erlernbar gemacht und kann als Schlüssel dienen, eigene Konzepte in die Tat umzusetzen. „Ma’Claim – finest photorealistic graffiti“ ist eine umfangreiche Sammlung von Arbeiten, Erfahrungen und technischem Know-how, die auf 160 Seiten und 415 Abbildungen einen jungen Stil des Graffiti dokumentiert und erklärt.},
	language = {German},
	publisher = {Publikat Verlags- und Handels GmbH \& Co.},
	author = {Lehmann, Falk and Petermann, Steffen},
	year = {2006},
	keywords = {Graffiti, Ma'Claim, Photorealistic},
}

@book{holscher_mortuary_1951,
	address = {Chicago},
	series = {The {University} of {Chicago} {Orinetal} {Institute} {Publications}; {The} {Excavation} of {Medinet} {Habu};},
	title = {The {Mortuary} {Temple} of {Ramses} {III}. {Part} {II}},
	volume = {LV; IV},
	language = {English},
	publisher = {The University of Chicago Press},
	author = {Hölscher, Uvo and Anthes, Rudolf},
	translator = {{Hauser, Elizabeth B.}},
	year = {1951},
	keywords = {Graffiti, Egypt, Ancient graffiti, Egyptology, Demotic graffiti, Ramses III},
}

@book{vleeming_demotic_2015,
	address = {Leuven},
	series = {Studia demotica},
	title = {Demotic graffiti and other short texts gathered from many publications: ({Short} texts {III} 1201-2350)},
	volume = {XII},
	isbn = {978-90-429-3187-9},
	abstract = {As continuation of the two preceding volumes of 'Short Texts' with demotic votive inscriptions (vol. I) and mummy labels (vol. II), this volume brings together all but 800 demotic and Greek-demotic graffiti. These are in principle all the graffiti published in periodicals, congress proceedings and colloquia and 'Festschrifts', as well as in monographs that are not exclusively concerned with demotic graffiti (chiefly excavations reports). The texts are presented in topographical order from South to North, with those from a single monument kept together. The texts show the full gamut of themes encountered in demotic graffiti, which are more varied than their reputation would suggest: the commemorative inscriptions often have more to offer than just names and provide information about the careers of the inscribers, occasionally even touching on historical events of a larger scale. Specifically the numerous and variegated graffiti from the stone quarries in Middle Egypt and at Tura and Masara opposite ancient Memphis deserve to be mentioned because many of these texts are published here for the first time. Several clusters of these quarry graffiti belong to the first demotic texts that were recorded in the nineteenth century, and they constitute the only extant copies for many texts that have now been destroyed. In addition, there are some three hundred brief inscriptions on various objects such as coins, hieratic papyri and mummy linen, stelae, sculptors' models and plaques, various vases and amphoras, containers for embalming materials, dishes for the preparation of kyphi, and various other objects.},
	language = {English},
	publisher = {Peeters},
	author = {Vleeming, S. P.},
	year = {2015},
	keywords = {Graffiti, Egypt, Ancient graffiti, Egyptology, Demotic graffiti},
}

@book{lewisohn_abstract_2011,
	address = {London},
	title = {Abstract graffiti},
	isbn = {978-1-85894-526-2},
	abstract = {Since the early days of the graffiti movement in late 1970s New York, street art has transformed cities around the world. Today it is a hugely popular, yet still highly controversial art form. In Abstract Graffiti, Cedar Lewisohn provides a vibrant account of the ?outer limits’ of street art and graffiti that are being explored by artists in cities as diverse as London, Prague, Philadelphia and São Paulo. The work of these artists is ?abstract’ not necessarily in the sense that it is non-figurative; rather, it may embrace a fresh, abstract approach to art. Lewisohn interviews both established graffiti artists and new practitioners of avant-garde forms of art in public spaces ? such as Knit Graffiti and Street Training ? and traces the art-historical lineage of these abstract trends. Addressing such issues as street art as a form of protest, graffiti as a crime, the place of street art in museums, and the evolution of materials, this book offers unrivalled insight into some of the most exciting and challenging work on the contemporary art scene.},
	language = {English},
	publisher = {Merrell Publishers Limited},
	author = {Lewisohn, Cedar},
	year = {2011},
	keywords = {Graffiti},
}

@article{calafat_enfermement_2023,
	title = {Enfermement et graffiti},
	volume = {78},
	issn = {0395-2649},
	doi = {10.1017/ahss.2024.4},
	abstract = {In the early 2000s, restoration work on the building that housed Palermo’s Inquisition prisons during the early modern period revealed an impressive series of graffiti and prompted their historical study. In Del Santo Uffizio in Sicilia e delle sue carceri, Giovanna Fiume offers a rich synthesis of the individual and collaborative work she has devoted to these “mural archives” of the Palermo court. Bringing together the procedural and material history of incarceration, she succeeds in identifying the possible authors of the inscriptions and drawings that line the cell walls. In so doing, she sheds light on the trajectories of prisoners and their experiences of imprisonment, often passed over in silence by legal sources. These graffiti thus offer a new layer of documentation that broadens our understanding of the Inquisition’s judicial, penal, and carceral systems. More broadly, Fiume’s work is part of a flourishing strand of recent research dedicated to prisons and graffiti, at the confluence of literary studies, anthropology, and art history, which is interested in both the patrimonial and scholarly dimensions of these graphic marks and their aesthetic and ethnographic aspects. In offering a brief overview of the field, this review article aims to suggest some methodological and historiographical avenues for documenting social and intellectual life inside prisons.},
	language = {French},
	number = {4},
	journal = {Annales. Histoire, Sciences Sociales},
	author = {Calafat, Guillaume},
	year = {2023},
	note = {Num Pages: 25},
	keywords = {Graffiti, Italy, Palimpsest, Prison graffiti, Palermo},
	pages = {735--759},
}

@article{cristofani_etruscan_1978,
	title = {Etruscan graffiti on {Oxford} 213},
	volume = {98},
	issn = {0075-4269},
	doi = {10.2307/630200},
	language = {English},
	journal = {The Journal of Hellenic Studies},
	author = {Cristofani, Mauro},
	year = {1978},
	note = {Num Pages: 2},
	keywords = {Graffiti, Ancient graffiti, Etruscan graffiti},
	pages = {158--159},
}

@article{stamp_battle_1980,
	title = {The {Battle} of the {Styles} in {Architectural} ‘{Graffiti}’},
	volume = {23},
	issn = {0066-622X},
	doi = {10.1017/S0066622X00006389},
	language = {English},
	journal = {Architectural History},
	author = {Stamp, Gavin},
	year = {1980},
	note = {Num Pages: 2},
	keywords = {Graffiti, Architecture},
	pages = {141--142},
}

@article{hermer_official_1996,
	title = {Official {Graffiti} of the {Everyday}},
	volume = {30},
	issn = {0023-9216},
	doi = {10.2307/3054125},
	abstract = {This article focuses attention on “official graffiti” or regulatory signs typified by highway signs and the most invasive and emblematic piece of official graffiti, the prohibition circle with its diagonal red slash used in the iconic representation No Smoking. Establishing the range and pervasiveness of official graffiti in everyday life (as prohibitions, warnings, advisories, instructions, etc.), the authors approach these visual manifestations from the standpoint of the sociology of governance and analyze them as important instances of government at a distance. They explore the varieties and forms of such regulation and trace their expansion from public space to quasi-public space and to the private realm. Locating the texts and icons of official graffiti within implied or express discursive frameworks, the authors point to the construction of objects and subjects of regulation and to regulatory agents as “absent experts” and address the key role of the construction of danger and the link to insurance principles in a “risk society.” They also examine resistance through actions of defacement and avoidance that result in the complex order and disorder of surfaces and spaces. Official graffiti manifests a distinctive form of hegemony that is exercised through the small, daily acts of everyday governance.},
	language = {English},
	number = {3},
	journal = {Law \& Society Review},
	author = {Hermer, Joe and Hunt, Alan},
	year = {1996},
	note = {Num Pages: 26},
	keywords = {Graffiti, Signs, No smoking sign, Traffic sign},
	pages = {455--480},
}

@article{reynolds_sigiri_1957,
	title = {Sīgiri {Graffiti} and {Sinhalese} {Phonology}},
	volume = {20},
	issn = {0041-977X},
	doi = {10.1017/S0041977X00062017},
	language = {English},
	number = {1},
	journal = {Bulletin of the School of Oriental and African Studies},
	author = {Reynolds, C.H.B.},
	year = {1957},
	note = {Num Pages: 6},
	keywords = {Graffiti},
	pages = {481--486},
}

@article{helms_pompeiis_2021,
	title = {Pompeii's {Safaitic} {Graffiti}},
	volume = {111},
	issn = {0075-4358},
	doi = {10.1017/S0075435821000460},
	abstract = {In 1987, nine groups of graffiti written in Safaitic were published from Pompeii's theatre corridor (VIII.7.20). Safaitic, a south Semitic script used to record a dialect of Old Arabic, had never previously been documented in the West, and the appearance of these inscriptions at Pompeii since their publication has largely remained a mystery. I argue that Pompeii's Safaitic graffiti were inscribed by nomads from the Ḥarrah who had been incorporated into the Roman army, and who marched into Italy with Legio III Gallica during its campaign to install Vespasian as emperor.},
	language = {English},
	journal = {Journal of Roman Studies},
	author = {Helms, Kyle},
	year = {2021},
	note = {Num Pages: 12},
	keywords = {Graffiti, Epigraphy, Pompeii, Roman archaeology, Roman graffiti, Ancient graffiti, Latin graffiti, Roman army, Safaitic graffiti},
	pages = {203--214},
}

@article{partridge_graffiti_1982,
	title = {Graffiti from {Skeleton} {Green}},
	volume = {13},
	doi = {10.2307/526515},
	language = {English},
	journal = {Britannia},
	author = {Partridge, Clive},
	year = {1982},
	note = {Num Pages: 2},
	keywords = {Graffiti},
	pages = {325--326},
}

@article{frederick_wandjina_2009,
	title = {Wandjina, graffiti and heritage: {The} power and politics of enduring imagery},
	volume = {XV},
	issn = {14400669},
	doi = {10.22459/HR.XV.02.2009.10},
	language = {English},
	number = {2},
	journal = {Humanities Research},
	author = {Frederick, Ursula and and O’Connor, Sue},
	year = {2009},
	note = {Num Pages: 31},
	keywords = {Graffiti, Cultural heritage, Australia, Rock art, Wandjina},
	pages = {153--183},
}

@incollection{tacon_graffiti_2024,
	address = {Cham},
	series = {Interdisciplinary contributions to archaeology},
	title = {Graffiti, {Vandalism} and {Destruction}: {Preserving} {Rock} {Art} in a {Globalized} {World}},
	isbn = {978-3-031-54637-2},
	abstract = {In our globalized world access to rock art sites is unprecedented. But despite awareness campaigns, education about the universal value of rock art, global media attention and the efforts of those who manage rock art sites, purposeful damage to rock art imagery and the landscapes it is a part of continues at an alarming rate. There are many reasons for this, including ignorance, indifference, iconoclasm, racism, political motivations, and economic priorities. It also has been observed that ‘marks attract marks’ so for some people there is a compulsion to leave one’s own mark at rock art sites because previous people have done so. Indeed, new graffiti at rock art sites, unless quickly removed, can soon lead to a growing number of incidents. To further complicate things, Indigenous interactions with rock art sites can sometimes lead to new mark making construed by others as a form of vandalism. After summarizing why rock art is important in today’s globalized digital world, the history of purposeful damage to rock art sites is briefly reviewed before recent case studies from Australia and elsewhere are discussed. New strategies for preventing graffiti and vandalism at rock art sites, are then outlined. It is concluded that our global rock art heritage needs to be valued as a part of living culture rather than archaeological artefact in order to best conserve it for future generations.},
	language = {English},
	booktitle = {Deep-{Time} {Images} in the {Age} of {Globalization}},
	publisher = {Springer International Publishing},
	author = {Taçon, Paul S. C.},
	editor = {Abadía, Oscar Moro and Conkey, Margaret W. and McDonald, Josephine},
	year = {2024},
	doi = {10.1007/978-3-031-54638-9_17},
	note = {Num Pages: 11},
	keywords = {Graffiti, Vandalism, Rock art, Conservation, Heritage management},
	pages = {245--255},
}

