Making marks, changing values: The contemporary significance of graffiti at historic sites (AHRC/ English Heritage CDA in Archaeology)
Lead Research Organisation:
University of York
Department Name: Archaeology
Abstract
This project aims to further explore and research examples of historic graffiti across English Heritage sites, with a particular focus on the north of England, with the aim of creating a catalogue of graffiti across the region. This project and subsequent research will become increasingly crucial and is a timely intervention, as examples of graffiti have been increasingly valued and shown to be of high socio-historic importance, revealing histories and stories that may have previously been hidden from historical narratives.
Through the research of graffiti examples across the English Heritage portfolio, this project aims to create a classification and typology of graffiti from sites of all periods. Although this project aims to focus on sites across the north of England, it is hoped that this research will help to better understand the national picture and develop assets and methodologies that can be used to inform interpretation across other sites through the creation of a transferable research framework.
In recent years, research has increasingly focused on assisting those responsible for historic building conservation with evaluation methods for determining whether historic graffiti is worthy of protection. By researching specific examples of historic graffiti, the project aims to work towards creating a greater understanding of the historic and contemporary significance of graffiti, which could in turn help to inform conservation practice across the region and further afield. The project aims to address questions of value in relation to examples of historic graffiti and mark making, which then hopes to help inform guidance around protection, resilience and the recording of examples of historic graffiti.
The protection of important examples of historic graffiti is key, as written on the English Heritage website:
'Even our breath can impact on graffiti, within a few minutes, a group of people within a single cell breathing warm, moist air into the space can significantly change the overall environment. A hand put on to steady yourself can dislodge lime-wash flakes. If a shoulder bag scuffs the wall, it can lead a line of loss in its wake.' (English Heritage)
This raises questions on the preservation of examples of historic graffiti: which examples are the most worthy of conservation efforts and what are the best methods to do this? How can you then show and reveal these important marks of history to the public - and encourage visitor participation - without causing further damage to them? The Richmond Cell Block Project, for example, has looked at how to increase public access in a controlled manner whilst also looking for ways to solve conservation challenges and protect the graffiti itself.
Public interaction with historic graffiti can lead to further questions around conservation and preservation, such as how can you preserve historic graffiti whilst encouraging visitors to not leave more graffiti? How do you communicate these messages to visitors and the general public? Kelburn Castle, a 13th Century Castle in Ayrshire, was covered in a graffiti mural by Brazilian street artists in 2007 with permission from the site's owner, the Earl of Glasgow. It was later lauded as one of the world's top ten examples of street art by author and designer Tristan Manco but also caused damage to the original castle walls, thus, asking the question: are examples of historic graffiti acceptable but not modern graffiti and, if so, why? (BBC, 2012)
Historic graffiti can provide information on past lives, whilst also providing information on how particular spaces have been used and valued over time. The project proposes that there is 'a human aspect to the unofficial and unsanctioned act of creating graffiti and the appropriation of a small part of a building by 'mark making'. Graffiti has the potential to reveal new stories which may not have been revealed through more traditional and conventional methods.
Through the research of graffiti examples across the English Heritage portfolio, this project aims to create a classification and typology of graffiti from sites of all periods. Although this project aims to focus on sites across the north of England, it is hoped that this research will help to better understand the national picture and develop assets and methodologies that can be used to inform interpretation across other sites through the creation of a transferable research framework.
In recent years, research has increasingly focused on assisting those responsible for historic building conservation with evaluation methods for determining whether historic graffiti is worthy of protection. By researching specific examples of historic graffiti, the project aims to work towards creating a greater understanding of the historic and contemporary significance of graffiti, which could in turn help to inform conservation practice across the region and further afield. The project aims to address questions of value in relation to examples of historic graffiti and mark making, which then hopes to help inform guidance around protection, resilience and the recording of examples of historic graffiti.
