Graffiti Scene
Katja Jordan, Faculty of Humanities Koper,
Slovenia
Introduction
Imagine a city where graffiti wasn't illegal, a city where everybody could draw wherever they
liked. Where every street was awash with million colors and little phrases. Where standing at the
bus stop was never boring. A city that felt like a living breathing thing which belonged to
everybody, not just the estate agents and barons of big business. Imagine a city like that and stop
leaning against the wall – it is wet.1
Graffiti - as a form of a wider phenomena of street art2 developed in the contex of the urban
enviroment and became an indispensable part of it. Graffiti is a type of deliberately inscribed
marking made by individuals on surfaces, both private and public. It can take a form of
drawings, words or - even art. It is contradictory that I am talking about art that actually does
not want to be art. There is no “lyric subject”, no “metaphysical considerations”. And even
the interested professional and intelectual public has trouble following this kind of art3.
Nevertheless, I am going to use the term “Graffiti art” according to a specific group of
graffiti: stylised signatures and other inscriptions, known as writings, made by hand with
sprays, markers, chocks, etc. This group of graffiti differs from other wall statements, images
and depictions (stencils, signatures and comments) by their fine art execution and their
incorporation within the iternal system of working crews and the rules defining the graffiti
subculture. It is classified as art and this terminology technically defines that which could be
considered as having aesthetic attributes.4
I will focus on Slovenian graffiti scene. Since Slovenia captures small geographical space it is
very interesting and challenging to follow recent street art appearances. Therefore, graffiti
Katja Jordan, Faculty of humanities Koper
apper in cities across the country and it is not surprising that writings of specific (few) authors
turn up in almost all Slovenian towns and cities.5
Graffiti art
Graffiti art is in its essence illegal, unannounced, non-profit and provocative. It appears in
public places, the space in private or state possession. The street represents an exhibition
place and graffiti art is not just for certain group of people, but for general public. For its
existence it does not require any praise or support of art institutions. By bringing “artworks”
outside the traditional context of museums and galleries, this kind of action provides
increased access to the art of our time and provides artists with a unique opportunity to
expand their artistic practice. It is art for the public, even though the public hadn't requested it.
Many contemporary analysts and even art critics have begun to see artistic value in some
graffiti and to recognize it as a form of public art. And according to many art researchers that
type of public art is, in fact an effective tool of social emancipation or in the achievement of a
political goal.
Graffiti art began in 70’ in New York. That being the case, it was not all surprising that when
the youth in other parts of the world became aware of what their counterparts in NY had been
up to for years, they were quick to try their hand at spraycan art. Graffiti practicly boomed out
of nowhere. Two trends have emerged since the art world embraced grafitti in the early
eighties.
One trend was that, those writers who joined the establishment art scene began to respond to
the influence of dealers, collectors, and other artists, and they discovered other motives to
produce their art. They evolved as artists, their work becoming in some ways more complex,
more subtle, and at the same time more appealing to collectors in the fast moving art world.
These artists have often lost sight of their original public, retaining only the use of the
spraycan as a tool.
The second trend is the grafitti as a way of communitation between young people in the (hip hop)
subculture. Probably the greatest agent for spreading this art form was the hip hop explosion of the
eary eighties. The work of art came to be seen as a communicative exchange. As a result, the concept
of autonomy of art was replaced by the concept of intertextuality.
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Katja Jordan, Faculty of humanities Koper
When streets communicate
Graffiti is unique and inexpensive form of communication. The bearers of information are
words and images. But the information is primarily artistic and, as such, not so easily
comprehended by the general public. Graffiti art lives in a world of its own with its own
language and it behaves according to its own rules. Graffiti art aims at self-expression and
creativity, and may involve highly stylized letterforms drawn with markers, or cryptic and
colorful spray paint murals on walls, buildings and trains. Graffiti artists strive to improve
their art, which constantly changes and progresses.
Graffiti is subject to different societal pressures from popularly-recognized art forms, since
graffiti appears on walls, freeways, buildings, trains or any accessible surfaces that are not
owned by the person who applies the graffiti. This means that graffiti forms incorporate
elements rarely seen elsewhere. Spray paint and broad permanent markers are commonly
used, and the organizational structure of the art is sometimes influenced by the need to apply
the art quickly before it is noticed by authorities.
If we want to understand graffiti, we have to understand the processes that lead to it. Here are a few
of the fundamental features: graffiti is made largely by people without a whole lot of money for
supplies. Spray paint is the medium because it’s fairly cheap or shoplift able (which gets harder and
harder and hence presents more and more of a challenge). And spray paint is the medium also
because you can create large and visible forms quickly, which is obviously desirable when your
point is to be seen and when the cops might be coming. 6