@incollection{drakopoulou_graffiti_2022,
	address = {Berlin},
	series = {Romanistik},
	title = {Graffiti, eine anarchische {Anomalie} der {Kunst}},
	isbn = {978-3-7329-9201-0},
	abstract = {Dieser Text widmet sich kunsthistorisch dem Phänomen Graffiti seit den 1980er Jahren in Frankreich. Es geht darum, das Anarchische an Graffiti näher zu bestimmen, an konkreten Beispielen und im historischen Kontext. Ökonomische Theorie wird im Folgenden auf zwei Arten eine Rolle spielen. Zum einen setzen wir zwei Texte von Pierre Joseph Proudhon (1809–1865) – zu Eigentum und zu Finanzspekulation – mit Graffiti als anarchischer Ästhetik und anarchischer Ökonomie in Beziehung. Zum anderen ist die Kunstgeschichte, die wir hier vorstellen, eine, die den sozio-ökonomischen Kontext von künstlerischer Produktion verhandelt. Historisch-räumlich und zeitlich zentral sind hierbei für uns die Banlieues (Vororte) als Geburtsort von Graffiti in Paris sowie ökonomische Krisen als Katalysator von Graffiti. Graffiti wird damit als Anomalie der Kunstgeschichte beschrieben und seine anarchische Haltung aus einer bestimmten ökonomischen Situation erklärt.},
	language = {German},
	number = {37},
	booktitle = {Anarchie und Ästhetik},
	publisher = {Frank \& Timme GmbH},
	author = {Drakopoulou, Konstantina and Fuchsgruber, Lukas},
	editor = {Gramatzki, Susanne},
	year = {2022},
	doi = {10.57088/978-3-7329-9201-0_13},
	note = {Num Pages: 25},
	keywords = {Graffiti, Art},
	pages = {261--285},
}

@book{kutschera_action_2009,
	address = {Mainaschaff},
	title = {Action painting: {Bringing} art to the trains},
	isbn = {978-3-939566-25-0},
	abstract = {All works presented in this book no longer exist. Gone for good, washed off the sides of the trains, sometimes only hours after they were first created. Often what remains is just one photo, a final remnant of something that took a great deal of skill, courage, and determination to create. The authors of Action Painting present the most comprehensive collection of art ever created on Europe's transit systems, including highlights of the past 25 years. Their task was much like a treasure hunt involving a series of conspiratorial meetings and the subsequent arrival of mysterious, unmarked packages. First inspired by the iconic 1980s book, {\textbackslash}textquotedblSubway Art,{\textbackslash}textquotedbl the painting of trains in Europe continues to flourish to this day. Action Painting gives outsiders profound insight into the adventures, techniques, ethics and passion behind this amazing art form.},
	language = {English},
	publisher = {Publikat and TFPRESS},
	author = {Kutschera, Kristian},
	year = {2009},
	keywords = {Graffiti, Trainspotting, Train graffiti},
}

@book{flex__kym_keep_2023,
	address = {Atglen},
	title = {Keep your mouth shut: {Graffiti} art \& street culture in {Chicago} and beyond},
	isbn = {978-0-7643-6687-1},
	abstract = {A raw collection of photos and stories spotlighting the artistic process and dangerous adventures of a Chicago graffiti artist as he creates unsponsored works of art around the world. More than 350 photographs combine with previously untold firsthandstories to offer readers a rarely seen look into graffiti art and streetculture, asubculture that has grown seemingly without boundaries. Vibrant, urgent prose takesreaders into the emotions and physical experience of bringing street artinto existence, capturing the moments of creation as well as thecamaraderie of souls bound by these acts of expression. • Each story is a real-life mini action adventurefollowing FLEX {\textbar} KYM’s trajectory from local artist to world traveler toincarcerated individual to creator with reignited passion • Underpinning thestory of the art is that of Chicago and its growth intoa city internationally recognized for live-action urban painting • As the art ignites a path to form global networks, the journey takes readers to New York, NewJersey, Cleveland, Philadelphia, Boston, Vienna, Warsaw, Prague,Bratislava, Catania, Hamburg, Amsterdam, Lisbon, Stockholm, Bangkok,Barcelona, Istanbul, Athens, and Berlin • Features images of art by FLEX, ARK, FACT, SKOL, DTEK, SPIN, HEAR, NYKE, and other graffiti artists from Chicago and beyond This visceral look at the artistic process takes readers deep inside theworld of graffiti art—a subculture that is now more celebrated than ever.},
	language = {English},
	publisher = {Schiffer Publishing},
	author = {{FLEX {\textbar} KYM} and {EMTE}},
	year = {2023},
	keywords = {Graffiti, Berlin, New York, USA, Vienna, Chicago, Philadelphia, Athens, Amsterdam, Lisbon, Hamburg, Barcelona, Istanbul, American graffiti, Stockholm, Train graffiti, Catania, Bangkok, Boston, Bratislava, Cleveland, New Jersey, Prague, Warsaw},
}

@book{brafman_l_2021,
	address = {Los Angeles},
	title = {L.{A}. graffiti black book},
	isbn = {978-1-60606-698-0},
	abstract = {Many graffiti artists carry sketchbooks, called black books, and they ask crew members and others whose work they admire to inscribe their books with lettering or drawings. A few years ago, the Getty Research Institute invited artists, including Angst, Axis, Big Sleeps, Chaz, Cre8, Defer, EyeOne, Fishe, Heaven, Hyde, Look, ManOne, and Prime, to consider the idea of a citywide graffiti black book. During visits to the Getty Center, the artists viewed rare books related to calligraphy and letterforms, including works by Albrecht Dürer and Leonardo da Vinci. The artists instantly recognized the connections to their own practices and were particularly drawn to a liber amicorum (book of friends), a form of autograph book popular in the seventeenth century. Passed from hand to hand, it was filled with signatures, poetry, and coats of arms, like a black book from another era. Inspired by this meeting of minds across centuries, these artists became both creators and curators, crafting their own pages and inviting others to contribute. Eventually 151 Los Angeles artists decorated 143 individual pages. These were bound together into an exquisite artists’ book that became known as the Getty Graffiti Black Book. This publication reproduces each page from the original artists’ book and recounts the story of an unprecedented collaboration across the diverse artistic landscape of Los Angeles.},
	language = {English},
	publisher = {Getty Research Institute},
	author = {Brafman, David},
	year = {2021},
	keywords = {Graffiti, Graffiti writing, Black book},
}

@article{wieser_exterior_2024,
	title = {Exterior {Orientation} in a {Box}: {Cost}-{Effective} {RTK}/{IMU}-{Based} {Photo} {Geotagging}},
	volume = {XLVIII-2/W8-2024},
	issn = {1682-1777},
	doi = {10.5194/isprs-archives-XLVIII-2-W8-2024-463-2024},
	abstract = {This paper presents a small, cableless and cost-effective (circa € 500 in 2022) device that embeds an RTK-enabled GNSS receiver and IMU in a 3D printed case to record the exterior orientation of photos via the camera's hot shoe. This hardware solution was developed within the academic graffiti project INDIGO to enable a faster and more robust exterior orientation (via incremental SfM) of the hundreds of weekly acquired graffiti photographs. The device relies solely on commercially available open-source development components that require only minimal knowledge of electronics. Moreover, it is small enough not to disturb the photographer but still provide constant visual feedback about the device's overall and positional solution status. To realistically test the achievable positional and rotational accuracy, we acquired a dense network of graffiti photos in INDIGO's test area. This test showed that the device provides centimetre-accurate photo positions and one-degree accurate pitch and roll values. The heading or yaw is probably only usable to some extent since it primarily relies on magnetometer measurements, which get quickly disturbed in an urban environment. In addition, the test revealed that the camera's internal IMU can provide roll and pitch values with sub-degree accuracy.},
	language = {English},
	journal = {ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences},
	author = {Wieser, Martin and Verhoeven, Geert Julien Joanna and Wild, Benjamin and Pfeifer, Norbert},
	year = {2024},
	note = {Num Pages: 8},
	keywords = {Graffiti, SfM (Structure from Motion), Vienna, INDIGO, Donaukanal, Georeferencing, IMU, Exterior orientation, Geotagging, Incremental SfM, Low-cost, RTK (Real-time Kinematic) GNSS},
	pages = {463--470},
}

@incollection{ballard_signature_2002,
	address = {Honolulu},
	title = {The {Signature} of {Terror}: {Violence}, {Memory}, and {Landscape} at {Freeport}},
	isbn = {0-8248-2472-5},
	language = {English},
	booktitle = {Inscribed landscapes},
	publisher = {University of Hawai‘i Press},
	author = {Ballard, Chris},
	editor = {David, Bruno and Wilson, Meredith},
	year = {2002},
	note = {Num Pages: 14},
	keywords = {Graffiti, Australia, Freeport, Terror},
	pages = {13--26},
}

@book{david_inscribed_2002,
	address = {Honolulu},
	title = {Inscribed landscapes: {Marking} and making place},
	isbn = {0-8248-2472-5},
	abstract = {Landscapes all over the world are inscribed with enduring physical marks. Socially constructed and engaged, landscape inscriptions (monuments, roads, gardens, rock-art) are foci of social experience and as such are symbolic expressions that mold and facilitate the transmission of ideas. Through inscription, landscapes become social arenas where the past is memorialized, where personal roots, ambitions, and attachments are laid, and where futures unfold. Inscribed Landscapes explores the role of inscription in the social construction of place, power, and identity. Bringing together twenty-one scholars across a range of fields–primarily archaeology, anthropology, and geography–it discusses how social codes and hegemonic practices have resulted in the production of particular senses of place, exploring the physical and metaphysical marking of place as a means of accessing social history. Two major conceptual themes link the chapters of this book: social participation and resistance. Participation involves interrelationships between people and place, the way inscribed environments and social experience intertwine; resistance relates to the rejection of modes of domination and their inscription in the landscape. The volume explores these themes in three parts: the first focuses on rock-art, the second on monuments, and the third describes how the physical and metaphysical articulate to inscribe places with meaning.},
	language = {English},
	publisher = {University of Hawai‘i Press},
	editor = {David, Bruno and Wilson, Meredith},
	year = {2002},
	keywords = {Graffiti, Australia, Rock art, Sociology, Inscriptions, Landscape, Place making, Petroglyph},
}

@incollection{david_spaces_2002,
	address = {Honolulu},
	title = {Spaces of {Resistance}: {Graffiti} and {Indigenous} {Place} {Markings} in the {Early} {European} {Contact} {Period} of {Northern} {Australia}},
	isbn = {0-8248-2472-5},
	language = {English},
	booktitle = {Inscribed landscapes},
	publisher = {University of Hawai‘i Press},
	author = {David, Bruno and Wilson, Meredith},
	editor = {David, Bruno and Wilson, Meredith},
	year = {2002},
	note = {Num Pages: 19},
	keywords = {Graffiti, Australia, Place making, Indigenous, Early European Contact Period, Northern Australia},
	pages = {42--60},
}

@article{mcatackney_peace_2011,
	title = {Peace maintenance and political messages: {The} significance of walls during and after the {Northern} {Irish} ‘{Troubles}’},
	volume = {11},
	doi = {10.1177/1469605310392321},
	abstract = {The role of wall murals — as both territorial markers and as a means of maintaining and reinforcing identity — has been a frequent subject of study as a way of understanding the recent conflict in Northern Ireland, euphemistically known as ‘the Troubles’ (c. 1969—c. 1998). Whilst the heightened political and social relevance of murals and graffiti during civil conflict is undoubtedly a worthy subject of study, the role of their physical context — walls — has not been so thoroughly analysed and deconstructed. In the context of Northern Ireland, walls have had multiple uses and meanings — they can be not only blank canvases to facilitate communication but also physical barriers that solidify social relations and prevent interaction. This article examines the dual role of walls both during and in the aftermath of conflict as a means of highlighting their positive and negative attributes and de-essentializing their existence. It is suggested that there is a need to contextualize and consider the current and potential role of walls in the maintenance of peace and facilitating a ‘new’ Northern Ireland.},
	language = {English},
	number = {1},
	journal = {Journal of Social Archaeology},
	author = {McAtackney, Laura},
	year = {2011},
	note = {Num Pages: 22},
	keywords = {Graffiti, UK, Murals, Political graffiti, Conflict graffiti, Northern Ireland},
	pages = {77--98},
}

@article{swenson_moche_2012,
	title = {Moche ceremonial architecture as thirdspace: {The} politics of place-making in the ancient {Andes}},
	volume = {12},
	doi = {10.1177/1469605311426548},
	abstract = {Ceremonial architecture at the site of Huaca Colorada in the Jequetepeque Valley, Peru, is analyzed as a ritually charged thirdspace, an interpretive move that illuminates both the creative power of place and the cultural particulars of Moche identity politics and ideological struggles. This perspective permits interpretation of how Moche monumental architecture was directly complicit in the construction of personhood, community, and power specific to the Jequetepeque Valley during the Late Moche Period (AD 600–850). Ultimately, the article demonstrates how the application of place-sensitive heuristics can improve archaeological investigations of the role of ritual performance in the creation of political subjectivities.},
	language = {English},
	number = {1},
	journal = {Journal of Social Archaeology},
	author = {Swenson, Edward},
	year = {2012},
	note = {Num Pages: 26},
	keywords = {Graffiti, Place making, Peru, Andes, Ceremonial architecture, Huaca Colorada, Jequetepeque Valley},
	pages = {3--28},
}