The protection of important examples of historic graffiti is key, as written on the English Heritage website:
'Even our breath can impact on graffiti, within a few minutes, a group of people within a single cell breathing warm, moist air into the space can significantly change the overall environment. A hand put on to steady yourself can dislodge lime-wash flakes. If a shoulder bag scuffs the wall, it can lead a line of loss in its wake.' (English Heritage)
This raises questions on the preservation of examples of historic graffiti: which examples are the most worthy of conservation efforts and what are the best methods to do this? How can you then show and reveal these important marks of history to the public - and encourage visitor participation - without causing further damage to them? The Richmond Cell Block Project, for example, has looked at how to increase public access in a controlled manner whilst also looking for ways to solve conservation challenges and protect the graffiti itself.
Public interaction with historic graffiti can lead to further questions around conservation and preservation, such as how can you preserve historic graffiti whilst encouraging visitors to not leave more graffiti? How do you communicate these messages to visitors and the general public? Kelburn Castle, a 13th Century Castle in Ayrshire, was covered in a graffiti mural by Brazilian street artists in 2007 with permission from the site's owner, the Earl of Glasgow. It was later lauded as one of the world's top ten examples of street art by author and designer Tristan Manco but also caused damage to the original castle walls, thus, asking the question: are examples of historic graffiti acceptable but not modern graffiti and, if so, why? (BBC, 2012)
Historic graffiti can provide information on past lives, whilst also providing information on how particular spaces have been used and valued over time. The project proposes that there is 'a human aspect to the unofficial and unsanctioned act of creating graffiti and the appropriation of a small part of a building by 'mark making'. Graffiti has the potential to reveal new stories which may not have been revealed through more traditional and conventional methods.
| Description | Removal, Re-interpretation or Re-contextualisation? A Conversation on Contested Statues, Resistance and the Reimagination of Public Spaces |
| Organisation | University of York |
| Department | Humanities Research Centre |
| Country | United Kingdom |
| Sector | Academic/University |
| PI Contribution | Organisation of an interdisciplinary event: Removal, Re-interpretation or Re-contextualisation? A Conversation on Contested Statues, Resistance and the Reimagination of Public Spaces (to take place in the 2022 Spring Term). This is an event organised by PhD and MA researchers from the Department of Archaeology, Department of Politics and Department of History of Art at the University of York, organised in collaboration with the Anti-Racism Working Group. |
| Collaborator Contribution | The event has been supported by a Small Projects Grant from the Centre for Modern Studies and an HRC Collaborative Postgraduate Project Grant. |
| Impact | This is an interdisciplinary and multi-disciplinary event organised by postgraduate researchers from the University of York, with academic and non-academic speakers who are able to bring their insight and experience to the discussion of contested statues, resistance and the potential for reimagination of public spaces. |
| Start Year | 2021 |
| Description | '"I Was Here": Tourist Marks to Tagging, a Consideration of Graffiti Practices as a Way to Express Personal Identity', New Directions in Eighteenth- and Nineteenth-Century Art and also at the Countervoices March Research Seminar |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Postgraduate students |
| Results and Impact | '"I Was Here": Tourist Marks to Tagging, a Consideration of Graffiti Practices as a Way to Express Personal Identity', New Directions in Eighteenth- and Nineteenth-Century Art and also at the Countervoices March Research Seminar. Abstract: As a form of public mark-making, modern graffiti is usually defined by its illegality and as a form of anti-social and criminal behaviour, often regardless of the various contexts within which these marks are situated. However, whether this particular definitional understanding of graffiti is applied to a mark can largely depend on the spatial and temporal context of the graffiti itself. Juliet Fleming has pointed out that in early modern England graffiti was not necessarily distinguished from other writing practices and not yet considered a vice. Furthermore, in her work, Fiona McDonald has looked at the association of graffiti practices and the Grand Tour, when it was popular for individuals to leave their marks - such as their initials, names and the date - when visiting heritage sites as part of the tourist experience. Not only do such tourist marks reveal an individual's desire to record their presence within these spaces, as they leave their mark for posterity by symbolically writing 'I was here', such marks can also illustrate how our relationships with historic sites, and the built