M.

Coronata 001380-007

The Energy Of A City

How can one define the border between Street Art and Vandalism?

Extended Essay
Maria del Mar Coronata
Candidate Number: 001380-007
Session: May 2013
The International School in Genoa
Word Count: 3873

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Content
Abstract i

Introduction 1

Street Art 2

The Energy of a City 6

Stinkfish 11

Toxicomano 15

Street Art as Public Art Heritage 18

Conclusion 22

Works Cited 24

Bibliography 24

Web Sources 24

Documentaries 25

Photo Credits 25

Appendices

Translated Interview with Stinkfish_ (Spanish to English)

Original Interview with Stinkfish_(Spanish)

Photographs

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Abstract

What makes Graffiti and Street art different from random vandalism?

The worldwide popularity of Street Art not just among young people is the consequence

of an art form that has been producing a rich variety of works, which value has been

demonstrated by the impact they have on other forms of visual culture including their success

within the art system and market. In spite of this, it is still possible to debate on the beauty of

Street Art and to label it as vandalism because of the way it affects private and public

properties within the cities.

My work aims to demonstrate that the actual value of Street Art is strictly related to its

unique ability to visualize the energy of a city and its inhabitants by creating some sort of

organic connection between the two. To do this, I moved from the direct observation of two

different cities, Bogotá and Belfast, where I have been collecting photographs of Murals, Street

Art and Graffiti pieces, which I took my self while visiting.

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Introduction
Throughout the 1970s and 1980s a revolution took place in the streets and industrial

areas of the city of New York, which spread across the country and later on across the entire

world. It was a visual attack towards society and its antics, fought against anonymous urban

architecture to reaffirm the value of identity. Graffiti writers invaded the streets with their

words of rebellion, pushing the authorities and claiming that the walls of their city were their

canvas.

1. Graffiti on a Train, New York

Whether their purposes were economical, political or social, they all had one thing in common:

their work was addressing a broad audience, broader than any art language did before.1 From

an anarchist impulsive form of underground communications, Street Art became a more

complicated phenomenon, often interlaced with the official art world and its market.

Under the eyes of the law, Graffiti and Street Art are categorized as vandalism, and

often it can become a punishable crime. This is not only because people believe that they

damage properties and deface beautiful buildings, but also because they advertise unpredictable

concepts. Nevertheless, street artists tend to work in neglected neighbourhoods and old

buildings, often preferring rundown walls for the location of their works.2 The success of artists

such as Keith Haring and Banksy has demonstrated that Street Art can be as valuable and

1
Lewisohn, Cedar. Street Art: The Graffiti Revolution. New York, 2008, pp.
2
Seno, Ethel, Carlo McCormick, Marc Schiller, and Sara Schiller. Trespass: A History of Uncommissioned Urban
Art. N.p.: Taschen, n.d. Print.

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formally beautiful as influential in terms of visual culture. Eventually the line that separates

vandalism and art has blurred into the unknown.

Despite the quarrels between art and vandalism, there are many cities around the world

that have been awarded with an incredible energy. The streets of these cities, such as New

York, Berlin, Paris, London, Melbourne, Bogotá, São Paolo and Belfast, are not defaced, but

are beautified with streams of meaningful words and bright colours. Their vitality has become

famous all around the world, as their atmosphere captures more and more people.

What can support the idea that street art has been and it still is playing a significant role

in the life of a city? How can this art form stay out of the galleries and go beyond the mere

definition of vandalism? In order to answer, I decided to analyze and compare two very

different examples. By walking through the streets of Bogotá and Belfast, I was able to

experience a connection between the physical aspect of the city and its people. I contemplated

the idea that the street art is part of the city’s life and while exploring the two cities I took

hundreds of photographs in order to collect material for my work. Afterwards I reviewed and

selected what I had managed to capture and contacted a Colombian Street Artist, known as

Stinkfish, for an interview via e-mail.3

Eventually, it became clear to me that Street Art can become an important and

distinctive feature of a city by celebrating the life of its people, its culture and its history.