@article{shpakova_structural_2024,
	title = {Structural and {Technological} {Aspects} of {Conservation} of {Street} {Art} on {Buildings} {Damaged} {During} the {War}},
	volume = {15},
	issn = {2067-533X},
	doi = {10.36868/IJCS.2024.SI.09},
	abstract = {Using the example of graffiti created by famous artists on the walls of buildings and structures damaged during hostilities in Kyiv and its suburbs, the article analyzes and summarizes the factors influencing the lifespan of street artworks. Special conditions for dismantling graffiti and changing the exposure are considered. Examples of measures taken to preserve art objects are given. The study provides recommendations for additional protection of building structures, which are the basis of murals, taking into account their condition and degree of destruction. The authors provide photographic materials and results from some of the most common objects. Also provided are constructive schemes for strengthening the building elements or their fragments and options for technological solutions for protection, preservation and further dismantling. The article also includes materials from already implemented projects: applications of street art, which were saved using these other methods and techniques.},
	language = {English},
	number = {SI},
	journal = {International journal of conservation science},
	author = {Shpakova, Hanna and Shpakov, Andrii and Kripak, Wolodymyr and Koliakova, Vira},
	year = {2024},
	note = {Num Pages: 16},
	keywords = {Graffiti, Street art, Conservation, War, Ukraine},
	pages = {103--118},
}

@article{gotad_classification_2024,
	title = {Classification of {Flat}-worked {Potsherds} and {Flat}-worked {Stones} {Used} as {Play} {Objects}: {A} {Study} of {Dimensions}},
	volume = {12},
	issn = {2347-5463},
	abstract = {Frequently overlooked as a ubiquitous but still insignificant artefact by archaeological researchers in India, flat, grounded, or worked potsherds and worked stones were manufactured from readily available materials, often from broken ceramic vessels or fragments of stones. These flat-ground or worked discs, generally called {\textbackslash}textquotedbldiscs{\textbackslash}textquotedbl or {\textbackslash}textquotedblhopscotch,{\textbackslash}textquotedbl were frequently mixed up with sherds without considering that they were consistently produced for particular purposes and prevalence. Although the function or usage of this artefact assemblage in Vadnagar was elusive, the primary aim of this paper was to determine the regularity of different shapes by assessing the morphology, with an anticipation that some concept of function would be forthcoming. Secondly, by studying in detail the different dimensions i.e. diameter and thickness of each artefact, the focus lay on justifying the artefact used for playing the game of Hopscotch and Seven Stone. These parameters are supported by comparative archaeological and contemporary data from Indian and foreign sites. Classifying these flat-worked potsherds and flat-worked stones by comparing their dimensions helped us understand how this artefact assemblage was utilized in games and valued by the people of Vadnagar.},
	language = {English},
	journal = {Heritage: journal of multidisciplinary studies in archaeology},
	author = {Gotad, Sejal S. and Ambekar, Abhijit S.},
	year = {2024},
	note = {Num Pages: 37},
	keywords = {Graffiti, Classification, Ancient graffiti, India, Ceramic, Vadnagar},
	pages = {935--971},
}

@article{hidayat_role_2024,
	title = {The {Role} of {Subcultures} in {Defining} {Urban} {Identities}},
	volume = {1},
	issn = {3062-7540},
	doi = {10.70177/jhrs.v1i5.1786},
	abstract = {Background. The role of subcultures in the formation of urban identities is often overlooked in urban studies, which place more emphasis on mainstream culture. Purpose. This study aims to identify and analyze how subcultures affect urban identity, especially in the context of social interaction and public policy in the city of Padang. Method. The research uses a qualitative approach with case studies, involving in-depth interviews and participatory observations. Results. The results show that subcultures have a significant influence in shaping urban identity through cultural expression, social participation, and more inclusive urban policies. Subcultures not only enrich the visual and aesthetic dimensions of cities, but they also play an important role in creating more welcoming and participatory public spaces. Conclusion. This study concludes that subcultures can be a strategic component in more sustainable and adaptive urban planning, albeit with limitations in scope and research methods that need to be further developed.},
	language = {English},
	number = {5},
	journal = {Journal of Humanities Research Sustainability},
	author = {Hidayat, Rahmat and Santos, Luis and Reyes, Maria Clara},
	year = {2024},
	note = {Num Pages: 11},
	keywords = {Street art, Culture, Subculture, Urban planning},
	pages = {236--246},
}

@book{mungus_totally_1985,
	address = {London},
	title = {Totally tasteless graffiti},
	isbn = {0-552-12622-5},
	language = {English},
	publisher = {Corgi Books},
	author = {Mungus, Hugh},
	year = {1985},
	keywords = {Graffiti, Graffiti writing},
}

@article{akinbami_graffiti_2024,
	title = {Graffiti {Usage} on {Buildings} in {Ogbomoso} {North} {Local} {Government} {Area}, {Nigeria}},
	volume = {32},
	issn = {0331-3115},
	abstract = {Understanding graffiti's impact on housing, rent, and resident satisfaction aligns with SDG 11’s goal of fostering inclusive, sustainable urbanization and ensuring affordable, safe housing. Hence, this study examined the usage of graffiti on buildings in Ogbomoso North Local Government Area of Oyo State. The study assessed factors that responsible for the choice of graffiti, and the impact of graffiti usage on housing satisfaction in the study area. 120 copies of questionnaire were distributed to residents in selected residential precincts using multistage sampling technique. The data obtained on socioeconomic characteristics of residents were summarized into frequencies, while three indices were developed for the study: the Usage of Graffiti Index (UGI), Factors Influencing Graffiti Choice Index (FIGCI), and Residents’ Satisfaction Index (RSI) to rate respondents’ opinion. The study found that {\textbackslash}textquotedblword graffiti{\textbackslash}textquotedbl is the most common (33.3\%) type of graffiti in the study area because it is inexpensive and simple to understand. The majority (80.8\%) of homeowners value the existence of graffiti in their area, and it is often employed by youth (40.8\%) for dwelling beautification (UGI = 2.44) and business marketing (UGI = 2.40). The study found that religion influences graffiti choice (FIGCI = 2.53), and that religious graffiti has a significant (25.0\%) impact on inhabitants in the core area, indirectly affecting housing rent. The survey found that respondents were largely satisfied with word graffiti (RSI = 1.83), while few were satisfied with picture graffiti (RSI = 1.48). The study indicated that the majority of residents enjoy graffiti because of their religious views, and it suggests that informative orientation and awareness programs be implemented to increase residents' comprehension of the detrimental consequences of graffiti on housing satisfaction.},
	language = {English},
	number = {2},
	journal = {Ife Social Sciences Review},
	author = {Akinbami, Babatunde S. and Morenikeji, Timothy O. and Bolaji, Kehinde A. and Ajala, Mayowa C. and Adigun, Folasade O. and Olaleye, Eyitayo},
	year = {2024},
	note = {Num Pages: 12},
	keywords = {Graffiti, Africa, Nigeria, Ogbomoso},
	pages = {29--40},
}

@book{christl_stylefile_2022,
	address = {Großostheim},
	series = {Stylefile {Blackbook} {Sessions}},
	title = {Stylefile blackbook sessions \#5: {Sketches}, scribbles, full-color styles},
	volume = {5},
	isbn = {978-3-949526-02-2},
	language = {English},
	publisher = {Publikat GmbH},
	editor = {Christl, Markus},
	year = {2022},
	keywords = {Graffiti},
}

@book{zack_book_2021,
	address = {Großostheim},
	title = {Book of {ZACK}: {Remembering} the good old times},
	isbn = {978-3-939566-55-7},
	language = {English; German},
	publisher = {Publikat GmbH},
	author = {{ZACK}},
	translator = {{MEIR (WMAO)} and {Balance Wheel Gallery}},
	year = {2021},
	keywords = {Graffiti},
}

@article{bitam_graffiti_2025,
	title = {Graffiti in {Public} {Spaces} in the {City} {State} of {Setif}, {Algeria}},
	volume = {52},
	issn = {1026-3721},
	doi = {10.35516/hum.v52i2.5813},
	abstract = {Objectives: The present study aims to discover the themes or categories that characterize graffiti writings in public spaces in the City State of Setif, Algeria. It is worth mentioning that Setif City - the state of Setif - is an eastern city in Algeria; it is near to the state where one of the researchers resides. This fact made data collection an easy task. Methods: Using photographing, the researchers collected 330 graffiti tokens from public spaces in six townships of Setif City. However, among the total number of graffiti only 191 graffiti works had writings, and thus, they were selected as the study sample. The researchers relied on the qualitative and quantitative content analyses framework for data analysis. Results: The analysis showed that graffiti in public spaces of Setif City expressed 19 communicative themes or categories, namely society, politics, resistance, peace, education, history, heritage, sports, motherland, art, personal thoughts and sentiments, expressiveness, commerce, prevention, awareness and guidance, embellishment, health, environment, and finally miscellaneousness. Moreover, the study showed that some of graffiti writings have more than one theme or communicative category. Conclusions: The study concludes that the graffiti of Setif City was used to transmit various messages about many different issues in life.},
	language = {English},
	number = {2},
	journal = {Dirasat: Human and Social Sciences},
	author = {Bitam, Noura and AL-Khanji, Rajai Rashead},
	year = {2025},
	note = {Num Pages: 17},
	keywords = {Graffiti, Africa, Nigeria, Setif},
	pages = {250--266},
}

@article{greenberg_street_2024,
	title = {Street {Art} {In} {Post}-{War} {Bosnia} and {Croatia}. {Rememering}, {Reclaiming}, {Re}-{Imagining}},
	volume = {5},
	url = {https://journals.ap2.pt/index.php/BBDS/article/view/1044},
	doi = {10.48619/bbds.v5i2.1044},
	abstract = {As a life-long “creative” I find inspiration everywhere. My mind toggles freely between visual images and words on the page or the screen. And when it comes time for me to synthesize thought, research, experience, and emotion into a cohesive narrative, I often feel compelled to choose between “words” and “images” to convey a compelling story. In recent times, though, I find myself leaning into a more natural inclination to combine the two. I love the freedom this choice affords me. Street art—in its infinite array of styles and content—is emblematic of this hybridized creative medium. I’m not surprised to find myself drawn to these works like a bee to pollen.},
	language = {English},
	number = {2 (Ubiquity: Shifting Memories)},
	journal = {Black Book: Drawing and Sketching},
	author = {Greenberg, Dina},
	year = {2024},
	note = {Num Pages: 12},
	keywords = {Street art, Bosnia \& Herzegovina, Croatia},
	pages = {8--19},
}

@article{malhotra_buffing_2024,
	title = {On buffing},
	volume = {5},
	url = {https://journals.ap2.pt/index.php/BBDS/article/view/1053},
	doi = {10.48619/bbds.v5i2.1053},
	abstract = {In the world of street art, the antithesis to graffiti writing is buffing. This painted equivalent of censorship signals not just municipal or federal authority / jurisdiction, but also constitutes its own form of abstract art. Over time, buffing becomes a game of tag, a tussle between people and authorities. And with it, the fine line of vandalism and censorship is easily blurred and conveniently crossed. In this photo essay, I have collected and captioned several photographs which make the walls on streets analogous to the facebook wall - open to writing, layered with posts and a form of contemporary decoupage. With the increased overlap of street art and advertising as a result of the spread of digital fonts and printing, we must consider contemporary formats of spam, and scam, as well as situated them within the broader context of capitalism. When the digital becomes offline and vice versa in the global south, what defines pollution?},
	language = {English},
	number = {2 (Ubiquity: Shifting Memories)},
	journal = {Black Book: Drawing and Sketching},
	author = {Malhotra, Shriya},
	year = {2024},
	note = {Num Pages: 16},
	keywords = {Graffiti, Buffing},
	pages = {20--35},
}