environment more generally, has changed over time. It was arguably only in the 19th century that graffiti was increasingly considered a criminal act, whilst the concept of 'official heritage' was also becoming more prominent. Whilst historic graffiti has increasingly become the focus of recording, preservation and conservation, their modern descendant marks are actively discouraged. This is in no way to suggest that modern graffiti practices, particularly those on historic sites, should be encouraged, but to consider how historic tourist marks from the 18th and 19th centuries can help us to understand how relationships with historic sites have shifted over time, through the consideration of what was once, but is no longer, considered acceptable practice. With a focus on one's name, or pseudonym, both tagging and historic tourist marks can be viewed as a statement of being and a way to express personal identity, yet, it is our differing reactions to them which can reveal how much our relationship with heritage has changed over time. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://ndenca.wordpress.com/past-series-2/ |
| Description | 'From Tagging to Tourist Marks: Historic and Contemporary Graffiti as a Form of Personal Expression', North Duffield Society Talk - outreach, April 2021 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Public/other audiences |
| Results and Impact | 'From Tagging to Tourist Marks: Historic and Contemporary Graffiti as a Form of Personal Expression', North Duffield Society Talk - outreach, April 2021. |
| Year(s) Of Engagement Activity | 2021 |
| Description | 'From Tagging to Tourist Marks: Historic and Contemporary Graffiti as a Form of Personal Expression', Pocklington U3A tourist graffiti talk, November 2020 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Public/other audiences |
| Results and Impact | 'From Tagging to Tourist Marks: Historic and Contemporary Graffiti as a Form of Personal Expression', Pocklington U3A tourist graffiti talk, November 2020. |
| Year(s) Of Engagement Activity | 2020 |
| Description | 'Imagined Realities: How Truthful is the Presentation of Pandemic Graffiti in Cinema?' Countervoices: Pandemic, Crisis and Modern Studies - Twitter conference |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | Twitter paper on 'Imagined Realities: How Truthful is the Presentation of Pandemic Graffiti in Cinema?' for the Countervoices: Pandemic, Crisis and Modern Studies 2020 Twitter conference. Abstract: From Metropolis to La Jetée, Mad Max to Children of Men, filmmakers have been interested in depicting dystopian and post-apocalyptic landscapes, and societies' reactions to them, throughout cinematic history. These visions and our imagined reactions have become an important part of cinematic language. A subset of this genre are films which deal with depicting infectious disease outbreaks and pandemics, including The Seventh Seal, 28 Days Later and Contagion to name a few. When it comes to more contemporary depictions of how societies react to pandemics and how they would react in a post-apocalyptic world, an easy visual cue to filmmakers is through the use of graffiti in the background as shorthand for social unrest. In these depictions, filmmakers allude to graffiti's illegal, anti-social and anarchic associations. The current Covid-19 pandemic has shown that graffiti can mean so much more and is often used as a sign of hope as well as despair. Across the globe, graffiti has been used as communication, for community spirit and as personal expression. How much do our fictional representations of life under a pandemic actually reflect the reality, and should graffiti also be used as code for hope in troubling times? |
| Year(s) Of Engagement Activity | 2020 |
| URL | https://twitter.com/emmavbryning/status/1271366284186398720 |
| Description | Currently co-organising the second 'Making your Mark' graffiti conference to be held at the University of York. |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | Making your Mark: 2nd Graffiti Conference, the national symposium for the study of historic graffiti. I have been in the process of co-organising this - as the University of York representative, where the upcoming conference is to be held - prior to the start of Covid-19 pandemic though there are now plans for this to take place in the Autumn Term of 2022. |
| Year(s) Of Engagement Activity | 2022 |
| URL | https://www.facebook.com/historygraffiti/ |