Street Art
Any unsanctioned art that is developed and exhibited in the streets and publics places

can be defined as Street Art.4 Usually street art is connected to the place where it is located and

it can be culturally specific. While street art forms part of a place, graffiti tends to be more

3
I found his e-mail while searching on the Internet for more information about him – he owns a blog where he
documents all his works. See appendix for the complete interview in Spanish and its English translation.
4
"Street Art." Street Art Definition. Artrepublic, n.d. Web. 27 Feb. 2013.
<http://www.artrepublic.com/art_terms/39-street-art.html>.

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universal, its characteristics in terms of message and formal qualities are similar all over the

world. Although graffiti has barely anything to do with context and location, as it is an

independent language used to communicate between crews, it was and still is used as a way of

claiming property over an area or district – a concept similar to territorial marking, which

suggests the need and claim for an identity.

2. Graffiti, Bogotá

On the other hand, street art aims to communicate with a broad range of people and

embraces the city. Moreover, another interesting difference between Street Art and Graffiti is

the fact that street artists often prepare the work before putting it onto a wall. This can be seen

in the process of making a stencil piece5, where the artist must create the stencil before using it

on a wall. Graffiti writers do sometimes prepare detailed sketches before painting a wall 6,

however, their works are far more spontaneous. When it comes to street art, there is a lot of

thought put into each work, whether it is to comment on society, on politics or to simply

commemorate the people of a city and their culture.

While graffiti writers mainly use free-hand aerosol paint to produce their tag works and

designs, there are many different techniques and media that street artists have adopted through

5
A Stencil is a thin sheet of card, plastic, or metal with a pattern or letters cut out of it, used to produce the cut
design on the surface below by the application of ink or paint through the holes (Oxford Dictionary). For more
information and examples see Howze, Russell. Stencil Nation: Graffiti, Community, and Art.
6
For some example of sketchbooks, see Manco, Tristan. Street Sketchbook.

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the evolution of street art aside from only using spray paint. The techniques include mosaic

tiling, stencils, stickers, street installations, 3D art, stop motion animations and many more.7

3. Space Invaders, Paris

Moreover the variety of media that is used is endless, as any material or object can be

used. There are many works, carried out with different techniques, which have stood out from

the rest and remained in history. An extremely interesting one is called Space Invaders, which

originated in Paris and later on started to appear in other cities around the world. Space

Invaders were created using the technique of tiling and were placed in many different locations

such as, avenues, squares and monuments.8 Another street artist that became famous for his

originality is the Italian artist, Blue, who created stop motion animations.9

Other street artists’ works reassemble more conventional styles of art, such as the Italian

artist Alice Pasquini, whose pieces are incredibly expressive and formally beautiful.

7
For some examples, see Shove, Gary. Untitled III: This Is Street Art and Bou, Louis. NYC BCN: Street Art
Revolution.
8
For more information and examples of Space Invaders see the Official Website: < http://www.space-
invaders.com/som.html>.
9
Blue’s videos can be watched online: <http://www.blublu.org/sito/video/001.html>.

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4. Alice Pasquini, Rome

Nonetheless, the most popular medium has always been spray paint and still is, whether

used on its own or combined with other media. Stencil turned out to be an incredibly efficient

and popular technique. In fact, it is a distinctive characteristic of Banksy, one of the most

famous street artists in the world. The British artist creates his pieces in such way that they

interact with the location, his works have often the purpose of commenting on social and

political issues, and his relationship with the streets is evidenced through his works.10

5. Banksy, Boston

10
BANKSY: Wall and Piece. London: Random House, 2006. Print.

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The success that Street Art had upon the world relies on the fact that it is approachable

by anyone. This was already been one of the main concerns of the Mexican artist Diego Rivera

(1886-1957), who stated, “Mural art is the most significant art for the proletariat.”11 While

clearly expressing his political position, he declared that conventional forms of art are not

accessible to everyone and referred to the educational function of art. Day by day, people are

freely able to appreciate the concepts portrayed on the walls of their city. In the same way that

advertisement manages to obtain a large audience, Street Art communicates directly with a

broad range of viewers.