Crispin Sartwell says that if we really want ot understand the medium of graffiti, we have to
start with its illegality. He claims that the procces of making this art illegally has to be
“particulary absorbing”7.
It involves concealment, sneaking around in the dark while avoiding the authorities: in short, the
medium is risk, whereas so much art involves no risk. Graffiti is of necessity an adventure. It
involves running, infiltration, escape.8
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Katja Jordan, Faculty of humanities Koper
It is an action, filled with adrenalin. According to Roger Gastman graffiti writers have
serious problems with obsession and addiction. But he claims that both of these
characteristics are required to “advance and thrive in the game of graffiti”.9 Graffiti is an
expression of creative individuals with their own convictions, voices and desires. Actions
of graffiti artists are very important in this context.
Graffiti are made late at night when most people are a sleep. This kind of actions invests
graffiti art with certain charm and sharpness. Graffiti cannot be compared with classical
painting. The making of graffiti depends on outside factors (cameras, guardians…), which
have to be taken into account before the action in order to eliminate the possibility of
failure. The skill of graffitists could be judged on the basis of the information they possess
about the conditions of work. Writing at locations that are difficult to access, or highly
secured, increases the importance and status of a graffitist.
Graffitists work “undercover”. They create new names; they sign their work with nicknames,
initials, and coded identities. Since the ilegal situation forces them into secrecy they have to
live double lives. It is almost necessary to create a new identity. Often the name acts as main
motiv of artistic process. Name is very important and represents one of the most common of
all forms of graffiti.10 Most frequently the massages are the pseudonyms of artists, while their
meaning and presence at all possible corners are comprehensive merely to members and
connoisseur of this particular subculture.
Classifications of graffiti
I will briefly go through main classifications of graffiti. First one is tagwhich is a stylized
signature; the terms tagger and writer refer to a person who "tags". A tag can be distinguished
from a piece by its relative simplicity. Tags are usually comprised of a single color that
contrasts sharply with its background. Tag can also be used as a verb which means "to sign".
Writers often tag their pieces following the tradition of signing masterpieces. Then is a throwup which is defined by the short amount of time it takes to create, a throw-up is not a piece. It
generally consists of an outline (like black) and one layer of fill-color (like silver). Throw-ups
are often utilized by writers who wish to achieve a large number of tags while competing with
rival artists. The short amount of time it takes to complete a throw-up reduces the risk of
getting caught. The most valuable within the subculture is a piece (from "masterpiece"). It is a
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Katja Jordan, Faculty of humanities Koper
large image, often with 3-D effects, arrows giving flow and direction, with many colors and
color-transitions and various other effects. A piece needs more time to be executed than a
throw-up. If placed in a difficult location and well executed it will earn the writer more
respect. Piece can also be used as a verb that means: "to write".
Competition exists between writers as to who can put up the most, or the most visible or
artistic graffiti. Writers with the most tags, throw ups and pieces up tend to gain more respect
among other graffiti artists, although they will also incur a greater risk if caught by
authorities. As well as being prolific, writers are also expected to have "style", which means
their work is artistic and accomplished. Other works covering otherwise unadorned fences or
walls may likewise become so highly elaborate that property-owners or the government may
choose to keep them rather than cleaning them off. "Free walls" or commissioned walls are
now a common part of the culture.
Graffiti are not generally considered as artwork. Presumably they belong to the world outside
art, the world nearer to visual culture, that is to say, to omnipresent visual images of the
media, fashion, television, commercial film and digital worlds.
Graffiti also “jumped« from one cultural context into another. This happened several decades
ago and is evidenced in the different creative paths of two American artists, Jean-Michel
Basquiat and Jonathan Borovsky.
Jean-Michel Basquiat came from the new wave that broke in fashion, styling, music and
graffiti in New York in the late 1970s. Wild Style, a film by Charlie Ahearn from 1982,
documented the rap and hip-hop scenes of the South Bronx and the Lower East Side. That
was the time when the most renowned graffitists of the New York subway, artists like Lee
Quinones, Futura 2000, Daze, A-One and Crach, had already given up their battle with the
New York Transit Authority and started to make sponsored works in school yards, parking
lots and salable canvases11.
Basquiat first became famous as Samo. This was his tag. That was how he and Al Diaz used
to sign their cryptic massages and crude drawings on the walls of Soho, always adding the
copyright mark © and frequently also a stylized crown. Then, sometime in 1980s, Samo was
killed off and Basquiat showed up. With the help of Keith Haring, who came out of the same
scene, he started to exhibit in clubs. In 1981 he signed a contract with the eminent New York
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Katja Jordan, Faculty of humanities Koper
gallerist Annina Nosei, agreeing to deliver his paintings on canvas in exchange for payment in
money and materials. This act announced the following year: within one week he managed to
open his first personal exhibition in the Mary Boone Gallery, one of the most influential