| Description | Graffiti in a Time of Corona' paper, TAGging Through Time session, Antiquity TAG, 2021 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Graffiti in a Time of Corona' paper, TAGging Through Time session, Antiquity TAG, 2021. Abstract: The desire to leave one's mark on the world around us has been around for tens of thousands of years, from prehistoric mark-making up to the present day with contemporary graffitists. The universality of mark-making as a practice means that marks within our landscapes and environments have been found across the globe and across time, yet the marks themselves are inherently reflective and reactive to a specific moment in time: mark-makers can respond to a particular moment using physical and artistic gestures on the built environment around them. During the current Covid-19 pandemic, our understanding of the distinction between public and private spaces has further intensified, a distinction which many modern graffitists have been responding to for decades. It has been during this time of global upheaval and uncertainty that the work of graffitists has also become even more apparent in an increasingly globalised world, whilst the importance of graffiti has also been demonstrated on a more localised and community level as well. Throughout the past couple years during this Covid-19 pandemic, graffiti has been used to share messages of hope and solidarity; to challenge political decision-making and socio-economic inequalities; to celebrate medical staff and key workers, and even to share conspiracy theories and spread mis-information. For many during this pandemic, graffiti is likely to have helped inform part of our visual understanding of Covid-19 so far. This paper aims to examine some of the interesting ways that people have used graffiti to publicly respond in uncertain times. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://2021tagconference.wordpress.com |
| Description | Graffiti project at Belsay Hall to teach volunteers how to record graffiti and also sent over graffiti recording forms and database to use on project. |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Public/other audiences |
| Results and Impact | Graffiti project at Belsay Hall - managed by English Heritage, PhD institutional collaborative partner - to teach volunteers how to record graffiti and also sent over graffiti recording forms and database to use on project. |
| Year(s) Of Engagement Activity | 2021 |
| Description | Graffiti through the Ages, York Festival of Ideas, June 2020 |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Public/other audiences |
| Results and Impact | Graffiti Through the Ages for York Festival of Ideas: From pre-historic rock art to modern day graffiti tags, humans have been leaving their marks on the world around them for tens of thousands of years. Archaeologist Emma Bryning discusses graffiti through the ages and explains how to make your own cave drawing, graffiti tag and stencil art. |
| Year(s) Of Engagement Activity | 2020 |
| URL | https://yorkfestivalofideas.com/2020-online/discovery-zone/graffiti-ages/ |
| Description | Graffiti: What Does Mark-Making Tell Us?, YorNight Graffiti engagement and graffiti wall, February 2020 |
| Form Of Engagement Activity | Participation in an activity, workshop or similar |
| Part Of Official Scheme? | No |
| Geographic Reach | Regional |
| Primary Audience | Public/other audiences |
| Results and Impact | Graffiti: What Does Mark-Making Tell Us?, YorNight Graffiti engagement and graffiti wall, February 2020. What can graffiti tell us about people, past and present? Find out about two York-based research projects exploring historic and contemporary graffiti - a collaboration between the University of York and English Heritage, and a project based at York St John University on the politics of mark-making. View and interpret the meaning behind historic graffiti, and then unleash your creatviity and represent these meanings yourself on a graffiti wall. Meet the researchers: Professor John Schofield, Emma Bryning and Megan Leyland, Department of Archaeology, University of York, and Dr Tyson Mitman and Charlie Kendall, School of Psychological and Social Sciences, York St John University |
| Year(s) Of Engagement Activity | 2020 |
| URL | https://www.york.ac.uk/news-and-events/events/yornight/2020/activities/graffiti/ |
| Description | Keywords' submission on 'Graffiti' for CEMS KCL Blog |
| Form Of Engagement Activity | Engagement focused website, blog or social media channel |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | Blog article produced for the Centre for King's College London's Early Modern Studies on 'graffiti'. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://kingsearlymodern.co.uk/keywords/graffiti |
| Description | Life under lockdown - how have communities and artists responded to life during the coronavirus pandemic?, alternative submission, short film, Global Concerns in Storytelling, TFTI PG Symposium |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Postgraduate students |
| Results and Impact | Life under lockdown - how have communities and artists responded to life during the coronavirus pandemic?, alternative submission, short film, Global Concerns in Storytelling, TFTI PG Symposium Abstract: This short-film aims to look at the ways in which street and graffiti artists, individuals and communities have responded to the current coronavirus pandemic through the artistic, and public, practice of mark-making. The film will explore how such marks have been created in order to express messages of hope, frustration and solidarity on both a local and global scale. It includes images of graffiti and street art practices created across the world in response to the current pandemic and shared on the internet for a global audience. It will also include local footage taken during the film-maker's allowed daily exercise, reflecting community and individual responses to life under lockdown form a personal perspective. Graffiti and street art are usually very contemporary in their nature, and reflect a position in a particular space and moment in time. As individuals and communities respond to how life has dramatically changed over the last few months, and potentially experience both personal and shared states of grief, all efforts will be made for the film to be made as sensitively as possible and warnings will also be given beforehand for those who might be personally affected by such content. |
