国外城市涂鸦研究进展与启示

城市涂鸦自1960年代在世界各大城市普及以来,在环境指示、社会沟通、权力表达、身份构建、产业发展、规划设计等诸多方面扮演着重要角色,并成为一种典型且有争议的城市社会文化现象,吸引了国外学者的密切关注。借助文献计量分析法,以Web of Science为数据库,对国外城市涂鸦研究进行了系统分析,并重点回顾了涂鸦的内涵、涂鸦与城市环境、涂鸦的街头表达、涂鸦与空间构建、涂鸦与城市响应等主要领域的研究进展,同时从研究内容、学科、方法与数据、理论基础四个方面进行了述评与展望。最后,分析了国外涂鸦研究对我国研究的启示,从我国涂鸦的诞生背景、涂鸦者群体和涂鸦特征三个方面阐述了我国涂鸦研究对国际研究可能存在的意义,也指出了未来我国涂鸦研究的方向。     

‘Popular demands do not fit in ballot boxes’: graffiti as intangible heritage at the Iglesia de San Francisco,Santiago?

Contemporary practices and conflicts of cultural heritage preservation reflect shifting conceptions of what heritage is and what it should conserve. As such, the traditional notion of graffiti upon national monuments is currently being called into question, and within the context of this debate, this study argues that the emerging framework of intangible heritage is a useful model for reconsidering graffiti at heritage sites. Arguments for such graffiti as intangible heritage are particularly strong when it can be shown to function as a societal mirror that reflects political climates and protest activities. Such graffiti poses tensions between traditional theories and practices of heritage preservation, in which these markings are seen to interrupt conservation, and emerging inclusive models such that view these works as relevant layers of a site’s history. Within this context, we explore the case of the political graffiti on the north wall of a historical monument, the Iglesia de San Francisco in Santiago, Chile, through the lens of the emerging field of intangible heritage.     

1990年代以来广州城市涂鸦空间的形成与嬗变——基于空间生产的视角

改革开放后,涂鸦伴随后现代街头文化传入中国,逐渐发展成为融合中西方的文化景观。涂鸦作为以城市公共空间为载体的创作形式,兼具艺术内涵和反叛色彩的双重特性,因此也被视为城市管理的不稳定因素,使其空间的生产常充满了多元主体的冲突。本文运用实地调研和深度访谈的方法,通过探究广州城市涂鸦空间的形成演变,透视当代中国城市后现代文化空间的生产及其意义。研究发现,广州城市涂鸦的空间形成主要经历了三个阶段,呈现出以老城区为中心逐步向外围地区扩展的特点。涂鸦手通过建构创作空间、利用资本力量、与政府博弈等手段实现对城市空间的占据,并使涂鸦逐渐成为具有中国本土化特征的后现代文化空间的范例。本文通过广州案例的研究,希望为今后中国城市空间治理的实践及空间正义的相关讨论提供参考借鉴。     

Recording and Analysis of Ship Graffiti in St Thomas’ Church and Blackfriars Barn Undercroft in Winchelsea,East Sussex,UK

Two assemblages of ship graffiti were recorded using Reflectance Transformation Imaging in the ancient port town of Winchelsea. The engravings show characteristics common to most medieval ship graffiti in England, while displaying different levels of detail, which encouraged a nuanced interpretation. It is suggested that the ship graffiti demonstrate a multifaceted relationship with the sea. The St Thomas’ church graffiti could have been a means of spiritual protection and a devotional practice that cuts across different communities of practice and social groups. The seascape in Blackfriars Barn undercroft can be interpreted as an occasion of informal remembrance of the mustering of a large naval fleet before setting out.     

Seamen on Land? A Preliminary Analysis of Medieval Ship Graffiti on Cyprus

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.     

Keeping it real? Subcultural graffiti,street art,heritage and authenticity

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.     

16th-Century Ship Graffiti on the Town Walls of Eivissa, Balearic Islands, Spain

Among the historical ship depictions in Eivissa (Balearic Islands, Spain), the graffiti of galleys on the Renaissance city walls are of particular interest. From archival documents the building sequences of this monument can be confirmed. Thus the galley graffiti on the eastern side of the bastion of Sant Bernat can be narrowed down chronologically to slightly after 1568. These graffiti are also interpreted from the social history point of view, in the light of ongoing corsair incursions during the 16th century.
© 2009 The Author     

American graffiti: deconstructing gendered communication patterns in bathroom stalls

Bathroom graffiti, in both its text and pictorial form, represent viable means for strangers to communicate with each other. The text or drawings in the bathroom stalls, while written or drawn in a private space and presumably during a very private moment, are meant to be public, as they transmit ideas, images, and even responses. Using data collected in 10 bathroom stalls at a university (five men's bathrooms and five women's bathrooms), this study examines differences in communication patterns in women's and men's bathroom stalls through an analysis of graffiti content and style. Findings reveal that while communication patterns tend to be supportive and relationship-focused in women's bathrooms, the graffiti in men's bathroom walls are replete with sexual content and insults, in the course of the construction of hegemonic masculinity. In addition, an analysis of the response-and-reply chains suggests that, in the bathroom stalls, hierarchies of power are established and reinforced even in anonymous, unmoderated spaces, and even when no humans are physically present.     