The Energy of a City

The captivating capital city of Colombia, Santa Fé de Bogotá, is full of incongruity

between its potent skyscrapers and its colonial historic churches and between its innovative

avenues and its stone streets. The contrast of its futuristic and traditional architecture, its

international and commercial environment, its conventional art and street art and, its people

enhance the charm of this euphoric city.12

Bogotá has a prosperous colonial tradition with a variety of nationally well-known

landmarks from that time period. One of the most important ones in the city is called La

Candelaria, which is the oldest district in Bogotá. The historic neighbourhood is full of Old

Spanish architecture and many of Bogotá’s museums and galleries. However there is something

more special than conventional art museums and galleries, which is the large amount of street

art works featured in its streets. While walking along the streets of this district one can

contemplate various styles of street art, however one of its most interesting aspects is the

contrast between the traditional styled houses and the colourful and modern designs. This

11
D. Rivera. “The Revolutionary Spirit in Modern Art” quoted in Harrison, Charles, and Paul Wood. Art in
Theory, 1900-2000: An Anthology of Changing Ideas. Malden, MA, 2003, Page 421
12
Harme, Bonnie. "Bogota, Colombia." South America Travel. About.com, n.d. Web. 21 Oct. 2012.
<http://gosouthamerica.about.com/cs/southamerica/a/ColBogota.htm >.

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contrast can be seen in the following photograph, which displays a small humble white house

blessed with vibrant colours. The simple house was rendered fascinating by the contrast

between the painting and its humble façade with wooden door and windows.

6. Bogotá, 2012

Another example of how old houses are brought back to life, displays a large yellow tree that

has been painted on the façade of a small red house.

7. Bogotá, 2012

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Again, the bright design stands out from its surroundings. In addition to hosting incredible

designs that beautify the old streets, La Candelaria, also hosts significant artworks that go

beyond the mere design and give insight into not only the distinctive aspects of the Colombian

people but also their culture and environment. The walls its houses are used to express vitality

and represent the essence of the Colombian people. In the following photograph, the design on

the wall of an old coffee shop portrays the combinations that can be seen in Colombia, modern

skyscrapers, typical houses, nature and most importantly, the complexity and the beauty of the

people.

8. Bogotá, 2012

The visual diversity of the city curiously seems to mirror the fact that Colombia is the second

country with most biologically diversity in the world, as it home to approximately 10 percent of

the Earth’s species.13 This makes the people of Colombia extremely proud, thus it is celebrated

in many ways including through street art. Such pride is reflected in Nomada’s work, which

portrays a rare and beautiful type of beetle.

13
"Colombia: Environmental Profile." Colombia: Environmental Profile. Mongabay, 6 Feb. 2006. Web. 06 Jan.
2013.

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9. Beetle, Nomada, Bogotá, 2012

The insect is portrayed magnificently with mostly vibrant hues of blue and blends of pink,

purple, yellow and green. Moreover it is given vivacity through the use of white highlights all

around it, boosting its imposing presence from the bright red background and the other

components of the design. It is greatly detailed with both realistic and abstract patterns. The use

of spray painted lines is accurately smooth and rhythmic, emanating energy. The beetle

represents more than the mere insect: it embodies the vitality of Colombia.

In a different way, the mural in photograph below ironically conveys one of the most

famous traditions of Spain, which until 1810 colonized Colombia.

10. Unidentified Mural, Bogotá, 2012

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The piece displays the body of a matador with the head of a bull, perhaps signifying that

the antagonist eventually became the protagonist. Although these are just mere considerations,

it could be said that this is an example of political and historical commentary.

Another example of how street art is related to the identity of the inhabitants is a

painting carried out in a surrealistic style. The melancholic tone, presented in this piece, is rare

in the streets of Bogotá, and its meaning could be unclear, if analyzed out of context. It is small

and was probably painted with acrylic rather than spray paint. Two little boys are sitting down

on the floor between two streams of faceless pregnant women.