@article{neves_interview_2024,
	title = {Interview with {Giulia} ‘{BLocal}’ {Riva} about: "{As} {Seen} on the {Streets} of {Paris}"},
	volume = {5},
	url = {https://journals.ap2.pt/index.php/BBDS/article/view/1078},
	doi = {10.48619/bbds.v5i2.1078},
	abstract = {Paris, November 22nd — Writer and street art expert Giulia ‘BLocal’ Riva announces the release of her new book, As Seen on the Streets of Paris. The first in the series {\textbackslash}textquotedblAs Seen on the Streets of...{\textbackslash}textquotedbl, this book seamlessly combines the depth of a travel guide with the visual splendor of an art photography collection. Offering a unique perspective on Paris' street art culture, it reveals why this city occupies a pivotal role in the European urban art scene. Featuring over 250 striking photographs by Paolo Giannotti and insights from 13 Parisian street artists, As Seen on the Streets of Paris invites readers to embark on a journey through the French capital’s urban art landscape. The series {\textbackslash}textquotedblAs Seen on the Streets of...{\textbackslash}textquotedbl will continue in 2025 with new editions focusing on other major street art capitals, including London, Athens, Madrid, Rome, Lisbon, and Berlin. Each book will celebrate the distinctive urban art scenes of these cities, blending local perspectives with captivating visual storytelling. True to the ethos of “Be Local”, the guiding principle behind Giulia’s travel and street art blog “BLocal” (a respected voice in the field since 2011), this book reflects not only the author’s perspective but also the voices of the Parisian street artists she interviewed. Their contributions infuse the guide with authentic local flavor, leading readers to both iconic landmarks and hidden gems—offering a richer, non-touristy glimpse into the life of the city.},
	language = {English},
	number = {2 (Ubiquity: Shifting Memories)},
	journal = {Black Book: Drawing and Sketching},
	author = {Neves, Pedro Soares},
	year = {2024},
	note = {Num Pages: 6},
	keywords = {Street art, Photography, France, Paris, Interview},
	pages = {78--83},
}

@article{prikule_marques_2024,
	title = {From {Marquês} to {Rua} do {Monte} {Cativo}},
	volume = {5},
	url = {https://journals.ap2.pt/index.php/BBDS/article/view/1068},
	doi = {10.48619/bbds.v5i2.1068},
	abstract = {This visual essay is largely based on the images and writings the author sampled in the streets of Porto (Portugal) during a walk from Marquês subway station to Rua do Monte Cativo, and later translated from Portuguese into English. The work is part of a larger creative research project PORTOSCRIPT, focussing on the development of experimental ideas based on the linguistic landscape studies of the area. The essay aims to blend the voices of many narrators into a single, unified, subjectively objective experience, where small details add up to a larger picture, constituting an entry point to an enhanced, semi-fictional and hypertextual reality where meanings mix, meld together and change. The form of an essay was chosen to further experiment with blending newly written text, translated text taken from images, photographic images, painted images within photographic images and the hybrid types of perceptual experience and associations the final image-text may create. Based on the author’s interest in Street Art and Graffiti as a manifest form of collective consciousness, and an imprint of a certain era and mindset on the surrounding architectural structures, as well, this work aims to capture the depth of a fleeting moment in time.},
	language = {English},
	number = {2 (Ubiquity: Shifting Memories)},
	journal = {Black Book: Drawing and Sketching},
	author = {Prikule, Laura},
	year = {2024},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Portugal, Porto, Subway graffiti, Marquês subway station, Rua do Monte Cativo},
	pages = {54--61},
}

@article{bhardwaj_role_2024,
	title = {A {Role} of {International} and {National} {Subcontinents} in the {Evolution} of {Street} {Art} in {India}},
	volume = {5},
	url = {https://journals.ap2.pt/index.php/BBDS/article/view/910},
	doi = {10.48619/bbds.v5i1.910},
	abstract = {The term {\textbackslash}textquotedblstreet art{\textbackslash}textquotedbl refers to a kind of artistic expression that is both dynamic and evolving. It has gained significance in urban settings all over the world, providing as a forum for social commentary, cultural expression, and political activity. Over the course of the past several years, street art in India has undergone a substantial transformation, which is a reflection of both international inspirations and indigenous artistic traditions. The purpose of this research was to investigate the development of street art in India from the point of view of worldwide influences as well as the distinctive socio-cultural setting of the Indian subcontinent.},
	language = {English},
	number = {1 (Dialogs: Spaces and Memories)},
	journal = {Black Book: Drawing and Sketching},
	author = {Bhardwaj, Shikha},
	year = {2024},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, India},
	pages = {44--51},
}

@book{blake_londons_2024,
	address = {Barnsley and Havertown},
	title = {London's {Underground} {Since} 1985: {A} {Journey} in {Colour}},
	isbn = {978-1-3990-5558-1},
	abstract = {JIM BLAKE's second volume of his photographs featuring the London Underground cover the period from 1985, shortly after the Thatcher regime's destruction of London Transport and its re-birth as London Underground Ltd., to 2021 when the Northern Line gained its new branch from Kennington to Battersea Power Station. This was a turbulent time in the system's history, encompassing the withdrawal of the last pre-war passenger rolling stock (in 1988) and then the abolition of two-person operated trains at the beginning of 2000. With the exception of the Waterloo \& City Line, which was transferred from British Rail to London Underground in the 1990s, all Underground lines are covered together with the rolling stock operating them. Jim's photographs concentrate on the older types. What is very striking in them is how the system seemed to be going downhill rapidly during the Thatcher years when this survey begins - plagued by the curse of graffiti and liberally littered thanks to cuts in staff who once dealt with such problems. Fortunately, since Transport for London's takeover of the Underground from 2000 onwards, things in that respect have markedly improved, trains and stations are much cleaner and therefore welcoming to passengers. The contrast between the late 1980s/early 1990s and today's Underground is very clear in Jim's photographs featured here, most previously unpublished. It is unfortunate that further improvements, not to mention long-planned extensions to the system, continue to be frustrated by government spending restrictions at the time of writing.},
	language = {English},
	publisher = {Pen \& Sword Books Limited},
	author = {Blake, Jim},
	year = {2024},
	keywords = {Graffiti, Subway, London, UK, Underground, England, Train graffiti},
}

@article{calderon_alaez_timeless_2023,
	title = {Timeless {Graffiti}},
	volume = {3},
	url = {https://journals.ap2.pt/index.php/BBDS/article/view/642},
	doi = {10.48619/bbds.v3i2.642},
	abstract = {The concept of liminality* that Arnold Van Gennep develops in his book entitled {\textbackslash}textquotedblRites of Passage{\textbackslash}textquotedbl (1909), is perfect to describe a new practice that has recently arrived in the art world: the sale of Street Art/Graffiti as pieces of NFTs. In recent months, numerous online platforms have emerged with the aim of monetizing this type of urban artistic expression, selling it through the blockchain as {\textbackslash}textquotedblnon-fungible tokens{\textbackslash}textquotedbl. Numerous platforms boast of this sale, without considering the origins or bases on which this type of practice is based. The sale of only an animated mural painting (carried out legally and curated) in this case loses all meaning. The entire ethos of the “street” is lost. In our platform: TOTEMO.art the concept of liminality is perfectly captured. Our projects consist of the three phases of tripartite space-time (since we consider graffiti as a ritual technique, far removed from fine arts such as painting/sculpture/graphic design made in a studio). Our projects are therefore made up of a previous preliminary phase (carrying out the graffiti in the urban space and capturing videographic and photographic documentation of the process and the final piece), a liminal or intermediate phase (event with live art/live performance, where clients and visitors can experience and enjoy the creation process in person, both indoors and outdoors), and postliminal or later phase (animation and conversion into NFT and introduction to the blockchain: “minting process”, both from the final piece and from the creation). This {\textbackslash}textquotedblevent{\textbackslash}textquotedbl would be the place/moment (space/time) where trivial distinctiveness is suspended, which precisely allows {\textbackslash}textquotedblthe passage{\textbackslash}textquotedbl, which Arnold Van Gennep speaks of, in his book, between one social condition and another: that is, between the underground/ urban to the highest spheres of collectors of blockchain pieces, between the physical and the virtual, between the ephemeral and the eternal, between the public and the private. Therefore, considering the origins of this almost “ritual” practice of graffiti, what would be the main weaknesses and opportunities of this emerging technology selling and collecting Street Art NFTs? What is the position of the artists facing this new form of monetization of their work? What meaning can we give it as art researchers and professionals? It seems that the advantage of these platforms is to convert these expressions (ephemeral that disappear due to vandalism, weather conditions, or due to the destruction of the support itself in the natural evolution of the city), into ETERNAL and IMMORTAL pieces within the blockchain. “Buildings can crumble, weather can cause damage, and developments can impede views,” explains artist Rachel Wolfe-Goldsmith, aka Wolfe Pack, who leaded an NFT Street art project the project. “By scanning a mural and turning it into an NFT, we forever immortalize the art”. But isn't this another of the reasons that characterize urban art and that in some way romanticize it? The artists choose the urban support knowing its conditions, and therefore play with the temporality of their pieces. They know that they will disappear in a short period of time, so do these artists agree that their pieces are IMMORTAL AND ETERNAL? Perhaps not all graffiti writers or street artists fully agree that the right thing to do is to turn these works into MONETIZABLE, COLLECTIBLE, TRADABLE, ENJOYABLE and ETERNAL pieces, as other platforms describe. While other artists find in the blockchain a new way to live from their art and to expand their creativity and recognition in the art world. In addition, the main factor that we always consider is the intellectual property of the piece. These works are made in the urban space, therefore, who can sell them? Is it lawful to appropriate them without taking into account the approval of the artist and sell them on our behalf? The first base from which we start and the most important for our platform is always to have the approval or even the collaboration of the artist himself. We can create NFTs that are going to be made in collaboration from scratch with the artist himself or sell pieces that are already part of the urban environment, but always with his approval. From the point of view of a conservator/restorer, this new initiative is fantastic since the pieces will be documented to a greater extent and gain more validation as an artistic category within the market and art history. Once again, we come into conflict with what is considered {\textbackslash}textquotedblurban art{\textbackslash}textquotedbl, because most of the platforms that sell this type of NFTs focus exclusively on selling what is classified as decorative {\textbackslash}textquotedblmurals{\textbackslash}textquotedbl, but in none of the cases, other forms of urban expression have been included such as {\textbackslash}textquotedbltags{\textbackslash}textquotedbl, {\textbackslash}textquotedblgraffiti{\textbackslash}textquotedbl or {\textbackslash}textquotedblartistic interventions{\textbackslash}textquotedbl such as {\textbackslash}textquotedbladbusting{\textbackslash}textquotedbl etc... The form of documentation will therefore be more precise and, without a doubt, of higher quality, since the formats that are necessary for the creation of NFTs or animations must have a minimum resolution and the tools used for their documentation (either photo, video, 3D scan) are evolving to improve their quality. More emphasis will be also placed on the compilation of the type of techniques used and materials, geolocation…., of the pieces. The first platforms that are exclusively dedicated to this kind of NFTs, claim that “Street art” is the only form of art that “has never been monetized, commercialized, collected and enjoyed privately”. In part this is true (although there are very specific cases of globally famous artists in which even the pieces have been {\textbackslash}textquotedbltorn{\textbackslash}textquotedbl from their environment and are part of private collections. Also because their format allowed the translation, being small stencils, or tags, not of course huge murals). But maybe that’s exactly the main point. Perhaps {\textbackslash}textquotedblit has never been monetized, commercialized, collected and enjoyed privately{\textbackslash}textquotedbl because its appearance arose from a totally opposite movement. In which it is sought that this type of art must be public, of free access, so that it can be enjoyed by everyone, even if they do not have economic resources or sufficient artistic knowledge. The important thing about our NFTs would be to live {\textbackslash}textquotedblexperiences{\textbackslash}textquotedbl (like this “smartbox” where you can buy and give away experiences) We do not sell a photo/video (or animated photo/video) of a final product. The important thing about these pieces has been the moment of its creation, the creation process, its elaboration. For this reason, events are a fundamental piece of our project, in which you can appreciate first-hand the creation and artistic process and the creation of live pieces, hand in hand with the artist. One of the fundamental parts of {\textbackslash}textquotedblurban art{\textbackslash}textquotedbl is that it started completely illegally in the streets, and this is the factor that makes it unique. Selling a photo of the final result of a mural that has been made legally, does not have, from our point of view, greater interest than documenting the piece and for collectors, collecting these pieces as a chrome for an album. We want to sell with that final element, the creation process, of the artist, to know what materials, techniques he has used, the reason for that support, that location, the monitoring of security cameras, the police, access to the place, if he has acted alone, in company, etc... these processes and ways of acting are what truly make us understand this type of art and urban expression, and what make it unique. Perhaps the idea of ​​selling a piece of street art/graffiti, in this way, is comparable to selling a skateboard. We have the final piece, but we lose the experience. In the case of skateboarding, the important thing is the execution, the act of skating. In the case of graffiti, it is the same. The important thing is the act of painting in a prohibited place, or in a difficult location. The final piece loses importance. And what really matters is the location and quantity (repetition of tags) in a place. Our mission or objective to stand out from other platforms that sell this type of art will be to focus on the movement and process of creating these pieces and not on the final result (as occurs in most large murals made legally and curated) , this does not mean that these works should not be the object of conservation and documentation as well, but we should now know how to differentiate between the sale as NFT of mural pieces (legal) and pieces of graffiti writers made illegally such as (tags, throwups, stickers , public interventions, carried out illegally). And those that therefore contain greater importance for us in the context of urban, secret, underground culture, movement, which must also be documented as part of the history of both art and even more socially, one could say of a certain place and community. Another advantage is that an NFT is a piece that can also include sound. The sound in this environmental case, or even of the object of execution or tool such as sprays, is also a fundamental aspect in the practice of graffiti. This act of painting (writing in the street) is almost imperceptible by most of the society, since most of these activities are carried out at night or in areas of difficult access or in a hidden way since most of them are about illegal activities. In Japan, as I already talked about in my previous article, the fines are very exaggerated, and it is even penalized with jail. Factor that makes these activities being carried out with greater care and dissimulation. Another advantage for this type of artist is to reach a much larger audience, and also to a field or environment that their pieces would never have reached were it not for the use of NFTs. We mean the world of the so-called “crypto bros”, and people focused on the field of crypto currencies but who are not familiar with the art world, and especially the street art/graffiti world. The use of secondary sales also opens a new world, thanks to those artists who are able to continue making an economic profit in the future, same as singers continue to get profit from their copyright. This allows some of these graffiti writers to make a living from it in the future, and we, as companies, will be more than grateful for the trust placed in us and for helping them make a living doing what they love. Both for us and for the artists, of course, it is one more way to monetize their art, but from our point of view also for art lovers and students, it is an unparalleled way of documenting this type of expression until now. Illegal and underground art and that it endures in the general culture on the blockchain just as the history of art has endured so far in textbooks. Perhaps in a few years NFTs will be studied as a new artistic movement. Or maybe it would be considered just a temporary trend. But at least already there you will find not only the final pieces, but also their execution process! Something fundamental in this type of artistic expression, considered as part as a whole street ritual. * Liminality is the quality of ambiguity or disorientation that occurs in the middle stage of a rite of passage, when participants no longer hold their pre-ritual status but have not yet begun the transition to the status they will hold when the rite is complete.},
	language = {English},
	number = {2 (Political Dimensions)},
	journal = {Black Book: Drawing and Sketching},
	author = {Calderon Alaez, Elena},
	year = {2023},
	note = {Num Pages: 3},
	keywords = {Graffiti, Street art, Liminality, Blockchain, NFT},
	pages = {40--42},
}