The Writing on the Wall: The Concealed Communities of the East Yorkshire Horselads

This paper examines the graffiti found within late 19th and early 20th century farm buildings in the Wolds of East Yorkshire. It suggests that the graffiti were created by a group of young men at the bottom of the social hierarchy—the horselads—and was one of the ways in which they constructed a distinctive sense of communal identity, at a particular stage in their lives. Whilst it tells us much about changing agricultural regimes and social structures, it also informs us about experiences and attitudes often hidden from official histories and biographies. In this way, the graffiti are argued to inform our understanding, not only of a concealed community, but also about their hidden history.     

“Charcoal scribblings of the most rascally character”: conflict,identity, and testimony in American Civil War graffiti

Civil War soldiers’ graffiti survive at more than 60 sites, predominantly in Virginia, including churches, court houses, caves, and houses. Although often terse and fragmentary, they provide an intriguing insight into soldiers’ experiences. This essay offers a tentative framework for analyzing how the graffiti functioned: as informal commemoration of wartime experiences; as a social activity, displaying the loyalties, frustrations, and humor of army life; and as an invasive act, vandalizing southern property.     

Of Ships and Deer: early Western Mediterranean ship graffiti reappraised

Re‐analysis of the Hal Tarxien prehistoric ship graffiti, the incised figure on a pottery sherd, from the Neolithic site of Grapceva cave on a Croatian island, known as the ‘Hvar boat’, and the Villanovian‐Etruscan bronze razor from Bologna allow the last two to be reinterpreted as animals rather than ships, and the first to be dated to the Bronze Age Cemetery phase of the site. These findings require the earliest ship graffiti in the western Mediterranean to be reconsidered.     

Four Scandinavian ship graffiti from Hagia Sophia

Abstract

This paper is the first presentation of four graffiti from the church of Hagia Sophia, Constantinople, and a contribution to the study of Viking graffiti of sailing vessels.     

Revolution is the New Black: Graffiti/Art and Mark-making Practices

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.     

Robert Newall's Primary Record of the Prehistoric Ship Graffiti at Hal Tarxien,Malta: new thoughts on their significance

Recent research on now indistinct ship graffiti in the Third Temple at Hal Tarxien led to discovery of a full‐size record made 50 years ago. Correspondence elucidates contemporary interpretation of the context. Colonization of the island from Sicily c.5000 BC probably involved large flotation devices similar to those identified on the lowest tier of graffiti. A Neolithic date for some of the images finds support with the identification of a raft supporting the cult statue located in the same part of the temple.     

The spiral that vanished: the application of non-contact recording techniques to an elusive rock art motif at Castlerigg stone circle in Cumbria

This article describes the recording of stone 11 of the Castlerigg stone circle in Cumbria through two different non-contact techniques: laser scanning and ground-based remote sensing. Despite the unproblematic recording of modern graffiti, neither technique was able to document the spiral photographed and rubbed in 1995. It is concluded that the spiral was most probably painted and has since faded away due to natural events. The discovery and loss of the spiral motif in Castlerigg is seen as a cautionary tale. In particular, it seems to suggest that it is time to take advantage of the novel technologies based on the digitisation of 3D surfaces with millimetre and submillimetre accuracy such as laser scanning and ground-based remote sensing. They offer many advantages to the recording of prehistoric carvings. In addition to avoiding direct contact with the rock surface eliminating the preservation concerns raised by other techniques, both produce high quality images (laser scanning offering a greater potential for this, but at higher cost) having a much higher level of objectivity, and precision and accuracy far beyond those of traditional recording methods such as wax rubbings and scale drawings.     

'On of the Princypalle Havenes of the See': The Port of Famagusta and the Ship Graffiti in the Church of St George of the Greeks, Cyprus

In its 1000-year history the port has been the source of triumph and tragedy for the city of Famagusta, being the conduit through which flowed both enormous wealth and destruction. Today the French medieval and Greek Orthodox churches, and the Venetian walls, though ruined, still carry physical traces of this turbulent society in the form of ship graffiti. Though such images are often classified as 'low-art', they are nevertheless imbued with a deep social significance, which the maritime historian can yet use to get a glimpse of an important, though virtually-forgotten, heritage in the Eastern Mediterranean.
© 2007 The Author     

From the stigmatized tattoo to the graffitied body: femininity in the tattoo renaissance

This article analyzes the spectacularly rising popularity of tattoos by showing that tattoos have become a spatial project in the largest sense: the way they participate in the creation of social space is different from that of tattoos before the Tattoo Renaissance. I explain this project as a shift from tattoos to body graffiti. In the past (predominantly male) tattoo-spheres could be located within the margins of society. Once an identity had been assumed through the adoption of a tattoo, the person could be assigned a particular geographical position within an urban sphere. Contemporary tattoos have this one-dimensional identifying function to a much lesser extent, which influences the way in which these tattoos create space. Within the new tattoo space, the skin does not wear the stigmatic mark, nor does it function as a screen of male desire, but it becomes a wall on which multiple desires are projected. In this sense, tattoos have become graffiti. I establish the particularity of the female tattoo as opposed to the masculine tattoo by focusing on an important element of the pro/contra discussion of female tattoos: the purity and ‘blankness’ of the female skin. Jean Baudrillard's concept of the blank female skin as a ‘void’ that men rush to fill with their own desires is central to this discussion. Finally, I show that the spatial function of narcissistically oriented female tattoos is at least partly established within the Suicide Girls interactive website.