{"title":"涂鸦的双重性:是故意破坏还是艺术?","authors":"A. Colombini","doi":"10.4000/ceroart.5745","DOIUrl":null,"url":null,"abstract":"Introduction Graffiti is found in many societies with different cultural contexts and has become a witness and an ethnographic source of information on urban art development (Waclawek, 2011). Modes of expression are mainly related to visibility, notoriety, choice of venue, transgression, and are often a mean to react and protest while remaining anonymous, by illegally introducing messages in the public space. Contemporary graffiti is also described by its controversial issues between social, ...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"89 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"The duality of Graffiti: is it vandalism or art?\",\"authors\":\"A. Colombini\",\"doi\":\"10.4000/ceroart.5745\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Introduction Graffiti is found in many societies with different cultural contexts and has become a witness and an ethnographic source of information on urban art development (Waclawek, 2011). Modes of expression are mainly related to visibility, notoriety, choice of venue, transgression, and are often a mean to react and protest while remaining anonymous, by illegally introducing messages in the public space. Contemporary graffiti is also described by its controversial issues between social, ...\",\"PeriodicalId\":30124,\"journal\":{\"name\":\"CeROArt Conservation Exposition Restauration dObjets dArt\",\"volume\":\"89 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-12-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"CeROArt Conservation Exposition Restauration dObjets dArt\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.4000/ceroart.5745\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"CeROArt Conservation Exposition Restauration dObjets dArt","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4000/ceroart.5745","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Introduction Graffiti is found in many societies with different cultural contexts and has become a witness and an ethnographic source of information on urban art development (Waclawek, 2011). Modes of expression are mainly related to visibility, notoriety, choice of venue, transgression, and are often a mean to react and protest while remaining anonymous, by illegally introducing messages in the public space. Contemporary graffiti is also described by its controversial issues between social, ...
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