@article{ibraheem_impact_2024,
	title = {The {Impact} of the {Artistic} {Dimension} on the identity of urban landscape ({Las} {Vegas} as a model)},
	volume = {20},
	abstract = {The artistic dimension, with its various types and components, appears as a significant factor in shaping the urban scene's identity and the mental image of city dwellers, as many cities in the world have emerged with a different identity from the rest through the different artistic elements spread in them, and thus the great role of the artistic dimension in shaping the cultural and civilizational identity of the society in which he grows up. We have dealt with many studies that touched on the technical dimension, which is meant here within the limits of the research (A set of artistic elements that can contribute to achieving urban identity, whether at the level of architecture, such as various buildings and constructions in the city, or at the level of urban design, such as street layouts, squares, and public parks, in addition to public arts, like sculptures and paintings , as well as urban heritage such as buildings and historical areas in the city) and its relationship to identity and the urban landscape. Although this relationship has dealt with one type of art affecting the identity of the urban landscape of specific cities as a case study, there are few comprehensive studies. Which dealt with the topic in general and the various influential arts and their relationship with identity and the urban landscape. Therefore, the problem of research can be diagnosed as (the lack of local knowledge about the role of the artistic dimension in all its components in achieving the identity of the urban scene), and the research assumes (that the artistic dimension has a significant and clear impact on defining and achieving the identity of the urban scene, depending on the types of arts that distinguish the cities where the artistic dimension appears clearly affecting their urban scene), and the research aims to highlight the importance of the artistic dimension in the urban scene at the level of identity achievement and its role in the community's memory and their mental images Las Vegas in America was chosen as a case study where the influence of artistic dimension, represented by advertising art and billboards, on shaping the identity and distinctiveness of this city from other cities can be observed. The research concluded that this type of art has the greatest impact on the urban scene there and the extent to which its function overlaps with the specific function and nature of the city, integrating them together in achieving its clear identity.},
	language = {English},
	number = {S3},
	journal = {Nanotechnology Perceptions},
	author = {Ibraheem, Sudad and Ashour, Ammar S.},
	year = {2024},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, Identity, USA, Urban art, Pop art, Public art, Mural painting, Las Vegas},
	pages = {781--798},
}

@article{singh_painting_2023,
	title = {Painting {Walls} with {Imagination}. {Interview} with {Samia} {Singh}},
	volume = {4},
	url = {https://journals.ap2.pt/index.php/BBDS/article/view/858},
	doi = {10.48619/bbds.v4i2.858},
	abstract = {Samia Singh is an artist and designer whose artworks overcome conventional language and communication barriers across contexts. Working across mediums, her art is rooted in themes that exhalt the natural landscape. She has had work commissioned in municipalities of Italy, Spain and in Japan. Wherever and whatever she has worked on, she leaves a spirited mark of the timelessness of natural beauty and its related feeling of joy regardless of place. Her works are broadly categorizable as fantasy-laden images and site-specific nature-scapes often inspired by the surrounding landscape and seemingly by her childhood growing up in Punjab.},
	language = {English},
	number = {2 (Art in the Public Realm)},
	journal = {Black Book: Drawing and Sketching},
	author = {Singh, Samia and Malhotra, Shriya},
	year = {2023},
	note = {Num Pages: 4},
	keywords = {Graffiti, Street art, Interview},
	pages = {46--49},
}

@incollection{velikonja_yugoslavia_2017,
	address = {Cham},
	title = {Yugoslavia {After} {Yugoslavia}: {Graffiti} {About} {Yugoslavia} in the {Post}-{Yugoslav} {Urban} {Landscape}},
	isbn = {978-3-319-47481-6},
	abstract = {Twenty-five years after the violent collapse of socialist Yugoslavia, urban walls in its successor states are still full of pro- and anti-Yugoslav graffiti and street art. The main questions of the chapter—based on semiological (quantitative and qualitative) methodological approaches—are how, where and why Yugoslavia, its socialism, its anti-fascist roots and its leaders are (de)constructed, praised and condemned in this specific urban subculture. On the level of denotation, graffiti and street art can be divided into pro-Yugoslav and anti-Yugoslav, often directly confronted in graffiti-battles. On the level of connotation, three major ideological antagonism appear: socialist federalism vs. nationalism, Tito vs. his opponents, and antifascism versus fascism. Before presenting final findings of the research, expressive strategies of such urban production are analyzed, such as provocation and criticism, affirmation and continuity, territory marking, constant antagonisation and semiotic guerrilla.},
	language = {English},
	booktitle = {The {Cultural} {Life} of {Capitalism} in {Yugoslavia}},
	publisher = {Springer International Publishing},
	author = {Velikonja, Mitja},
	editor = {Jelača, Dijana and Kolanović, Maša and Lugarić, Danijela},
	year = {2017},
	doi = {10.1007/978-3-319-47482-3_18},
	note = {Num Pages: 21},
	keywords = {Graffiti, Street art, Yugoslavia},
	pages = {323--343},
}

@incollection{velikonja_dont_2025,
	address = {Cham},
	series = {Palgrave {Studies} in {Otherness} and {Communication}},
	title = {Don’t {Trans}*{Phobe}, {Trans}*{Form} {Yourself}—({Anti}-){Homophobic} and ({Anti}){Patriarchal} {Graffiti} of the {Post}-{Socialist} {Transition}},
	isbn = {978-3-031-73385-7},
	abstract = {This chapter deals with political graffiti and street art addressing sensitive topics related to gender and sexuality in post-socialist Europe, and particularly in Slovenia. Its central research question is how the discourses of homophobia and patriarchalism are constructed and presented on the walls and what reactions and resistances they provoke. The themes of such graffiti usually appear in opposition pairs, i.e. pro et contra, with the most common themes being patriarchalism, feminism, questioning of sexual binarism, sexual and sexual denunciations (in the sense of discrediting various “others”), sexual self-identification, (anti)homophobia, (anti)transphobia, and direct politicization of the movement. The methods of graffiti and street art resistance to sexual and sexual discrimination are either spontaneous, made by anonymous graffiti artists and activists, or organized (actions within the scope of the Red Dawns festival, Slovenia; Decontamination project, Slovenia; Antifa Sisters, Slovenia; Silent Protest, Russia; STAB school, Kyrgyzstan). The author concludes that the hegemonic struggle over gender and sexuality issues is also being fought on the walls of post-socialist cities, and since the political radicalizations in the region, we can expect that number and intensity of such graffiti will increase.},
	language = {English},
	booktitle = {Communicating {Human} and {Non}-{Human} {Otherness}},
	publisher = {Springer Nature Switzerland},
	author = {Velikonja, Mitja},
	editor = {Pires, Helena and Pinto-Coelho, Zara and Magalhães, Luísa},
	year = {2025},
	doi = {10.1007/978-3-031-73386-4_11},
	note = {Num Pages: 22},
	keywords = {Graffiti, Street art, Gender, Sex, Feminism, Slovenia, Serbia, Political graffiti, Gender studies, Homophobia, Post-socialist, Transphobe},
	pages = {179--200},
}

@article{mansfield_rebel_2024,
	title = {Rebel imaginings: street art in {Yogyakarta}, {Indonesia}},
	volume = {39},
	issn = {1472-586X},
	doi = {10.1080/1472586X.2023.2237001},
	abstract = {Street art in the Indonesian city of Yogyakarta is popular, dynamic and vibrant. Like other cities such as Buenos Aires, it has become something of a tourist attraction in its own right. This article examines Yogyakarta street art as a visual phenomenon that activates political change potential in three ways. First, it provokes the critical consideration of ordinary people who pass by the walls and surfaces of the city every day. Second, it suggests alternative futures within the context of achieving social justice and redress of past wrongs. Third, it challenges the mainstream elite artworld of Indonesia that is anchored in galleries and commodification. Street artists constitute their grassroots art practice collectively, offline and online. Data was gathered ethnographically over two years. Analysis of data proceeds in the form of rhizoanalysis, in keeping with a non-representational framework drawn from the work of Deleuze and Guattari. The street art of Yogyakarta is considered as an assemblage, one characterised by the creative process of (political) becoming. The street artworks generate meaning through visual juxtapositions, gags and texts that imply lines of flight into a future generated by radical questioning. We argue that Yogyakarta street art can be read as a form of rebel imaginings.},
	language = {English},
	number = {1-2},
	journal = {Visual Studies},
	author = {Mansfield, Michelle and Nilan, Pam and Wibawanto, Gregorius Ragil},
	year = {2024},
	note = {Num Pages: 15},
	keywords = {Graffiti, Street art, Indonesia, Yogyakarta},
	pages = {239--253},
}

@article{trihanondo_new_2025,
	title = {New {Form} of {Social} {Activism} {Through} {Mural} {Art} in {Indonesian} {Schools}},
	volume = {10},
	doi = {10.18502/kss.v10i1.17853},
	abstract = {Previous research has shown that murals can be used for social campaigns to mobilize certain elements of society. This paper discusses the application of murals and signage as a part of a new form of social activism through street art in Indonesia, especially as one of the supports for activism in the context of the new normal after the Covid-19 pandemic in Indonesia. Schools that focus on secondary and higher education are partners in implementing this campaign. This research is considered as qualitative research, which aims to obtain the development of a campaign form that is suitable for use in education. This research uses a participatory methodology to support the development of street art and murals that will be used. The results obtained from this study indicate that the target community of the vocational school was very enthusiastic during this research project. The murals being made deliver a message of zero-waste campaign. In addition, the murals and signage that have been developed have proven to be able to form a positive environmental atmosphere for the target school community. This research is an initial study regarding the impact of murals on education, especially in vocational education. In the future, it is hoped that this research can be replicated in other schools to obtain more experimental samples.},
	language = {English},
	number = {1},
	journal = {KnE Social Sciences},
	author = {Trihanondo, Donny and Nithipataraahnan, Rinyaphat},
	year = {2025},
	note = {Num Pages: 8},
	keywords = {Indonesia, Muralism, Mural painting, Schools},
	pages = {76--83},
}