| Year(s) Of Engagement Activity | 2020 |
| URL | https://www.york.ac.uk/tfti/events/events-2020/pgsymposium/ |
| Description | Pilgrim CHAT 2021 Conference: Paper on 'Graffiti Tourism: from Mark Makers to Mark Seekers'. |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Pilgrim CHAT (Contemporary and Historical Archaeology in Theory' 2021 Conference: Paper on 'Graffiti Tourism: from Mark Makers to Mark Seekers'. Presentation and online photography exhibition featuring graffiti marks in a 3D virtual gallery and through an Instagram account. The exhibition could also be accompanied by a presentation exploring the relationship between graffiti, tourism and movement. Photographs displayed will reflect the conference theme of 'movement' as it will feature images which focus on graffiti tourism, including those made by historic and contemporary tourists themselves, as well as graffiti and street art which attract significant tourism themselves, including those where the graffiti has become part of the area's sense of 'place'. Abstract: As an act of mark-making, graffiti can be understood as a form of visual communication, as an example of self-expression or as an art form, as part of a subcultural practice, as an historic record and as part of both a global movement and a way to understand local environments as they can contribute to a sense of 'place'. Alongside all of this, graffiti can also viewed as physical evidence of movement and a type of materiality left behind which can help shape the landscapes and environments around us. Graffiti as a form of 'materiality of movement' can be evidenced in both historic and contemporary marks: this includes the recurring connection between freights, trains, subways and graffiti; marks created at pilgrimage sites as a 'mark of prayer and thanksgiving' (Easton 2015); the aesthetics and physical form of modern graffiti which often includes suggested movement, such as the use of arrows; how images of graffiti are increasingly shared across the globe, providing graffitists which new audiences, and the interesting connection between tourism and this mark-making practice. Furthermore, Matthew Champion has written that graffiti can become more prominent at times when populations become more mobile (2017, p7). This idea can be seen in graffiti connected to the Grand Tour when individuals would leave marks as part of their tourist experience and how leaving graffiti at heritage sites became an increasingly common practice in Britain in the 19th-century due to factors including increased leisure time and the advent of the railways. This practice of leaving a marker to state 'I was here' continues to be a common practice to this day, as many individuals leave something behind of themselves as they visit new spaces, as tourist marks, or as a way of forging a connection with the environments around them as they move between spaces, such as with tagging. Whilst historic and contemporary tourist graffiti can be understood as evidence of the materiality of movement, graffiti and street art can increasingly attract tourists themselves with individuals travelling to see particular pieces or graffiti hot-spots. Consequently, graffiti can both serve as evidence of travel and tourism, the mark-makers, and also as part of the reason for such movement, the mark-seekers. This digital exhibition aims to display a variety of photographs which demonstrate the relationship between graffiti, tourism and movement, featuring marks made in a variety of different contexts and from a range of historic periods. These images will come from a collection of photographs taken by myself during the course of my research project which seeks to explore whether understanding graffiti creation today helps to better understand their role in the past. Each photograph will be accompanied by a description (describing the image itself to increase accessibility and some contextual detaila) as well as location information in case viewers are able to and want to seek-out the graffiti in-person themselves. If there is interest, the Instagram exhibition could later grow and accept audience submissions during or after the conference month. However, the 3D virtual gallery may only be temporary for the duration of the conference, reflecting the oft ephemeral nature of graffiti itself. If the conference organisers were interested, the digital exhibition could also be accompanied by a presentation exploring the relationship between graffiti, tourism and movement. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://sites.google.com/view/mark-makers-and-mark-seekers/home |
