This essay concerns Graffiti, and in particular Graffiti removal regarded as iconoclasm.Graffiti is described as a visual symbol laden with both negative and positive values, and sometimes as a meaningful expression in the urban public space. One problem with Graffiti as a field of study is the diversity of both the meaning of the term as well as the diversity of the phenomenon itself. Therefore I have defined the term Graffiti as follows: words and images painted on public walls by a person usually in an unauthorised manner. Specific examples of Graffiti and related phenomena are presented. Within the Swedish anti-Graffiti discourse the pejorative term klotter (scribbling) is used to describe what I above define as Graffiti.

The focus of this essay is to investigate if there lies a difference between Graffiti art that is placed in the public spaces and Graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that Graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the Graffiti art itself.  Meaning that Graffiti art situated in a communal space is different from Graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and Graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of Graffiti art..

The chosen task in this thesis is to compare two projects of importance on the impact on the approach to Graffiti in Norrköping and Göteborg. My main source for empirical findings was interviews. I have examined the Norrköping project Canslit including legal Graffiti walls and a Graffiti school and the political process around it. This was compared to the Göteborg project kulturprojekt Röda Sten, which is a cultural center that happens to be covered in illegal Graffiti. The conclusion was that due to the very detailed plans and well-functioning communications between actors in the Norrköping project, this has resulted in a creative, tolerant approach to Graffiti still with low rate of illegal Graffiti.

This study is about howStockholm?s policy for zero tolerance of Graffiti from 2007 affected the Graffiti culture inStockholm. We have researched what consequences there were for the practice of Graffiti, and what consequences there were for the stylistic performance of Graffiti. In doing so, we have had two focus group interviews and one deep interview including eight Graffiti writers from Stockholm. The individuals in the groups have been practising Graffiti for a varied amount of time, but we have representation from both before, and after/during the policy of zero tolerance from 2007. Our study shows that the result ofStockholm?s policy for zero tolerance of Graffiti for the Graffiti culture inStockholmwas a ?subcultureification?, a ?stylistic generalization? and the ?subculture?s ambivalent identity?.

The purpose with this essay is to examine and create an understanding for what meaning Graffiti and street art has for those who practice it. Furthermore, the practice of Graffiti and street art is seen in relation to how urban space is produced. Five semi-structured interviews and one group interview has been made to answer the questions "What meaning does Graffiti and street art has for those who practice it? Can it be seen as a way to construct identity?" "How do the artists relate to existing ideals about public space?" and "Does the artists see Graffiti and street art as a resistance against the normative representation of the city, in that case, how?" The theoretical framework consists of Mitchell's ideas about public space, Tonkiss' definition of social order, Lefebvre's spatial triad, de Certeau's concept of strategy and tactics, the concept of appropriation and Castell's theory about collective identity. The results showed that the practice of Graffiti and street art can be understood as a more complex practice than earlier research has shown.

I detta arbete underso?ks niondeklassares attityder gentemot bilda?mnet, Graffiti samt den illegala aspekten av Graffiti. Graffiti a?r ett visuellt uttryck vars vara eller icke vara i skolans bilda?mne a?r omdebatterat. I fo?rha?llande till Jan Thavenius (2003) resonemang om skolans ra?dsla fo?r att info?rliva en radikal estetik i undervisningen framsta?r Graffiti som a?mnesstoff som en va?lkommen didaktisk utmaning.

I detta arbete underso?ks niondeklassares attityder gentemot bilda?mnet, Graffiti samt den illegala aspekten av Graffiti. Graffiti a?r ett visuellt uttryck vars vara eller icke vara i skolans bilda?mne a?r omdebatterat. I fo?rha?llande till Jan Thavenius (2003) resonemang om skolans ra?dsla fo?r att info?rliva en radikal estetik i undervisningen framsta?r Graffiti som a?mnesstoff som en va?lkommen didaktisk utmaning.