11. Unidentified Painting, Bogotá, 2012

The painting could possibly comment on the way mothers keep having children but neglect

them due to their emotional or economical instability. The look in the children’s eyes in the

painting emits a deep sense of sadness and loneliness. Despite the negative connotation of the

painting and its quality, it still reflects Colombia’s society and instigates thought.

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These examples show how Street Art might reach the people of a city, reflecting their

cultural, social and political situations in an effective way, due to its accessibility and freedom.

The connection between Bogotá and its Street Art goes beyond the mere visual value. The

streets of the capital are charged both positively and negatively with words and figures that

address either the issues that haunt Colombia or its wonders and most loved aspects. Their

significance is rooted in that direct and profound relationship between their content and the

place for which they were created. A part from the diversity of styles and quality, I believe that

successful street art must be site specific.

Among the many artists that are featured in the streets of Bogotá, Stinkfish and the

Toxicomano crew have stood out, due to their expression of extremely relevant aspects of their

country and its people. Their identities are, for obvious reasons, kept anonymous.

Stinkfish

The streets of Bogotá have been granted with beautiful and colourful portraits produced

by Stinkfish. There is no concrete information about his background, except for the fact that his

parents were Colombian and that he moved back to Bogotá in 1985.14 He started his career as a

street artist at a very young age, as he felt a true connection with the streets of the city.

Although he has different types of influences in terms of images, artists and visual culture, he

states that his “main source of visual references is the street itself, what happens there, the

people he sees, the conversations and the graffiti.” In addition, he confesses, “From all the

things I like to do, I love walking and see what happens around, no matter the day, the place or

the hour.”15

14
"Stinkfish." GeoStreetArt. GeoStreetArt, 12 May 2011. Web. 01 Oct. 2012.
<http://geostreetart.com/theblog/stinkfish-interview/>.
15
Stinkfish: Personal Interview. E-mail to the author. October 2012. See appendix for the complete interview in
Spanish and its English translation.

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Stinkfish demonstrates and transmits a true connection with the city, its streets and its

people through his works. His style is unique and can be easily distinguished. His works mainly

consist of portraits of people reproduced on large scale by combining stencil with free spray

painting to create explosions of colours and recurring patterns. The subjects of his portraits are

always of people he does not know. Stinkfish always carries his photographic camera and take

pictures of random people down the street, without them noticing. Sometimes he finds subjects

for his works by collecting lost photographs lying in the streets while he walks. This is a further

bond with the people of the city: his artworks portray the people of who walk along the streets

every day.

12. Stinkfish, Bogotá, 2012

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The photograph above was taken in a street in La Candelaria far from the centre and it

displays one of Stinkfish’s works. The little girl is unusually portrayed in full body and is

directly looking at the viewer, which led me to assume that Stinkfish himself did not take the

original photograph and that it was probably one of the many photographs he found. The

following photographs confirmed my assumption.16

13. Stinkfish’s Murals with Original Photograph

Moreover, another particularity of his subjects is the fact that he mostly chooses

children for his works. Although he has produced portraits of people of different ages, the

majority consists of children. The reason for this is that he faithfully believes in children17.

14. Stinkfish, Bogotá, 2012

16
For the sources of Stinkfish work see Works Cited – Photo Credits
17
Stinkfish: Personal Interview. E-mail to the author. October 2012. See appendix for the complete interview in
Spanish and its English translation.

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One of his most beautiful works is located in La Candelaria and portrays a little boy.

The colour combination is vibrant and powerful as he uses different hues of orange, green,

pink, purple and yellow. The use of colour is somewhat tropical and grants vitality to this piece,

allowing it to reflect the essence of the Colombian people and the South American atmosphere.

Although the boy is not smiling, his gaze does not transmit sadness. Another one of his artwork

can be seen in the following photograph, which displays the portrait of a young woman. Even

though the painting was partially defaced by advertising posters, the power of the result is still

evident because of the rich variety of patterns and the very expressive eyes.