@incollection{armano_street_2024,
	title = {Street {Art} as a {Form} of {Protest}: {Haifa} {Subay}},
	isbn = {978-88-31357-15-9},
	abstract = {This article explores the great communicative power of Street Art, an artistic current born during the 90s in New York after the spread of Graffiti Art, which soon developed as a form of political and social protest. During the Arab Spring, Street Art became the main medium used by Arab street artists to denounce the regimes. This article focuses on the Yemeni street artist Haifa Subay, who started painting murals for an artistic campaign of her brother Murad. In 2017, a little after the start of the Yemeni civil war in 2014, Haifa Subay decided to pursue a career as a street artist by creating her first artistic campaign called Silent Victim, which aimed at keeping alive the memories of the war crimes suffered by the Yemeni people. Thanks to her work and her social commitment, in 2019 the artist was invited to participate in the Singapore Biennale, where she presented an unpublished exhibition entitled “War and Humans”. The same year, however, the political situation in Yemen worsened and Haifa Subay moved to the south of the country, where she began to work on her second artistic campaign entitled Women and War. The artist aimed to portray women as victims of war, through an angle that showed their strength and courage, as a message of hope to the Yemeni people. In 2022, in recognition of her artistic activities in support of women’s and children’s issues, Haifa Subay was awarded the Prince Claus Foundation ‘Seeds Award’. This article concludes with an unpublished interview with Haifa Subay dated January 2023, where her artistic and social work in Yemen is further discussed.},
	language = {English},
	booktitle = {Visual {Narratives} and {Global} {Journeys}. {Unveiling} {Contemporary} {Arab} {Cultures}},
	publisher = {Centro Studi Ilà},
	author = {Armano, Tullia},
	editor = {Tresso, Claudia Maria and Guardi, Jolanda and Nesti Willard, Sarah L.},
	year = {2024},
	note = {Num Pages: 14},
	keywords = {Graffiti, Street art, Middle East, Haifa Subay},
	pages = {111--124},
}

@incollection{aletto_spaces_2024,
	title = {Spaces of {Memory} and {Resistance}. {Graffiti} and spontaneous writings from the {Arab} {Spring} to walls of {Turin}},
	isbn = {978-88-31357-15-9},
	abstract = {Graffiti is a contemporary and widespread urban practice that symbolizes rebellion and seeking freedom from the methodical colonization of space by institutional powers. Its observation and documentation provide a glimpse into the social reality in which we live, revealing the dynamics of everyday life and the processes of identification and appropriation of public space by its inhabitants. In today’s globalized world, the issue becomes more complex because people, along with their voices, move from one society to another in an increasingly intense flow (Blommaert, 2012). The first section of this chapter sheds light on the role of Street Art and Graffiti in Arab Springs, drawing upon insights gained from interviews with artists from the Arab world. The setting of the Arab Spring appears to be a decisive starting point for the second part of the article, which discussed an extract from a Turin-based case study on the production of graffiti and spontaneous writings by the Arab community between 2012 and 2014. Through the observation and study of graffiti and spontaneous writings produced by Arabs on the walls of Turin, the article highlights the deep link between the struggle for the social vindication of young Arab immigrants’ rights within their new hosting society and the struggle of the Arab Spring. It is paramount to note that these events have significantly influenced the semantic contents of the city of Turin.},
	language = {English},
	booktitle = {Visual {Narratives} and {Global} {Journeys}. {Unveiling} {Contemporary} {Arab} {Cultures}},
	publisher = {Centro Studi Ilà},
	author = {Aletto, Lucia},
	editor = {Tresso, Claudia Maria and Guardi, Jolanda and Nesti Willard, Sarah L.},
	year = {2024},
	note = {Num Pages: 18},
	keywords = {Graffiti, Street art, Italy, Turin, Arab Spring},
	pages = {125--142},
}

@article{tri_maharani_semiotic_2024,
	title = {Semiotic analysis of artistic expression and social criticism by {Mural} {Masjo}},
	volume = {4},
	abstract = {Murals are often a medium for conveying people's aspirations. However, most people think that murals are just graffiti on the wall with no meaning. In this case, mural artists play a role in voicing aspirations, criticism, ideas and things that are bothering society. Because murals do not only focus on the beauty of the mural artwork, but also have meaning and messages. Masjo, as a mural artist, sees phenomena around him that he uses as topics for murals. As happened some time ago, the Covid-19 pandemic has had a real impact on society. Masjo sees this phenomenon as sad. This research uses a qualitative descriptive method, using iconography and iconology semiotics to obtain markers of meaning contained in mural images. So that this research can explain or describe Masjo's mural work in detail. The results of this research are the meaning of artistic expression and messages of social criticism in Masjo's mural entitled 'Just stay at home'. The meaning of artistic expression in mural works tells how to survive in the Covid-19 pandemic situation. The social criticism in the mural discusses the role of the government which only advises people to stay at home, while the government does not provide guarantees for people's lives.},
	language = {English},
	number = {12},
	journal = {Eduvest – Journal of Universal Studies},
	author = {Tri Maharani, Ratna and {Pujiyanto} and Hidajat, Robby},
	year = {2024},
	note = {Num Pages: 9},
	keywords = {Street art, Muralism, Semiotics, Masjo},
	pages = {11708--11716},
}

@article{cirefice_graffitis_2023,
	title = {Graffitis et pratiques concurrentes de l’espace public en {Italie} à la {Libération}},
	volume = {156},
	issn = {2649-664X},
	doi = {10.3917/vin.156.0129},
	abstract = {Studying graffiti is an excellent way of observing the relationship of various actors to public space during the post-war transition in Italy. Despite a desire to eliminate practices deemed illegitimate in a regulated democracy, the first months of the Liberation show that graffiti continued to appear in public spaces, bearing witness to the legacy of the Fascist Ventennio. Although there was a clear decline in 1946 due to republican acculturation and partisan efforts to discipline the use of public space, the crisis of 1947 and the tensions of the Cold War led to a renewal of graffiti practices, which bear testimony to the competition for access to public space, the appropriation of which became a key element of political competition.},
	language = {French},
	number = {4},
	journal = {20 \& 21. Revue d'histoire},
	author = {Cirefice, Virgile},
	year = {2023},
	note = {Num Pages: 16},
	keywords = {Graffiti, Italy, Political graffiti, Fascism},
	pages = {129--144},
}

@article{himmi_street_2024,
	title = {Street {Art} and the {Arab} {Spring}: {The} {Passage} from {Revolution} to {Institution}},
	volume = {7},
	doi = {10.32996/ijllt.2024.7.12.11},
	abstract = {In few decades, street art has succeeded in migrating from the hidden undergrounds to the open streets. Shortly after the Arab uprisings in 2011, street art has proliferated in almost all the Arab countries. Each country used it for its own purpose, producing works of art that are unique to the place where they were produced. This article traces the evolution of street art during and after the Arab Spring. Drawing from social theory, it discusses the context that catalysed the emergence of some Arab street art experiences and the dynamics that interplayed, strongly marking the artistic scene during and after the Arab Spring. The article is a prelude to further research conducted on the street art scene in the MENA region.},
	language = {English},
	number = {12},
	journal = {International Journal of Linguistics, Literature and Translation},
	author = {HIMMI, Mariem},
	year = {2024},
	note = {Num Pages: 14},
	keywords = {Graffiti, Street art, Revolution, Political graffiti, Protest, Arab Spring, MENA region, Morocco},
	pages = {75--88},
}

@book{gabowitsch_monuments_2025,
	address = {Budapest},
	series = {Memory, heritage and public history in central and eastern {Europe}},
	title = {Monuments and {Territory}: {War} {Memorials} in {Russian}-{Occupied} {Ukraine}},
	isbn = {978-963-386-823-2},
	abstract = {From the very first days of their large-scale attack on Ukraine in February 2022, the Russian invaders have made exceptional efforts to interact with the war memorial landscape of the newly occupied territories. This landscape consists of tens of thousands of monuments, mostly in small towns and villages, commemorating the Second World War and other conflicts, including Ukraine’s resistance against Russia since 2014. The Russians have destroyed some of these memorials, renovated others, and built new monuments amid continued fighting. They also used war memorials in countless propaganda photos and videos aimed for a domestic audience and largely escaping Western attention. Why this fervor? Gabowitsch and Homanyuk draw on unique sources to trace the logic of Russian monument policies in occupied Ukraine. Mykola Homanyuk spent several months in occupied Kherson and collected sources on the ground, often at considerable risk to himself. This exceptional wartime on-site ethnography was complemented by systematic real-time data collection from online sources, many of which have since disappeared. The book shows how Russian invaders believed their own propaganda about Soviet war memorials being mistreated in Ukraine, and what they did when they discovered well-maintained monuments on the ground. More generally, it also discusses the link between monuments and territorial claims by irredentist empires.},
	language = {English},
	publisher = {Central European University Press},
	author = {Gabowitsch, Mischa and Homanyuk, Mykola},
	year = {2025},
	doi = {10.55776/PUB1143},
	keywords = {Graffiti, War, Ukraine, Territory},
}

@article{monika_c_graffitis_2024,
	title = {Graffiti's {Spatial} {Contestation}},
	volume = {10},
	issn = {2183-3869},
	url = {https://journals.ap2.pt/index.php/sauc/article/view/936},
	doi = {10.25765/sauc.v10i3.936},
	abstract = {Graffiti in India – what does it mean? The graffiti scenario in India is something that is measuring grounds. However, what exactly is happening with the diverse forms of graffiti in India? Graffiti in the West and Europe are recognised as cultural movement of their own. Does such impactful street and public art create cultural impact in India? Though research indicates the trajectory of graffiti artists is to have their art up-ended into museum and gallery spaces from streets and public spaces, the movement began in public spaces. In India there are studio spaces and galleries for Graffiti however, the public and street art of the same is rarely seen in its authenticity. The essentiality of graffiti is being transformed from a rebellious and daring self-expression within a public space to a more institutionalized, tailored and commodified essentiality of private spaces. Can this enclosed art space aid or create something of cultural impact? This paper aims to analyse tags in church street in Bangalore, Karnataka to be creating a spatial contestation, through its different types of graffiti present within its spread of 750 meters. By using Lefebvre's theory of The Production of Space, this article aims to understand the spatial relevance of Graffiti and tags in Church street, Bangalore, India. This spatial approach to understanding the graffiti and tags in church street helps in understanding the art practice better for spatial analysis exposes their essentiality.},
	language = {English},
	number = {3 (Ubiquity)},
	journal = {Street Art \& Urban Creativity Journal},
	author = {Monika C, Arockia Licy},
	year = {2024},
	note = {Num Pages: 14},
	keywords = {Graffiti, Church, Asia, India, Bangalore},
	pages = {100--113},
}

@article{dang_factors_2024,
	title = {Factors affecting urban art development in the {Mekong} {Delta}, {Viet} {Nam}},
	volume = {10},
	issn = {2183-3869},
	url = {https://journals.ap2.pt/index.php/sauc/article/view/847},
	doi = {10.25765/sauc.v10i3.847},
	abstract = {The study's objective is to evaluate the state of art's development in Mekong Delta urban regions in Vietnam. The results from 150 interview forms identified two groups of factors, including type and historical-cultural value with 12 variables; order and community interaction with 9 variables. With a coefficient of KMO = 0.94 and a total variance of 67.02\%, types include trees, lights, construction works, statues, and paintings, distributed in parks, squares, main roads, government agencies, and private establishments. There is a difference in people's interest in urban art in 3 types of cities. Urban art in urban areas is assessed to meet people's needs.},
	language = {English},
	number = {3 (Ubiquity)},
	journal = {Street Art \& Urban Creativity Journal},
	author = {Dang, Pham Cam and Minh, Vo Quang},
	year = {2024},
	note = {Num Pages: 12},
	keywords = {Graffiti, Street art, Urban art, Landscape, Vietnam, Mekong Dleta},
	pages = {68--79},
}

@article{muharremi_evaluation_2024,
	title = {Evaluation of artistic installations in urban spaces in {Kosovo}},
	volume = {10},
	issn = {2183-3869},
	url = {https://journals.ap2.pt/index.php/sauc/article/view/860},
	doi = {10.25765/sauc.v10i3.860},
	abstract = {This paper deals with the art of installations in urban spaces in Kosovo. Evaluation of installations as art in relation to public spaces. How much do you decorate these spaces? How much does this art lose the value of architecture? Whether installations in public places in Kosovo have a real value? The paper is made on these research questions, resulting in the fact that the installations of famous Kosovar artists express personal, social and real themes of the time.},
	language = {English},
	number = {3 (Ubiquity)},
	journal = {Street Art \& Urban Creativity Journal},
	author = {Muharremi, Ilir Hivzi and Muharremi, Merita},
	year = {2024},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Art, Kosovo},
	pages = {8--15},
}