galleries of the time, to be included in an overview prepared by the Museum of Modern art in
New York, and to be presented in the Times magazine. He was 24 when the prices of his
canvases reached the values of the Renaissance masters12.
By the second half of the 1970s, Borovsky already had held a number of exhibitions in
prominent galleries in the U.S.A., frequently drawing or painting directly onto the gallery
walls. He worked with the help of a projector, which transmitted images precisely in the
required size from transparent sheets of paper onto walls. His work expressed the dichotomies
between male and female, the inner self and the outer world, the two halves of the brain, and
the different kinds and qualities of communication. In 1982 he was invited to Berlin to
participate in the cult Zeitgeist exhibition. His first idea was to blow a hole in the Berlin Wall
as a part of exhibition. The Zeitgeist exhibition took place in the building formerly occupied
by the Gestapo, within meters of the Berlin Wall. The wall divided the city in two parts and
expressed a dichotomy, which was a subject of the artist’s work. The blasting of the wall was
not meant to be an artistic performance, but rather an event that would be in the newspapers
next day. Borovsky knew some people who could supply him with the explosives. As the
action was highly unpredictable – it was hard to predict the moment when there would be no
people on the other side and the explosion would not harm anybody – Borovsky finally gave
up the idea. He decided to make his own graffiti on the wall, which was already full of them.
He made an image of a giant naked man on the run, which also symbolized escape, just as the
hole in the wall would13.
Borovsky and Basquiat examples show that graffiti became a part of art in different ways.
Basquiat’s success brought them from visual culture in to art. Differently, Borovsky gave to
art wall paintings a dimension of visual culture. Both phenomena point to the fact that the
borders between art and visual culture, in other words, between high and low art, or cultivated
and folk creativity are penetrable. The appropriation of subculture was made possible by
changes that occurred in the context of the high art world. In the U.S.A. this process had
already begun in the 1970s, when the creative forms of deprived ethnic and social groups
started to acquire an equal standing within the world of art, which only heightened its political
engagement14.
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Katja Jordan, Faculty of humanities Koper
Graffiti in the streets, both as paintings or inscriptions, form a part of public art. They confirm
and, at the same time, deny the characteristics of this specific practice of art expression.
Public art is a complex phenomenon. It is a kind of art that literally and figuratively is
accesible to anyone. One does not need a premision to look at public monuments, and the
evaluations of everybody, including those not specialised in monuments, have the same
weight in the creation of the opinion of wheather a monument is good or bad. Public art
shows itself in various forms – as artful flower beds, fountains, monuments, memorials,
sculptures, media art projects, billboard projects, Internet art, site-specific instalations, street
theatre, etc. Besides these forms there is also new public art denoting various actions – socalled actionism – by artists in local communities, aimed at meeting the inhabitants and
solving their local problems. Public art thus comprises traditional representation, as well as
more recent art forms, on/in public spaces and public communication networks. These latter,
for example media art projects (billboards, newspaper and magazine projects, Internet art), are
tightly connected with visual culture.
Both traditional and public art is contained in the complex social tissue. This dependance on
different sectors of society is expressed by the meanings of the syntagma “public art”. Public
art is not necessary created with a commission but also without a commission of authorities
responsible for managing of the public spaces. In the ’90 the citizens of Amsterdam noticed
that, every now and than, someone had put a new small sculpture of a men on a tronck of tree
in small park, and for a long time they couldn’t find out who was making and placing them
there. To put in other words, public art as a cultural phenomenon is defined by the complex
legal, economic and social contents of the public.15
W.J.T. Mitchell in his book Picture theory in an article , The violence of public art: Do the
right thing in the beginning is putting an example of statue of Mao Tse Tung in Beijing
University campus, where the thirty-foot molotih was enveloped in a bamboo scaffold “to
keep the harsh desert winds” – and not much later the same thing happened in university
campuses all over China. One year later, newspapers around the world published (’89) photos
of Chinese students erecting a thirty-foot plaster “Goddess of democracy” directly facing the
disfigured portrait of Mao in Tinanmen Square despite the warnings by government that it is
an illegal statue. That it is not improved by government... A few days later an army of tanks
was moving down this statue along with thousands of protesters…
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Katja Jordan, Faculty of humanities Koper
Mitchell says that in public art there is high political and legal control, not only for the
erection of public statues and monuments, but over the display of a wide range of images,
artistic or otherwise, to actual or potential public. And further on he says, “public ness” of
public images goes well beyond their specific sites or sponsorship: publicity has, in a very
real sense, made all art into public art. And art that enters the public sphere is liable to be
received as a provocation to or an act of violence.16
We should not look at graffiti art naively and superficially. Its contents and meanings are not
found only in its fine art fascination and the literal translation (deciphering) of signs. Graffiti