| Description | Resistant Writings: Considering the Relationship Between Graffiti, Power and Privilege in Controlled and Restricted Spaces, Durham Castle Conference 2021 |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Postgraduate students |
| Results and Impact | Resistant Writings: Considering the Relationship Between Graffiti, Power and Privilege in Controlled and Restricted Spaces, Durham Castle Conference 2021. Subsequent entry to the Durham Castle Conference Journal 2021. Abstract: This paper aims to examine how graffiti has been used as a tool of resistance through attempts to highlight or react against power structures and perceived injustices, particularly focusing on confined or controlled spaces. When considering how graffiti relates to power dynamics and systems of privilege it is important to try to examine the message behind the graffiti, its spatial context and the social context of the graffitist themselves. In order to demonstrate the relationship between these varying factors, a few case studies will be discussed. This includes the graffiti left by conscientious objectors imprisoned in Richmond Castle's cell blocks, who recorded their presence on the walls around them, alongside graffiti and street art examples which have been created during the Covid-19 pandemic. Finally, this paper will focus on how restriction can function as resistance in cases where mark-making actually reinforces power dynamics and the graffitist's social privilege. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://issuu.com/castlemcr/docs/durham_castle_journal_2021 |
| Description | Theoretical Archaeology Group 2022, Session 23: TAGging through time: new perspectives on graffiti and mark-making, from ancient to modern times |
| Form Of Engagement Activity | A formal working group, expert panel or dialogue |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Professional Practitioners |
| Results and Impact | Co-organiser and co-chair for Session 23 'TAGging through time: new perspectives on graffiti and mark-making, from ancient to modern times' at the Theoretical Archaeology Group Conference 2022. Session description: Tagging, getting-up, throwing-up, bombing, scribbling, scratching, drawing, writing, spraying, vandalising As an act of mark-making, graffiti can be described using a variety of terms, reflecting both its interdisciplinary nature as well as its historic and subcultural roots. Although commonly perceived as a modern phenomenon, graffiti can be viewed as a continuation of mark-making practices from pre-history and ancient history through to the present day. Such mark-making practices have been repeatedly described as a declaration of 'being' and confirmation of existence in a particular time and space, a topic pertinent to this year's theme of 'life'. The study of graffiti intersects with a wide variety of disciplines and can be understood as a form of visual communication, an expressive art form, evidence of anti-social behaviour, a way of understanding private and social spaces, a global movement, and as an historic record. How this type of mark-making is understood often depends on one's own positioning, influencing language choices and the treatment of the marks themselves. Over the last few decades, there has been an increased interest in the study of historic graffiti, while the discourse into contemporary mark-making continues to grow. Rarely, however, are the two discussed together. This session hopes to bring together speakers from a variety of disciplines and different perspectives who interact with and study mark-making in order to gain a more interdisciplinary understanding of mark-making practices over time and how we might understand graffiti today. |
| Year(s) Of Engagement Activity | 2021 |
| URL | https://tagleicester2020.wordpress.com/2020/05/22/session-23-tagging-through-time-new-perspectives-o... |
| Description | Viewpoints on Historic and Contemporary graffiti for PlaceCloud website |
| Form Of Engagement Activity | Engagement focused website, blog or social media channel |
| Part Of Official Scheme? | No |
| Geographic Reach | International |
| Primary Audience | Public/other audiences |
| Results and Impact | Series of audio clips written and recorded for the PlaceCloud website on historic and contemporary graffiti, with entries on: Prison Graffiti in the Beauchamp Tower, Tower of London; police graffiti at Myddleton Passage, Clerkenwell, Islington; Poplar Rates Rebellion Mural, Tower Hamlets; Romeo and Juliet Mural, New Inn Broadway, Shoreditch; Squatters' Graffiti at Sutton House; Graffiti at Hampton Court Palace; Wellclose Prison debtor's cell at the Museum of London; Sex Pistols Graffiti, No. 6 Denmark Street; Historic graffiti at St Augustine's Tower, Hackney; Leake Street Graffiti Tunnel; Graffiti at Southbank Undercroft; Dulwich Outdoor Gallery Street Art collection; 'G. DAVIS IS INNOCENT' graffiti; the Lord Napier Graffiti Pub; 'A Couple Hold Hands in the Street' and 'The Crane', near Brick Lane; Camden Lock Bridge graffiti; the Stockwell Park Graffiti Pen and Hall of Fame; the Trellick Tower Graffiti Hall of Fame. |
| Year(s) Of Engagement Activity | 2021,2022 |
| URL | https://placecloud.io/author/emma-bryning/ |