@book{morrison_ariyo_metagraffiti_2025,
	address = {New Brunswick},
	title = {Metagraffiti: {Graffiti} {Art} and the {Urban} {Image} in {Latin} {America}},
	isbn = {978-1-9788-3440-8},
	abstract = {Focusing on graffiti scenes from São Paulo and Santiago in Chile, this innovative visual ethnography examines diverse forms of self-reference and metareference that appear in Latin American graffiti art. Chandra Morrison Ariyo works across multiple scales of contemporary graffiti production—from tags to massive murals—to show how painting the city enables individuals to reimagine their own position within the material and social structures around them. Metagraffitti reveals how practitioners such as Tinho, OSGEMEOS, Grin, and Bisy use metagraffiti features to influence public perceptions about this art form and its effect on the urban environment. Ultimately, Metagraffiti proposes a novel conceptual framework that highlights graffiti’s ability to forge alternative forms of movement, sociality, and value within Latin American cityscapes. These urban images invite us to imagine what the city could be, when seen as a site for action and imagination.},
	language = {English},
	publisher = {Rutgers University Press},
	author = {Morrison Ariyo, Chandra},
	year = {2025},
	keywords = {Graffiti, Street art, Latin America, Murals, São Paulo, Mural painting, Santiago, Chile},
}

@article{riga_anthropology_2025,
	title = {Anthropology and the {City}. {Street} {Art} in {Medellín}’s {Comuna} 13: {A} {City}-{Making} {Practice} and an {Ethnographic} {Tool}},
	issn = {1900-5407},
	doi = {10.7440/antipoda58.2025.09},
	abstract = {Urban anthropologists are shifting from traditional approaches that treated the city merely as the “object” or “context” of research, focusing instead on the city as a dynamic process, shaped and reshaped by city-making practices implemented by its inhabitants. This paper analyzes street art as both a city-making practice and as an anthropological tool for studying contemporary cities, not as “object” or “context” but as dynamic processes. The analysis is based on ethnographic fieldwork carried out between 2022 and 2023 in Medellín’s Comuna 13. The purpose of the research was to study the impact of street art on the residents’ life experiences. Drawing on walking and photographing ethnography, the research employed a novel method leveraging the local practice of the Graffitour–a guided walking tour based on narrating Comuna 13’s history through street art. The author participated in 10 Graffitour sessions, recording the guides’ narrations and photographing street artworks. This article will present five of these street artworks, along with their respective narrations, each reflecting a different period in Comuna 13’s history. Analyzing these five street artworks will provide readers with an image of Comuna 13 not as a static object or a mere context but as a dynamic process, while simultaneously revealing street art as a powerful resident-driven city-making practice. While street art is a globally widespread form of artistic expression, its deep contextual and situated characteristics can offer novel avenues for studying complex urban phenomena. Nevertheless, its potential for anthropological understanding has yet to be fully explored. This paper proposes to fill this gap by offering urban scholars new and fascinating possibilities to study contemporary cities through the lens of street art.},
	language = {English},
	number = {58},
	journal = {Antípoda. Revista de Antropología y Arqueología},
	author = {Riga, Claudio},
	year = {2025},
	note = {Num Pages: 27},
	keywords = {Street art, Anthropology, Colombia, Ethnography, South America, Meddellín},
	pages = {203--229},
}

@article{bajpai_ink_2024,
	title = {Ink, {Spray} \& {Copyright}: {Protection} of {Street} {Art}'s {IP} \& the {Palette} of {Commercialization}},
	volume = {8},
	abstract = {Grafiti or Street art, in the midst of the teeming fabric of urban landscapes, stands out as a vivacious testament and a vibrant dialogue with a social-cultural milieu. These artists, through every stroke of paint, with each ethereal design of stencil, and every exuberan tflourish of a grafiti tag, embellish walls and streets by soaking them in narratives that transcend beyond the conventional artistic notions. There is a two- fold perspective to street art, wherein one aspect shows the creativity entailed in them, and the other aspect is about the constantly increasing growth of such form of art and how this growth acts as a beacon for various issues . One of the biggest complexities associated with street art is that of IP and its commercalization. Literature does indicate that street art is subject to copyright, albeit not entirely. However, the lacunae are that street art, despite fulfilling the components of copyrightability, still doesn't attract the same protection as museum-art paintings. Why would it be difficult to give and enforce legal protection for street art if it fits the standards for such protection? Maybe it's because street art is usually illegal, or maybe it just doesn'tfit the traditional definition of {\textbackslash}textquotedblfine arts{\textbackslash}textquotedbl. These lacunae and conundrums surrounding street art are the subject of discussion throughout this paper. This research paper endeavors to explore the nexus of copyright and street art by providing a comparative analysis of different domestic laws and delving into the question as to what happens when the art is illegal, will it still, to some extent, be provided with copyright protection? The paper further deals with other aspects regarding the same such as the de minimis principle, along with certain case studies. The paper further delves into the commercialization issue with respect to street art and copyright, dealing with aspects relating to author's permission, {\textbackslash}textquotedbldroit de suite{\textbackslash}textquotedbl tranformative use and fair use doctrine, and also the rights of artists in case of illegal street art. By its findings, this research attempts to add to the current discourse about street art's IP conundrum and commercalization aspect while also advocating certain suggestions for better regulation.},
	language = {English},
	number = {2},
	journal = {Journal of Intellectual Property Studies},
	author = {Bajpai, Aaditya and Rajkumari, Geetika},
	year = {2024},
	note = {Num Pages: 24},
	keywords = {Graffiti, Street art, Copyright},
	pages = {63--86},
}

@book{chastanet_pixacao_2007,
	address = {Paris},
	title = {Pixação: {São} {Paulo} {Signature}},
	isbn = {978-2-9528097-1-9},
	language = {English},
	publisher = {XGpress},
	author = {Chastanet, François and Heller, Steven},
	year = {2007},
	keywords = {São Paulo, Brasil, Pixação, Pixadores},
}

@book{cheech_h_theory_2024,
	address = {Berlin},
	title = {Theory of {Style}: {The} {Liberation} of the {Alphabet}},
	isbn = {978-3-9820295-6-6},
	abstract = {Theorie des Style was a book which originally got published to the occasion of the A Tribute to Style exhibition near Munich in 1996. 13 years after graffiti writing travelled from New York to the world Munich was one of the metropolises of stylewriting. CHEECH H and TECHNO169 (STONE), both writers from the first generation, did exchange letters and thoughts on style already for years at that point. Together with SCUM (CEMNOZ) they published the first in-depth analysis of letter forms, stylewriting, and its origins. Today stylewriting still is an important genre within graffiti, practiced by thousands of writers worldwide. Although techniques may have developed further, designing the 26 letters of the alphabet following the New York traditions still is the foundation to most writers’ pieces. The analytic content did not lose any of its importance so making it available again some 30 years later seems absolutely legit. The authentic 90s layout by SMAL (Mirko Borsche) as well as the content was left almost untouched, apart from minor corrections. To keep the original aesthetics also the translation was not just added, but made as a separated book so the content is now available in English for the very first time. We are especially happy to republish this long sold out classic as a high quality hardcover including an additional retrospective insert written by TECHNO169 (STONE). Featuring works from: BOMBER, DAZE, CHEECH H, PHASE2, DELTA, TECHNO169 (STONE), BANDO, DAIM, SHOE, SMAL, ATOME, BATES, SCUM (CEMNOZ), AMOK, PUPPET, SKENA, PAZE, CALEB, DARCO, and NEON.},
	language = {English},
	publisher = {Hitzerot},
	author = {{CHEECH H} and {SCUM aka CEMNOZ} and {TECHNO 169 aka STONE aka DON KARL}},
	year = {2024},
	keywords = {Graffiti, Germany, Graffiti writing, Characters, Münich},
}

@book{englund_kul_2018,
	address = {Årsta},
	title = {Kul {Att} {Det} {Körs}},
	isbn = {978-91-88369-13-0},
	abstract = {Per Englund is a Swedish writer and photographer who started doing graffiti in 1994. As he states in the introduction, he kind of regrets the lack of documented tags from his early writing days, due to analog cameras, expensive films and the lower value within the hierarchy of graffiti. It seems as if in today’s times of digital photography for him the habit of always carrying a camera is a long term effect of this loss. “Kul Att Det Körs” (a Swedish graffiti saying) is a selection of photos Englund took in his everyday life between 2012 and 2017. The black and white photographs clearly show his focus on marker and spraycan tags but you can also find throw-ups and bombings in the book. The documented graffiti is presented in close ups, from a little distance or in atmospheric shots, including more of the respective surrounding from the city of Stockholm. While the second part features a mix of writers like UZI, SPAIN, SWEDEN, AKAY, ABSENT, SEXVALP, LIGISD, KEGR and BABBO in photo series like trucks or places which have been revisited over months and years, the books’ first half consists of bigger chapters on KANIN, PSYKOS, SERIO, FHER, SPACEY, HONIE \& GIMP and GAME OVER. These names have been spotlighted not because of their experience or the practice of the ‘best’ graffiti following New York graffiti aesthetics, but they attracted the photographers attention most and managed to stand out. On the 136 pages you can find more than 300 photographs, an additional text by Tobias Barenthin Lindblad and an image register to visit the locations yourself. Each copy is accompanied by an leaflet including an English translation. A handful of the very last available copies are signed by Per Englund. Choose your preferred edition underneath.},
	language = {Swedish; English},
	publisher = {Dokument Press},
	author = {Englund, Per and Lindblad, Tobias Barenthin},
	year = {2018},
	keywords = {Graffiti, Sweden, Stockholm},
}

@book{le_saux_transmission_2023,
	address = {Hanvec},
	edition = {Second},
	title = {Transmission and {Mythology} in {Graffiti}},
	isbn = {978-2-9554723-7-8},
	abstract = {Joëlle Le Saux is an art historian and a teacher for fine arts at the Rennes 2 University and art history at the École Européenne Supérieure d’Art de Bretagne – Brest site, as well as a curator and an art critic. Her view on history favors linking cultural and aesthetic resurgences through the ages rather than strict chronology of events. “Transmission and Mythology in Graffiti” is her observation of the essential documents and narratives of graffiti history, enlightened by anthropology. To make a comprehensive story of what is now a world-wide culture she uses various tales, dating all the way back in the 1970s to the origin of the movement in the USA (TAKI183, CORNBREAD) until its resurgence in Eastern Europe in the 2000s (CAP Crew from Prague). Joëlle Le Saux focuses on how spoken and written stories out of books (Andrea Nelli, Norman Mailer), exhibitions or films like Wild Style, etc. morph into myths and new ways of define graffiti.},
	language = {English},
	publisher = {Éditions Peinture},
	author = {Le Saux, Joëlle},
	year = {2023},
	keywords = {Graffiti, Mythology},
}

@article{chernin_graffiti_2024,
	title = {Graffiti and {Other} {Evidence} of {Bulgarian} {Pilgrimage} to {Jerusalem} in the {Ottoman} {Period}: {A} {Photographic} {Survey}},
	volume = {116},
	doi = {10.70967/2948-040X.1131},
	abstract = {This paper presents the results of a photographic survey of graffiti inscriptions on the walls of Greek Orthodox monasteries in the Old City of Jerusalem and its vicinity, dating from the Ottoman period. A unique methodology of multispectral and RTI imaging was applied to document the inscriptions, bringing to light evidence of the presence of Bulgarian pilgrims in these monasteries. Based on the corpus of inscriptions presented herein, previously documented contemporary graffiti in other Greek Orthodox compounds and historical sources, we were able to historically identify specific people and their places of origin, further allowing us to reconstruct the Bulgarian pilgrimage to Jerusalem over 500 years of Ottoman rule in Bulgaria.},
	language = {English},
	journal = {‘Atiqot},
	author = {Chernin, Michael and Halevi, Shai},
	year = {2024},
	note = {Num Pages: 45
Article ID: 10},
	keywords = {Graffiti, Multispectral imaging, RTI (Reflectance Transformation Imaging), Jerusalem, Ancient graffiti, Medieval graffiti, Bulgaria, Monastery, Ottoman, Pilgrimage},
	pages = {223--267},
}