15. Stinkfish, Bogotá, 2012

Stinkfish often works cooperatively with other street artists and crews, in particular with

an artist named Bastardilla. Stinkfish and Bastardilla met in 2005 and since then have

undertaken a few projects together with other crews.

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16. Bastardilla and Stinkfish, Bogotá, 2012

Aside from creating a group called “HOGAR”, which researched and documented

different expressions and actions occurring in the streets of Bogotá, they also created murals

together.18 One of their splendid murals is located in La Candelaria and combines one of

Stinkfish’s portraits with Bastardilla’s designs. 19

Toxicomano
Toxicomano is a street crew that produces large murals, which comment on different

issues regarding society, the government and sometime even human nature. Their description

on their Flickr page states that they “are responsible for fighting stupidity, ignorance, morality,

faith and order, by the means of visual attacks”.20 This is an example of how street art might

comment on the political and the social issues of its location, addressing the everyday people.

Formally, their works are mostly black and white and monochromatic, possibly for the purpose

of being bolder and more straightforward, with a language that seems more related to graphic

design than to painting. Often their murals are so large that they are impossible to be captured

all in one photograph. An extremely large one, displayed in the following photograph, is
18
"Stinkfish." GeoStreetArt. GeoStreetArt, 12 May 2011. Web. 01 Oct. 2012.
<http://geostreetart.com/theblog/stinkfish-interview/>.
19
“Stinkfish x Bastardilla x Ink Crew New Mural In Bogotá, Colombia.”
20
Toxicomano Callejero. Flickr. Yahoo!, Oct. 2008. Web. 27 Dec. 2012.

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situated in La Candelaria and in order to properly analyze it and understand it, one must do so

in sections.

17. Toxicomano, Bogotá, 2012

This particular work was produced using different kinds of paint and a colour combination of

shades of grey, hues and tints of red, black and white. There are multiple specific messages

within this particular mural, which address several issues such as the lack employment and

work ethics, the exploitation of workers and the government’s misuse of money and power.

These are explicitly presented through a combination of stencilled images or writings.

Moreover there are details in the background that portray weapons under the form of common

objects in the Colombian culture, such as a fly or a pineapple; this can be seen in the

photograph below.

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18. Toxicomano, Bogotá, 2012

In addition, the mural displays realistic stencils of the people who suffer in consequence of the

issues Toxicomano fights against.21 The following photograph is another example of

Toxicomano’s works.

19. Toxicomano, Bogotá, 2012

21
For more details on this specific mural please see: "Mike's Bogota Blog." Toxicomano's Massive Mural.
<http://mikesbogotablog.blogspot.it/2012/01/toxicomanos-massive-mural.html>.

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Compared to Stinkfish, Toxicomano are less intimate and deals with more general

problems using an international – and I would say less personal – visual language. In spite of

this, their works too show a very strict relationship with the city and its problems.

Street Art as Public Art Heritage

The largest city of Northern Ireland is Belfast, the capital. Although it is also known for

its industrial achievements and its importance within the country, the city is probably more

famous for its period of religious and political conflicts, called The Troubles. In the Sixties, the

population of the city started splitting in half between the Nationalists/Republicans, who

wanted to be independent from Great Britain, and the Unionists/Loyalists, who were loyal to

the monarchy. There were innumerable clashes between these two sides of the Belfast’s

population, which also divided in terms of religion between the Catholic and Protestant church,

and consequently there were many deaths. Between the late Sixties and the new millennium,

over a thousand and five hundred people were killed in the various outbreaks. 22 Peace walls,

which partly still exist, were built in order to maintain order during the conflict and separate the

loyalist side of the city from the republican one.

Nowadays Belfast is covered with murals that have become its symbol, as they depict

its historical issues regarding The Troubles. There are many different types of murals around

the city, which express the distinct points of view that co-existed in the 1960s onwards. They

were painted in the years of the conflicts and often celebrate the paramilitary groups such as the

Provisional Irish Republican Army, Ulster Freedom Fighters and the Ulster Volunteer Force or

even honour the people who lost their lives.