narrates a story of the time and space in which it is being created. The current times are
marked by the growth of the new economy, globalisation, the money system and increased
state security in the public and private sectors, which justifies omnipresent video surveillance.
Long working hours and the abolition of leisure, individual rights and identity are only a few
consequences of the capitalist system in which we live. With their financial monopolies,
multinational and other wealthy companies and institutions buy media space and use it to
manipulate human needs, time and belongings by means of announcements and
advertisements. State authorities find nothing wrong with the violent spread of hoardings of
all kinds and sizes, and a regular citizen looks at it as a self-evident process. Propaganda and
graffiti share a common space and manner of representation – only that the latter is illegal,
while the advertisements are treated as protected private property.
Think about the appearance of advertising in public places. It's everywhere, and though sometimes
it's clever or subtle or artistic, more often it's puerile and stupid and it hurts the eye. If you have
money, you can put up your tag everywhere, all the time, in all media, from the billboard to the
vehicle to the pop-up ad, from buses and buildings to television screens and magazines, from
public parks to huge skyscrapers shaped like your logo. Money brings with it an absolute right to
convey your message and your name and your image to everyone, to completely dominate space of
all kinds. This is an effect, we might say, of this motherfucker called capitalism - it brings with it
an effective control of public discourse. Speech is free in the sense that it is more or less protected
by the Constitution; it is not free in the sense that it costs money. 17
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Katja Jordan, Faculty of humanities Koper
Graffiti in Slovenia
The development of graffiti scene in Slovenia goes back to the eighties. Slogans and
inscriptions appeared on streets, but were successfully barred from the streets by the
authorities of the time.18 At first punks wrote them, mostly on walls of places where they
gathered19. And along whit this textual graffiti, graffiti as paintings also started to emerge.
In 1983 the St Urh’s exhibition of graffiti was organized in the “new” FV Disco premises in
the Zgornja Šiška Youth Center. The R Irwin S group prepared the exhibition; working from a
book of photographs showing the killings of partisans at St Urh’s church during World War
II, they painted graffiti on the walls around the dance floor. A bit later on same group
prepared a new exhibition – of “erotic graffiti”.20 These graffiti were influenced by the
American graffiti art in terms of formal point of view, but their iconology was entirely
different. At the end of 1980s a group Stip Core believed that graffiti could be art and in
addition to wall graffiti they painted graffiti on canvases, wood, metal and cardboard.
Several other groups functioned in the 1990s alongside Strip Core: Mizz Art, SK8 Core, Mega
Medi Group and, somewhat later, Klon Art Resistance. We can infer from these group names alone
that they were organized and creative groups with specific programs, concepts and manners of
artistic creation and expression. They were primarily oriented towards the painting of clubs, pubs,
studios and design ateliers, and were less active in the domain of graffiti in the streets. The mid1990s was an intermediate period in the development of graffiti in Slovenia. /…/ A younger
generation was coming to the forefront whose culture of socializing, creating and expressing
themselves was based more on the intense phenomenon of skateboarding and the development on
the hip hop scene.21
Graffiti art is well rooted in Slovenia, and in recent years it has received gradual acceptance
on various levels. On the one hand, it is worth mentioning Strip Core’s graffiti activity, which
has been going on since the end of the 1980s, while in 2000 the Suburban Cakes festival took
place in Metelkova, Ljubljana’s “autonomous cultural zone”. On the other hand, there have
been organized and sponsored graffiti actions (for instance, the painting of underpasses), as
well as a few outdoor murals and well-paintings in bars and cafes; there is a “graffiti bus” that
drives around the city; in 2004 Slovenia’s first exhibition of graffiti took place in International
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Katja Jordan, Faculty of humanities Koper
center of graphic arts. Today graffiti artists present “graffiti lessons” in the afternoon on
commercial channel TV Paprika and so on.22
Graffiti art is considered one of the new, fresh and attractive forms of artistic expression in
Slovenia. Firstly graffiti was a medium of communication and a challenging design product
rather than a work of art. In the second half of the 90s the first international magazines, rare
books and graffiti catalogues started to circulate among the young graffitists. In recent years
the Internet has become an invaluable source of information, allowing very quick access to
fresh news about graffiti. Since 2000 we have been able to talk of the complete spread of
graffiti, with artists attributing this directly to the development of the hip-hop scene in
Slovenia.
Now days we can witness a great development of graffiti scene in Slovenia. There are few
groups who work on the streets (Zek Advance Crew, Egotrip, Section 1.3, etc.). Pieces of
artists who work alone or in groups can be seen all across Slovenia and also in other
countries. Graffiti can be found around the world and street artists often travel to other
countries foreign to them so they can spread their designs.
Slovenian graffitists
Rone84
Rone84 is a very prolific and universal street artist who makes graffiti, stencils, stickers and
posters. He developed his characteristic style by familiarizing himself with the history of