@inproceedings{da_hoefel_graffiti_2023,
	address = {Winter Garden},
	title = {Graffiti, {Migrant} {Women}, {Intersectionality}: {Artistic} {Experiences} in {Portugal}},
	isbn = {978-1-950492-71-8},
	doi = {10.54808/IMCIC2023.01.201},
	abstract = {The latest world events have impacted the socioeconomic and artistic life of migrants (pandemic, wars and climate change). The feminization of migration has caused a change in the profile of migrant women. These migrant women have been suffering countless experiences that denounce iniquities, some expressed through graffiti art. Objective: To analyze the artistic experiences, resistance to differences and oppression of gender, social class, race and nationality, experienced by a female graffiti artist migrant in the context of COVID-19 in Portugal. Method: Study carried out through action research, netnography and oral history, in dialogue with some concepts: Coloniality, Decoloniality, Intersectionality, Migration, Art. Results: The artist's individual work is present on the walls of Lisbon, portraying peoples in diasporas in different contexts, through aesthetics that reveal Angolan matrices, gender oppression, social class, race and nationality; The artist's collective work has interfaces with social, political and cultural dimensions; During the pandemic, the artist reinvented herself to survive. Conclusion: The artist's work is inserted in the globalized world, where nationality has no borders, bringing to light the colonial discourse that hierarchies society in race, gender and nationality, reverberating power relations, oppression, intersectionality in an aesthetic and political way.},
	language = {English},
	booktitle = {Proceedings of the 14th {International} {Multi}-{Conference} on {Complexity}, {Informatics} and {Cybernetics}: {IMCIC} 2023},
	publisher = {International Institute of Informatics and Systemics},
	author = {Da Hoefel, Maria Graça Luderitz and Moura-Vieira, Maria Edna and Alves-Hopf, Simone and Freire Filha, Lindomar Guedes and Guerra, Paula},
	editor = {Callaos, Nagib and Callaos, N. and Hashimoto, S. and Lace, N. and Sánchez, B. and Savoie, M.},
	year = {2023},
	note = {Num Pages: 8},
	keywords = {Graffiti, Portugal, Women, Political graffiti, COVID-19, Migration},
	pages = {201--208},
}

@article{agarwal_art_2024,
	title = {Art and {Anonymity}: {Can} {Banksy} {Bank} on {Copyright} to {Protect} {His} {Cancelled} {Trademarked} {Works}},
	volume = {8},
	issn = {2583-5297},
	abstract = {When the right of a brand to use publicly available artistic works clashes with the rights deemed to be held by an artist, it is the form of art that matters. The worlds most famous street artist, Banksy was deprived of the nght to hold a trademark over one of his mostprominent works, {\textbackslash}textquotedblThe Flower Thrower. {\textbackslash}textquotedblEarlier, Banksy had mentioned in his book that {\textbackslash}textquotedblcopyright is for losers.{\textbackslash}textquotedbl However this disdain forintellectualproperty laws was not taken by the court to be a reason strong enough to revoke trademark protection, rather, what led to the revocation of his trademark was improper usage of the trademark, and the court declared it to be a case of {\textbackslash}textquotedblbad faith{\textbackslash}textquotedblfiling. As a result of this revocation companies like 'Guess' capitalized on well-known Bank sypieces like 'FlowerThrower' and launched a comprehensive campaign in partnership with 'Brandalised' a group notorious for commercially exploiting Banksy's artwork. This campaign featured merchandise adorned with Banksy's murals all without obtaining permission from the artist himself. In response, Banksy called for shoplifting at the Regent Street store of Guess which led the brand to partially close down the store. This paper traces the background of the Banksy-Guess dispute, highlights the issues in protecting an artistic work under trademark as opposed to copyright in various jurisdictions, and analyses the reasoninggiven by the courtin the case relating to ownership over Banksy's iconic Flower Thrower' mural In conclusion the author discusses how Banksy, a pseudonym for an anonymous artist, can protect his artistic work under a trademark even though he does not support the commercial use of such work.},
	language = {English},
	number = {2},
	journal = {Journal of Intellectual Property Studies},
	author = {Agarwal, Dhruvi},
	year = {2024},
	note = {Num Pages: 12},
	keywords = {Graffiti, Banksy, Street art, Copyright},
	pages = {51--62},
}

@article{lesh_writing_2017,
	title = {Writing {Boston}: {Graffiti} {Bombing} as {Community} {Publishing}},
	volume = {12},
	url = {https://digitalcommons.fiu.edu/communityliteracy/vol12/iss1/7},
	doi = {10.25148/CLJ.12.1.009117},
	language = {English},
	number = {1},
	journal = {Community Literacy Journal},
	author = {Lesh, Charles},
	year = {2017},
	note = {Num Pages: 25},
	keywords = {Graffiti, Graffiti writing, USA, Bombing, American graffiti, Boston},
	pages = {62--86},
}

@incollection{boggs_public_2025,
	address = {Fort Collins and Denver},
	series = {Perspectives on {Writing}},
	title = {The {Public} {Art} of {Listening}: {Relational} {Accountability} and {The} {Painted} {Desert} {Project}},
	copyright = {Num Pages: 23},
	isbn = {978-1-64215-253-1},
	abstract = {Public art thrives when it reflects the community in which it is situated and engages its audience in meaningful dialogue. Public art serves as advocacy and community writing, translating community needs and struggles into visual mediums. The process of community listening, integral to public art, fosters relational accountability, building solidarity, and provoking action. Chip Thomas, also known as Jetsonorama, exemplifies relational accountability through his public art on the Navajo Nation. His work, characterized by large-scale photographs, captures everyday life and cultural elements of the community, fostering a dialogue between artist and audience. Thomas’s process, described as an “evolving dialogue,” emphasizes community listening and relationality, echoing Indigenous research paradigms articulated by Shawn Wilson. Thomas navigates cultural sensitivities by celebrating aspects of Diné culture recognized as beautiful by the community. Thomas’s murals highlighted in this chapter address various themes, including sacred site protection, the legacy of resource extraction, and health solidarity during the COVID-19 pandemic, amplifying community voices, connections, and concerns. His work invites viewers to engage in reflective dialogue, fostering deeper connections within and among communities. Community listening, as demonstrated by Thomas’s art, encourages audiences to listen further and differently, triggering reflective processes within individuals and communities. This ongoing dialogue, rooted in relational accountability, challenges systemic structures and amplifies marginalized voices. Through public art and community writing, communities assert their identities, needs, and struggles, shaping public discourse and fostering collective action against the ongoing effects of colonialism.},
	language = {English},
	booktitle = {Community {Listening}: {Stories}, {Hauntings}, {Possibilities}},
	publisher = {The WAC Clearinghouse and University Press of Colorado},
	author = {Boggs, Kyle},
	editor = {Fishman, Jenn and Garca, Romeo and Rosenberg, Lauren},
	year = {2025},
	doi = {10.37514/PER-B.2025.2531.2.04},
	keywords = {Graffiti, Street art, Public art, Mural painting, Colonialism, The Painted Desert Project},
	pages = {93--115},
}

@article{oliver_civic_2014,
	title = {Civic {Disobedience}: {Anti}-{SB} 1070 {Graffiti}, {Marginalized} {Voices}, and {Citizenship} in a {Politically} {Privatized} {Public} {Sphere}},
	volume = {9},
	url = {https://digitalcommons.fiu.edu/communityliteracy/vol9/iss1/4},
	doi = {10.25148/CLJ.9.1.009299},
	abstract = {With neither national nor local-level discussions of Senate Bill 1070 adequately addressing bottom line issues such as marginalization, access, and civic engagement, an exploration of marginalized rhetorical acts can provide an informative lens for understanding challenges among marginalized people, their rhetorical tools, and their relations to public spheres. Through an exploration of anti-Senate Bill 1070 graffiti, this article examines how the practice of graffiti points to difference manifesting and playing out in the wider public sphere. It calls for scholars and activists to recognize graffiti as a rhetorical tool worthy of study and cross-cultural discourse.},
	language = {English},
	number = {1},
	journal = {Community Literacy Journal},
	author = {Oliver, Veronica},
	year = {2014},
	note = {Num Pages: 15},
	keywords = {Graffiti, USA, Ancient graffiti, American graffiti, Phoenix, Senate Bill 1070},
	pages = {62--76},
}

@article{hassan_visitors_2016,
	title = {The {Visitors}' {Graffiti} in {Two} {Tombs} of {Beni} {Hassan} ({Ameny} and {Khnumhotep} {II})},
	volume = {52},
	issn = {0065-9991},
	doi = {10.5913/JARCE.52.2016.A003},
	abstract = {The tombs of Beni Hassan contain distinctive scenes of daily life, thus they have been attractive for both ancient and modern visitors. The hieratic graffiti that were left by the ancient visitors reflects the significance of these tombs. Thus, this article examines the New Kingdom visitors’ graffiti in two tombs of Beni Hassan (Ameny and Khnumhotep II). It also sheds more light on the location of these graffiti on the walls and their connections with the original decoration of the tombs.},
	language = {English},
	number = {1},
	journal = {Journal of the American Research Center in Egypt},
	author = {Hassan, Khaled},
	year = {2016},
	note = {Num Pages: 22},
	keywords = {Egypt, Ancient graffiti, Egyptian graffiti, Ameny, Beni Hassan, Khnumhotep II, Tomb},
	pages = {33--54},
}

@incollection{prada_evolving_2018,
	address = {Leiden and Boston},
	series = {Papyrologica {Lugduno}-{Batava}},
	title = {Evolving {Epigraphic} {Standards} in the {Field}: {Documenting} {Late} {Period} and {Graeco}-{Roman} {Egyptian} {Graffiti} through {Photogrammetry} at {Elkab}},
	isbn = {978-90-04-37528-4},
	language = {English},
	booktitle = {The materiality of texts from ancient {Egypt}},
	publisher = {Brill},
	author = {Prada, Luigi and Wordsworth, Paul D.},
	editor = {Hoogendijk, Francisca A. J. and van Gompel, Steffie M. T.},
	year = {2018},
	note = {Num Pages: 18},
	keywords = {Graffiti, IBM (Image-Based Modelling), Egypt, MVS (Multi View Stereo), SfM (Structure from Motion), PCV (Photogrammetric Computer Vision), Epigraphy, Roman graffiti, Ancient graffiti, Elkab, Graeco graffiti},
	pages = {76--93},
}

@incollection{prada_late_2024,
	address = {Bicester},
	series = {Access {Archaeology}},
	title = {The late reuse of the tomb of {Reneny} through its demotic graffiti: a fieldwork report},
	isbn = {978-1-80327-899-5},
	language = {English},
	booktitle = {Documenting {Elkab}},
	publisher = {Archaeopress Publishing Ltd},
	author = {Prada, Luigi},
	editor = {Davies, W. Vivian},
	year = {2024},
	note = {Num Pages: 20},
	keywords = {Graffiti, Contrast enhancement, Egypt, DStretch, Ancient graffiti, Egyptian graffiti, Thomb, Demotic graffiti, Elkab, Prada, Reneny},
	pages = {111--130},
}

@article{wente_graffiti_1984,
	title = {Some {Graffiti} from the {Reign} of {Hatshepsut}},
	volume = {43},
	issn = {0022-2968},
	doi = {10.1086/373062},
	language = {English},
	number = {1},
	journal = {Journal of Near Eastern Studies},
	author = {Wente, Edward F.},
	year = {1984},
	note = {Num Pages: 8},
	keywords = {Graffiti, Egypt, Hatshepsut, Ancient graffiti, Egyptian graffiti},
	pages = {47--54},
}

@article{armetta_chemistry_2024,
	title = {Chemistry of {Street} {Art}: {Neural} {Network} for the {Spectral} {Analysis} of {Berlin} {Wall} {Colors}},
	volume = {146},
	doi = {10.1021/jacs.4c12611},
	abstract = {This research starts with the analysis of some fragments of the Berlin Wall street art for the characterization of the painting materials. The spectroscopic results provide a general description of the paint executive technique but more importantly open the way to a new advantage of Raman application to the analytic analysis of acrylic colors. The study highlights the correlation between peak intensity and compound percentage and explores the powerful application of deep learning for the quantification of a pigment mixture in the acrylic commercial products from Raman spectra acquired with hand-held equipment (BRAVO by Bruker). The study reveals the ability of the convolutional neural network (CNN) algorithm to analyze the spectra and predict the ratio between the coloring compounds. The reference materials for calibration and training were obtained by the dilution of commercial acrylic colors commonly practiced by street artists, using Schmincke brand paints. For the first time, Raman investigation provides valuable insights into calibrations for determining dye dilution in mixtures of commercial products, offering a new opportunity for analytical quantification with Raman hand-held spectrometers and contributing to a comprehensive understanding of artists’ techniques and materials in street art.},
	language = {English},
	number = {51},
	journal = {Journal of the American Chemical Society},
	author = {Armetta, Francesco and Baublytė, Monika and Lucia, Martina and Ponterio, Rosina Celeste and Giuffrida, Dario and Saladino, Maria Luisa and Orecchio, Santino},
	year = {2024},
	note = {Num Pages: 8},
	keywords = {Graffiti, Street art, Colour, Berlin, Germany, ANN (Artificial Neural Network), Deep learning, Berlin Wall, CNN (Convolutional Neural Networks)},
	pages = {35321--35328},
}