22
"The Belfast Blitz Is Remembered." BBC News. BBC, 04 Nov. 2001. Web. 07 Feb. 2013.

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20. Republican Mural, Belfast, 2012

21. Battle of the Somme, Loyalist Mural, Belfast

There are many murals around the city, which celebrate different historical events,

commemorate several historical Irish and universal icons, portray Irish myths and beliefs or

even reflect present day issues.23 Their visual language is diverse and definitely owes more to

propaganda art and muralism than to Street art.

23
Information given by a local gentlemen

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22. Republican Mural, Belfast, 2012

23. Unidentified Mural, Belfast, 2012

Street art just came later as a natural consequence of muralism. Belfast’s peace wall also hosts

incredible graffiti art. Even though some of its sections have been demolished, there are still

kilometres of wall present throughout the city where graffiti writings and designs have been

increasing and evolving to eventually become a significant symbol of the city.

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24. Peace Wall, Belfast, 2012

Hundreds of people contributed and still contribute to its decoration by adding graffiti writing,

peace related images and quotes, simple signatures and dedications. This is the reason why that

wall seems to contain and emanate the positive energy from the people who obtained freedom

from the conflict, the people who fought and lived through tragedy, the people who were told

all these stories and facts through their childhood, the people from a generation who raised

from the ashes.

Eventually, the municipality of Belfast officially recognized its murals and street art as

a part of its heritage. The city was embellished by the history and many different beliefs of its

people. The beauty of Belfast’s murals does not rely just on their formal quality, but on the

power of their significance in terms of history and social values. Now because of this, the city

is imbued with special energy that attracts and fascinates people from all over the world. The

murals and peace walls have become valuable for the city not as reminder of its history but

even as touristic resource.

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Conclusion
Street art has evolved from the mere expression of protest and fight for identity to a

living representation of a place. Because of its direct and organic connection with the

architectonic texture of a city, the personal expression and the appropriation of anonymous

areas render Street Art truly significant, allowing the possibility to visualize the energy and the

essence of a place, its core. Each piece is strongly bonded with its location not only in terms of

aesthetics but also in terms of iconography and meaning. In most cases, street artists take into

deep consideration where they create their works. Banksy and Stinkfish are well aware of the

potential of a location and responsible for their interventions.24

If each city is basically a living system, where the presence of inhabitant faces that of

walls, streets and buildings, Street Art is what exists in between. It is what connects people and

architecture and what contributes in creating an organic unit. Street artists are aware that what

they create is a temporary link. As time passes their works constantly evolve, they may be

modified by the other artists or just vandalized, removed and covered. Street art is just a living

creature that constantly changes to remain coeval with the people.

Street Art is an urban environmental phenomenon, which differs from vandalism

because of its formal quality and its site-specific significance, that most of the times keeps it

away far from private properties. Although street artists steal a part of public properties in order

to fulfil their personal artistic goals and force people to become their audience, they grant the

city with something, which is far from being mere vandalism. Would La Candelaria be as

vibrant and culturally symbolic and representative of Colombia’s people without its street art?

Would Belfast be as mystical and historically emblematic without its murals and street art? The

24
Stinkfish states “From the beginning I liked places that have high visibility, high traffic streets at any time of
day. It also influences the type of wall, texture and condition. I prefer the old walls, with accidents, cracks, and
moisture, walls that have an interesting visual history.” "Stinkfish." GeoStreetArt. Geo Street Art, 12 May 2011.
Web. 01 Oct. 2012. <http://geostreetart.com/theblog/stinkfish-interview/>.

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walls of both cities would either be blank or truly vandalized by mere scratching. There would

be no colours, no emotion, no energy and no life.

Even though Street Art has widely demonstrated its potential and is definitely not a

form of vandalism, legalizing and protecting the works, would only hinder great part of its

charm. Street Art’s beauty relies in its freedom and its unpredictable visual appeal.25 Perhaps

the case of Belfast is a good example of how Street Art value can be officially recognized.

