Graffiti Artists Paint Pittsburgh; Police See Red". WPXI. March 2007. Archived from the original on June 5, 2009. Chicago's mayor, Richard M. Daley created the " Graffiti Blasters" to eliminate graffiti and gang-related vandalism. The bureau advertises free cleanup within 24 hours of a phone call. The bureau uses paints (compatible with the city's 'color scheme') and baking-soda-based solvents to remove some varieties of graffiti. [34] Paranavithana, Senarath (1956). Sigiri Graffiti; Being Sinhalese Verses of the Eighth, Ninth and Tenth Centuries. London: Govt. of Ceylon by Oxford UP.

During this period many graffitists had taken to displaying their works in galleries and owning their own studios. This practice started in the early 1980s with practitioners such as Jean-Michel Basquiat, who started out tagging locations with his moniker SAMO (Same Old Shit), and Keith Haring, who was also able to take his art into studio spaces.Featuring the iconic figures that were prominent in much of Keith Haring’s work is Tuttomundo which means “all world” in Italian. Haring met a friend in New York from Pisa who invited him to the city where this mural was created. The figures are intertwined and connected to symbolize unity and world peace. It is the largest mural in Europe, measuring about 180 square meters, and was the last public work Keith Haring would create as he passed away a year later in 1990. In 1971, Blek le Rat took a trip to the United States, where he was amazed by the graffiti he saw all over the city centers. When he returned to Paris, he began to try his own hand at this form of expression. Seeing Fascist stencils in Italy during his youth, as well as political paintings in French Algeria, left a lasting impression on him, and in 1981 he decided to start making his own stencil works around Paris, beginning with small rats. Like Bristol's Banksy, Blek le Rat sees the rat as an ideal symbol for the graffiti artist, as both operate under cover of darkness to evade capture and eradication. Blek le Rat explains, "I began to spray some small rats in the streets of Paris because rats are the only wild animals living in cities, and only rats will survive when the human race disappears and dies out." He then moved on to larger stencil projects, becoming the first known artist to work with stencils to create pictures rather than just text. He explains the benefits of working with stencils, saying, "There are no accidents with stencils. Images created this way are clean and beautiful. You prepare it in your studio and then you can reproduce it indefinitely. I'm not good enough to paint freehand. Stencil is a technique well suited to the streets because it's fast. You don't have to deal with the worry of the police catching you." Manco, Tristan (2005). Lost Art & Caleb Neelon, Graffiti Brazil. London: Thames and Hudson. pp.7–10. Graffiti". Oxford Dictionaries. Archived from the original on December 19, 2010 . Retrieved December 5, 2011.

Street Art continues to be a popular category of art all over the world, with many of its practitioners rising to fame and mainstream success (such as Bristol's Banksy, Paris' ZEVS, and L.A.'s Shepard Fairey). Street artists who experience commercial success are often criticized by their peers for "selling out" and becoming part of the system that they had formerly rebelled against by creating illegal public works. Communications professor Tracey Bowen sees the act of creating graffiti as both a "celebration of existence" and "a declaration of resistance." Similarly, Slovenian Feminist author Tea Hvala views graffiti as "the most accessible medium of resistance" for oppressed people to use against dominant culture due to its tactical (non-institutional, decentralized) qualities. For both Bowen and Hvala these unique positive attributes of graffiti are heavily reliant on its location in urban public spaces. Art critic and curator Johannes Stahl argues that the public context is crucial for Street Art to be political, because "it happens in places that are accessible to all [and] it employs a means of expression that is not controlled by the government." Street artist BOOKSIIII holds an opinion not uncommon of many of today's street artists, that it is not inherently wrong for young artists to try to make money from galleries and corporations for their works, "as long as they do their job honestly, sell work, and represent careers," yet at the same time he notes that "graffiti does not stay the same when transferred to the gallery from the street. A tag on canvas will never hold the same power as the exact same tag on the street." a b Aleks Eror (14 December 2021). "How Serbian street art is using the past to shape the future". The Calvert Journal . Retrieved 28 August 2022. In 1984, the MTA launched its Clean Car Program, which involved a five-year plan to completely eliminate graffiti on subway cars, operating on the principle that a graffiti-covered subway car could not be put into service until all the graffiti on it had been cleaned off. This program was implemented one subway line at a time, gradually pushing writers outward, and by 1986 many of the city's lines were completely clear of graffiti. Lieutenant Steve Mona recalls one day when the ACC crew hit 130 cars in a yard at Coney Island, assuming that the MTA wouldn't shut down service and that the graffitied trains would run. Yet the MTA opted to not provide service, greatly inconveniencing citizens who had to wait over an hour for a train that morning. That was the day that the MTA's dedication to the eradication of graffiti became apparent. An early graffito outside of New York or Philadelphia was the inscription in London reading " Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. [33] The graffito was captured in a photograph, in which a dog is urinating on the wall. [34] RASH (2005), a feature documentary about Melbourne, Australia, and the artists who make it a living host for street artInformal adjudication. A prosecutor, or the juvenile court, can also agree to an informal end to the case. In this situation, the court or the prosecution allows the juvenile to perform community service, participate in informal probation, or meet other requirements as a punishment. If the juvenile successfully complete those tasks, the court dismisses the graffiti charges. The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. [103] The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image. a b Tingle, Lauren (24 April 2018). "Keith Urban Delivers Graffiti U in His Own Words". CMT News . Retrieved 27 April 2018. Main article: Graffiti in New York City Mid–1970s [ edit ] A heavily tagged subway car in New York City in 1973

Caulfield, Keith (6 May 2018). "Post Malone's 'Beerbongs & Bentleys' Breaks Streaming Record, Debuts at No. 1 on Billboard 200 Albums Chart". Billboard . Retrieved 7 May 2018. DeTruk, Sabrina (2015). "The "Banksy Effect" and Street Art in the Middle East". SAUC – Street Art & Urban Creativity Scientific Journal. 1 (2): 22–30.Edwards, Paul (10 February 2015). "Is Graffiti Really An Element Of Hip-Hop? (book excerpt)". The Concise Guide to Hip-Hop Music . Retrieved 23 August 2018. Collins, Anna (2017). "Seeing Graffiti as vandalism". Graffiti: vandalism or art?. Container of: Uschan, Michael V., 1948-. New York. p.98. ISBN 9781534561120. OCLC 982248730. {{ cite book}}: CS1 maint: location missing publisher ( link)