Graffiti can be seen as one of the most original art forms of mankind, with origins, according to some scholars, dating back as far as 40,000 years. Probably the best known examples of early graffiti can be found in the caves of Lascaux, France, and Altamira, Spain. The word “graffiti” was first used by archaeologists and antiquaries around the year 1850 to describe scratched inscriptions found at ancient archaeological sites. Indeed, the word graffiti derives from the Italian word graffito (translated as “something scratched”). These early examples of graffiti help to shed light on ancient societies, while contemporary graffiti is considered to be a reflection of urban life. This article focuses on the modern forms of graffiti, with its several subgenres, as well as exploring the way we understand the term “graffiti” as it is used today. Many practitioners have an artistic approach toward graffiti, though some may approach it in a manner that could be construed as vandalism. The modern practice of graffiti in public spaces emerged around 1965–1966 in Philadelphia and New York, although other forms of unsolicited art in public spaces existed in Europe and Arabic countries around the same time. Toward the end of the 1980s, the publications Spraycan Art and Subway Art helped to popularize graffiti all over the world. The rise of the internet also played a major role in bringing this art form into every corner of the world. Today, graffiti can be found almost everywhere, having quickly become a global movement that shares common philosophies, techniques, and roots. There is now a substantial body of popular publications devoted to the subject of graffiti or street art, as it is sometimes classified, though most scholars differentiate the two categories. Many of these publications, as the topic suggests, are illustrated books, focusing on particular artists, different styles of graffiti, and historic backgrounds. Other sources go beyond the visual aspects, including extended texts with commentary, interviews, and quotes from the artists themselves. Each book functions as a sort of time-capsule, because graffiti is ever-evolving, not to mention ephemeral, as many of the works shown in these books do not exist anymore. Scientific research on the social, cultural, psychological, or criminal aspects of graffiti are mainly carried out as dissertations or scientific treatises. Some of these commentaries are presented in this article. Graffiti, as an art, contains various forms of expression and is constantly evolving to accommodate new styles, techniques, and approaches. So too must the scholarship in this field, as illustrated by the sampling of sources included here.
RajutKejut Art: Participatory Knitting Installation Artwork in Public Spaces