Street Art should keep on narrating the history of a place and charge it with an

incredible atmosphere by exposing hypocrisy, revealing opinions but, most of all, it should be

change continuously to fully celebrate life.

25
Banksy’s documentary, Exit through the Gift Shop, confirmed my opinions in regards to this concept. One of
the main characters of the movie, decides to open a gallery with Street Art pieces, however the gallery defeated
the true meaning of Street Art, rendering it ineffective.

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Works Cited
Bibliography:

· BANKSY: Wall and Piece. London: Random House, 2006. Print.

· Bou, Louis. NYC BCN: Street Art Revolution. New York, NY: Collins Design, 2006. Print.
· Chandès, Hervé. Born in the Streets: Graffiti. Paris: Fondation Cartier Pour L'art
Contemporain, 2009. Print.
· Ganz, Nicholas, and Tristan Manco. Graffiti World: Street Art from Five Continents. New
York: Abrams, 2009. Print.
· Gastman, Roger, Caleb Neelon, and Anthony Smyrski. Street World: Urban Art and
Culture from Five Continents. New York: Abrams, 2007. Print.
· Harrison, Charles, and Paul Wood. Art in Theory, 1900-2000: An Anthology of Changing
Ideas. Malden, MA: Blackwell Pub., 2003. Print.
· Howze, Russell. Stencil Nation: Graffiti, Community, and Art. San Francisco: Manic D,
2008. Print.
· Kuittinen, Riikka. Street Art: Contemporary Prints. London: V&A Pub, 2010. Print.
· Janson, H. W., Anthony F. Janson, Samuel Cauman, and H. W. Janson. History of Art for
Young People. New York: Harry N. Abrams, 1997. Print.
· Lewisohn, Cedar. Street Art: The Graffiti Revolution. New York, NY: Abrams, 2008. Print.
· Manco, Tristan. Street Sketchbook. Milano: L'ippocampo, 2007. Print.
· Seno, Ethel, Carlo McCormick, Marc Schiller, and Sara Schiller. Trespass: A History of
Uncommissioned Urban Art. N.p.: Taschen, n.d. Print.
· Shove, Gary. Untitled III: This Is Street Art. Darlington: Carpet Bombing Culture, 2010.
Print.

Web Sources:

· "Back to Street Art by Alice Pasquini." Street Art by Alice Pasquini Street Art by Alice
Pasquini. N.p., n.d. Web. 08 Feb. 2013. http://www.homedsgn.com/2012/03/14/street-art-
by-alice-pasquini/alice-pasquini-01/
· Brody, Daniel. "Colombia Reports." Colombia Reports. N.p., 31 May 2010. Web. 26 Sept.
2012. <http://colombiareports.com/colombia-news/culture/10017-bogotas-graffiti-scene-
attracts-international-interest.html>.
· Ceasar, Mike. "Mike's Bogota Blog." Toxicomano's Massive Mural. N.p., 6 Jan. 2012.
Web. 20 Oct. 2012. <http://mikesbogotablog.blogspot.it/2012/01/toxicomanos-massive-
mural.html>.
· "Colombia: Environmental Profile." Colombia: Environmental Profile. Mongabay, 6 Feb.
2006. Web. 06 Jan. 2013.
· Harme, Bonnie. "Bogota, Colombia." South America Travel. About.com, n.d. Web. 21 Oct.
2012. <http://gosouthamerica.about.com/cs/southamerica/a/ColBogota.htm >.
· "Space Invaders." Space Invaders Official Website. N.p., n.d. Web. 08 Feb. 2013.
<http://www.space-invaders.com/>.
· "Stinkfish." GeoStreetArt. Geo Street Art, 12 May 2011. Web. 01 Oct. 2012.
<http://geostreetart.com/theblog/stinkfish-interview/>.
· "Stinkfish X Bastardilla X Ink Crew New Mural In Bogotá,
ColombiaStreetArtNews."Stinkfish X Bastardilla X Ink Crew New Mural In
Bogotá,Colombia. ColombiaStreetArtNews. N.p., 13 Feb. 2012. Web. 22 Dec. 2012.
http://www.streetartnews.net/2012/02/stinkfish-x-bastardilla-x-ink-crew-new.html
· Stinkfish. "▲ninia▲." Flickr. Yahoo!, 13 Mar. 2012. Web. 06 Jan. 2013.
· "The Belfast Blitz Is Remembered." BBC News. BBC, 04 Nov. 2001. Web. 07 Feb. 2013.
· Toxicómano Callejero. Flickr. Yahoo!, Oct. 2008. Web. 27 Dec. 2012.