Syftet men uppsatsen är att göra en kartläggning av perspektiv på Graffiti i det offentliga rummet. Detta görs genom kvalitativa intervjuer av semi-strukturell karaktär med sju olika aktörer som på olika sätt spelar en roll i konflikten om Graffitins existens i det offentliga. Uppsatsen präglas av ett humanistgeografisk perspektiv och undersöker även hur dessa sju aktörer upplever det offentliga rummet. Det teoretisk ramverket för uppsatsen är Doreen Massey´s Sense of place. Som också utgör det huvudsakliga källmaterialet.

Ända sedan Graffiti började förekomma i Sverige för ca 20 år sedan har den, nästan utanundantag, ständigt ökat i omfattning. Sveriges kommuner har försökt bemöta den illegalaGraffitins framfart med olika sorters förebyggande åtgärder. Dock har dessa metoder sällanutvärderats kvantitativt, och resultaten av de implementerade åtgärderna är ofta osäkra. Syftetmed denna studie är att med ekonometrisk metod utvärdera två av dessa metoder; lagligaväggar och snabbsanering. Förhållandet mellan dessa åtgärder och anmälda Graffitibrottundersöks med OLS-regressioner genomförda för en panel med 172 svenska kommuner underperioden 1996-2004.

?Undersökning syftar mot att visa att det finns informella läroprocesser inom den kreativa praktiken Graffiti och vilken roll de spelar när en utövare kommer in på en konsthögskola.Min frågeställning är, vilket inflytande denna informella läroprocess har haft för mina informanter, i deras val av utbildningsområde? För detta ställer jag också frågan, vilka moment som varit särskilt viktiga för mina informanter i den kreativa processen? Det ges en kortfattad beskrivning av Graffitins historia. Undersökningsdelen är baserad på intervjuer med tre informanter som själva målar Graffiti.Deras svar är sedan tolkade utifrån ett sociokulturellt perspektiv med hjälp av Roger Säljö och Lev S Vygotskij texter Lärande i praktiken och Fantasi och kreativitet i barndomen. I slutdiskussionen berörs lätt den kriminella aspekten av Graffiti och kampen om det offentliga rummet.Den gestaltande delen i examensarbetet utgörs av en Graffitimålning som gjordes utifrån en skiss som var daterad 1993. Gestaltningen får utgöra en symbol för en Graffitimålares resa från tåg och väggar in på en konsthögskola.Målningen gjordes i Vita havet på Konstfack..

The city?s public environments are meant to be perceived as safe and inviting areas to visit any time of the day. In recent decades the number of vandalism complaints has doubled and Graffiti has become so common that it received a separate category in the crime statistics. With this type of impacts in the public environments the experience are precarious and a boring sight. It?s difficult to put a price tag on these types of crimes, the number of unreported cases suspected to be large.

This thesis in Art History and Visual Science is about values to Graffiti and Graffiti artist Banksy. I have studied values relating to Banksy´s Graffiti images through which context they are placed in and where they are located. I have selected two different images of Banksy as an example on the basis of a transnational phenomenon, where the images that circulate in the public arena by street art and other images and imported into the galleries and consumption market. My conclusion is that the values of the images are based on the context in which each room have its surroundings and that therefore the impression will increase. The public space context, signal availability and the white cube context indicates art, and the commercial context signals goods and items that can be bought.

The city?s public environments are meant to be perceived as safe and inviting areas to visit any time of the day. In recent decades the number of vandalism complaints has doubled and Graffiti has become so common that it received a separate category in the crime statistics. With this type of impacts in the public environments the experience are precarious and a boring sight. It?s difficult to put a price tag on these types of crimes, the number of unreported cases suspected to be large.

Straffskalan för klotter skärps hela tiden. Ändå är det många som håller på. Det måste vara något annat än spänningen och viljan att synas som driver klottrarna.Den här artikelserien fokuserar kring problematiken och de rättsliga, konstnärliga och personliga aspekterna av klotter, samt personerna bakom ? både polis ochklottrare..

Graffiti kanske är en av vår tids mest uppmärksammade uttryckssätt. Mängder av texter har skrivits om kulturen ? många gånger i media. Ofta med ett angreppssätt som behandlar ekonomiska, sociala, juridiska eller kulturella aspekter inom Graffitikulturen. Syftet med denna forskning har dock inte varit att spinna vidare på något utav dessa aspekter, utan istället hitta en ny egen forskning.