graffiti and street art. He addresses a very broad public and does so without compromise or
too much deliberation; as soon he sees a chance to occupy a space, he takes it and draws
attention to his own presence. His work is a kind of parody of mass advertising and
decorations with socially acceptable and well-paid visual images that often pollute even our
mental environment.
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Katja Jordan, Faculty of humanities Koper
Zek advance
This is Ljubljana’s most recognizable group of street artists. One of their most distinctive
images is the “bunny” which can be seen in different contexts and derivations. They view
their work as play, mockery creative action, or simple branding, such as is typical in
advertising and product marketing. Nevertheless, their massages are extremely serious and
aimed at the various age groups; in this way, they seek to raise awareness of social issues (the
question of building a mosque, fast food restaurants, social restrictions, the treatment of
animals, etc.).
Zenf
Zenf’s street work is related to humor and, on the one hand, a very relaxed view of the
surroundings in which he lives and to which he responds. Here we can include images of
scales, tubes of mustard and various other stickers. On the one hand, however, he delivers a
very critical response in regard to control of the public space by various corporations, security
agencies, and similar organizations that use surveillance cameras. His work has lately been
focused no a critique of the control rooms in which data from the surrounding area is recorded
and archived. He sticks his black-and-white stickers with pictures of surveillance cameras in
places where such surveillance is problematic and questionable.
Joke42
Joke42 is one of the more recognizable Slovene street artists; his work can be seen in all the
larger Slovenian cities. Lately, he has limited his street expression to criticizing the
contemporary consumer society, which is driven by the word “shopping”. For him, this word
means, on the one hand, a method, on the other, the tempo and speed of life lived in recent
years by majority of people who crave buying things. His drawings of empty shopping carts
are addressed to the public of the big shopping malls and serve to mark individual stores that
have gone out of business.
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Katja Jordan, Faculty of humanities Koper
Conclusion
Contents and meanings of graffiti art are not found only in its fine art fascination and the
literal translation of signs. Graffiti defiantly narrates a story of the time and space in which is
being created. Contemporary graffiti is primarly significant as inter-group communication.
Graffiti is a peculiar and inexpensive form of communication created as a response to the
growth of highly technological means of communication. Most frequently the bearers of
information are word and images. This is an illegal activity often condemned as vandalism,
for it invades the space in private or state possession, from architecture to public transport
vehicles. It comprises elements of destruction and creation, which results in its temporary
nature and the fact that these art forms are constantly changing. The first factor influencing its
transitory nature is social intolerance; the second is competition between artists within the
movement itself, which appears in tis most radical form as covering and painting over
existing graffiti.
This art form has its roots in an urge to be seen and being visable to everybody. We should
look at graffiti as a constructive critisism of today's society. I will conclude with words by
Carolyn Steinat:
In urban society where anonymity is increasingly experienced, it becomes important to express the
own personality, one's heart and soul by creativity, by creating something distinguished on our
own. This is how the graffiti artist attempts to escape from the surrounding anonymity, by the
individual art of graffiti marking, which however happens in a group, to create a sort of
»homeland« in the jungle of the city.23
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Katja Jordan, Faculty of humanities Koper
Notes and references
1
Banksy, http://www.banksy.co.uk/menu.html, 2005
Street art covers a wide field of grafftiti, posters and stickers, as well as street theatre, dance, etc.
3
Velikonja, Mitja. Streets are saying things. Ljubljana: A Low-Tech Re-Action, 2006
4
Phase 2, http://graffiti.org/faq/mythconceptions.html, 1999
5
Lately the trains are also very popular »target« to paint graffiti on.
6
Sartwell, Crispin. Article about graffiti. http://www.crispinsartwell.com/graff.htm, p.3
7
Ibid.
8
Ibid. p.4.
9
Gastman, Roger. Enamelized – Graffiti worldwide. Corte Madera, Bethesda: Gingko Press, R77 Publishing,
2003, p.3.
10
It is a type of graffiti we call it Agnomical.
11
Stepančič, Lilijana. Grafiti kot sodobni spomeniki. In Liljana Stepančič (ed.) Grafitarji Graffitists, Ljubljana,
MGLC, 2004, p.12 (from now on abbreviated ad GG).
12
Nairen, Sandy. State of the Art: Ideas and the Images in teh 1980s, London: Chatt & Windu Ltd, 1987
13
GG, p.15.
14
GG, p.16.
15
Mitchell, W.J.T.. Picture theory, Picture Theory: Essays on Verbal and Visual Representation. Chicago: U of
Chicago P, 1994, p.371.
16
Mitchell, W.J.T.. Picture theory, Picture Theory: Essays on Verbal and Visual Representation. Chicago: U of
Chicago P, 1994, p.370.
17
http://www.crispinsartwell.com/graff.htm
18
Zrinski, Božidar. Grafitarji/Graffitists (2004): Mojstrovine Masterpiecies. In Liljana Stepančič (ed.) Grafitarji
Graffitists, Ljubljana, MGLC, 2004, p.46 (from now on abbreviated ad MM).
19
Basement premises of the Ljubljana FV Disco.
20
MM, p.46.
21
MM, p.52.
22
Velikonja, Mitja. Streets are saying things. Ljubljana: A Low-Tech Re-Action, 2006, p.2.
23
Steinat, Carolyn. Thought about the tearing down of the »schlachthof« area in Wiesbaden.
http://www.graffiti.org/faq/steinat.html
2
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Katja Jordan, Faculty of humanities Koper
Literature & References:

Ganz,
Nicholas
(2004):
Graffiti
World:
Street
art
from
five
continens,
Thames&Hudson, London

Mednarodni grafični likovni center, Grafiti kot sodobni spomeniki, 2004, Ljubljana

Cooper, Martha in Chalfant, Henry (1996): Subway art, London

Christ, Thomas (1984): Subway Graffiti, New York 82,83; Basel

Britannica Encyclopedia of Art 2005, The Brown Reference Group, London

Abel, Ernest L., Buckey, Barbara E. (1977): The writing on the wall: Toward
sociology and psychology of graffiti. Greenwood Press, Westport, Connecticut.

Stensili, posterji in stikerji, A Low-Tech Re-Action (2006), Ljubljana

Kolomančič, Petra (2001): Fanzini - Komunikacijski medij subkultur. Frontier 015.
Maribor, Subkulturni azil

Gržinič, Marina, Erjavec, Aleš (1991): Ljubljana, Ljubljana. Mladinska knjiga,
Ljubljana

Velikonja, Mitja. Streets are saying things. Ljubljana: A Low-Tech Re-Action, 2006

Gastman, Roger. Enamelized – Graffiti worldwide. Corte Madera, Bethesda: Gingko
Press, R77 Publishing, 2003.

Nairen, Sandy. State of the Art: Ideas and the Images in teh 1980s, London: Chatt &
Windu Ltd, 1987

Mitchell, W.J.T.. Picture theory, Picture Theory: Essays on Verbal and Visual
Representation. Chicago: U of Chicago P, 1994.

http://www.banksy.co.uk/menu.html

http://graffiti.org/faq/mythconceptions.html

http://www.crispinsartwell.com/graff.html

http://www.graffiti.org/faq/steinat.html
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15