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 M.Coronata 001380-007

· "Street Art." Street Art Definition. Artrepublic, n.d. Web. 27 Feb. 2013.
<http://www.artrepublic.com/art_terms/39-street-art.html>.
· "Zero Interest in the Cancellation of Dreams." The Spectacle of Banksy. N.p., 9 Dec. 2012.
Web. 03 Mar. 2013. <http://lolo741.blogspot.it/2012/12/zero-interest-in-cancellation-of-
dreams.html>.

Documentaries:

· Exit Through the Gift Shop. Dir. Banksy. Prod. Jamie D'Cruz. Perf. Banksy. Paranoid
Pictures, 2010. Online.

Photo Credits:
1. Graffiti on a Train, New York – Photograph retrieved from Born in the Streets:
Graffiti. Paris: Fondation Cartier Pour L'art Contemporain, 2009.
2. Graffiti Art in Bogotá – Personal Photograph, July 2012
3. Space Invaders, Paris - "Space Invaders." Space Invaders Official Website. N.p., n.d.
Web. 08 Feb. 2013. <http://www.space-invaders.com/>.
4. Alice Pasquini, Rome - "Back to Street Art by Alice Pasquini." Street Art by Alice
Pasquini Street Art by Alice Pasquini. N.p., n.d. Web. 08 Feb. 2013.
http://www.homedsgn.com/2012/03/14/street-art-by-alice-pasquini/alice-pasquini-01/
5. Follow Your Dreams Cancelled, Banksy, Boston - "Zero Interest in the Cancellation of
Dreams." The Spectacle of Banksy. N.p., 9 Dec. 2012. Web. 03 Mar. 2013.
<http://lolo741.blogspot.it/2012/12/zero-interest-in-cancellation-of-dreams.html>.
6. Little House, Bogotá – Personal Photograph, July 2012
7. Little House 2, Bogotá – Personal Photograph, July 2012
8. Coffee Shop, Bogotá – Personal Photograph, July 2012
9. Beetle, Nomada, Bogotá – Personal Photograph, July 2012
10. Unidentified Mural, Bogotá – Personal Photograph, July 2012
11. Unidentified Painting, Bogotá – Personal Photograph, July 2012
12. Stinkfish, Bogotá – Personal Photograph, July 2012
13. Stinkfish’s Murals with Original Photograph, Stinkfish. "▲ninia▲." Flickr. Yahoo, 13
Mar. 2012. Web. 06 Jan. 2013.
14. Stinkfish, Bogotá – Personal Photograph, July 2012
15. Stinkfish, Bogotá – Personal Photograph, July 2012
16. Bastardilla and Stinkfish, Bogotá – Personal Photograph, July 2012
17. Toxicomano, Bogotá – Personal Photograph, July 2012
18. Toxicomano, Bogotá – Personal Photograph, July 2012
19. Toxicomano, Bogotá – Personal Photograph, July 2012
20. Republican Mural, Belfast – Personal Photograph, August 2012
21. Battle of the Somme, Loyalist Mural, Belfast – Personal Photograph, August 2012
22. Republican Mural dedicated to republican hunger striker Bobby Sands, Belfast –
Personal Photograph, August 2012
23. Unidentified Mural, Belfast – Personal Photograph, August 2012
24. Peace Wall, Belfast – Personal Photograph, August 2012

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