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The World War II meme that circled the world

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Amid the chaos and violence of the Vietnam War, American soldiers adorned their helmets with intricate and often striking artwork.

These helmet designs served as a means of personal expression, conveying messages of patriotism, camaraderie, and protest.

Today, these helmets stand as powerful symbols of the human experience of war, offering a glimpse into the minds and hearts of those who lived through it.

In this context, the study of helmet art of the Vietnam War is a fascinating and thought-provoking subject, shedding light on the intersection of art, history, and human psychology.

The practice of decorating military helmets dates back centuries, but it was during the Vietnam War that the tradition truly flourished.

While technically, soldiers were not allowed to decorate their gear, most commanding officers allowed some individuality as long as it did not reflect badly upon the unit or branch.

However, while commanding officers allowed some leniency regarding graffiti, men were still instructed to stay away from photographers and journalists.

As the War drug on some of the designs began to develop anti-war sentiments, whether consciously or subconsciously.
The designs on these helmets varied widely, from simple initials and insignia to elaborate illustrations and slogans. Some soldiers painted scenes of home or loved ones, while others depicted violent or provocative imagery.

One of the most famous examples of helmet art from the Vietnam War is the "Death Card" design, popularized by the 1st Cavalry Division.

The design featured a skull with wings and the phrase "When I Die, I'll Go To Heaven, Because I've Spent My Time In Hell." This design became a symbol of the fierce fighting spirit of the division and was widely adopted by other units.

Other common slogans were "War is Hell," "Kill a Commie, for Mommy," "War is Good Business, Invest Your Son" and "Hear All Evil, See All Evil, Kill All Evil."

Another popular design was the "Peace Symbol," which featured a simple drawing of a dove or the peace sign. This design was often used by soldiers who opposed the war and sought to express their anti-war sentiments.

Many of these soldiers were conscientious objectors or protesters who had been drafted into military service.

Other designs were more personal in nature, featuring family members, pets, or hometowns. These designs served as a reminder of what soldiers were fighting for and what they hoped to return to when the war was over.

Still, others featured humorous or irreverent slogans, reflecting the soldiers' need to find levity and humor amid the chaos and horror of war.

While helmet art was an important part of the soldier's experience during the Vietnam War, it was not without controversy.

Some military officials viewed the practice as a distraction or even a violation of military protocol. In some cases, soldiers were ordered to remove their helmet art or face disciplinary action.

Despite these concerns, helmet art remained a beloved tradition among soldiers throughout the Vietnam War and beyond.

The war exacted an enormous human cost: estimates of the number of Vietnamese soldiers and civilians killed range from 966,000 to 3 million. Some 275,000-310,000 Cambodians, 20,000-62,000 Laotians, and 58,220 U.S. service members also died in the conflict.

The end of the Vietnam War would precipitate the Vietnamese boat people and the larger Indochina refugee crisis, which saw millions of refugees leave Indochina, an estimated 250,000 of whom perished at sea.

Once in power, the Khmer Rouge carried out the Cambodian genocide, while conflict between them and the unified Vietnam would eventually escalate into the Cambodian-Vietnamese War, which toppled the Khmer Rouge government in 1979.

In response, China invaded Vietnam, with subsequent border conflicts lasting until 1991. Within the United States, the war gave rise to what was referred to as Vietnam Syndrome, a public aversion to American overseas military involvements, which, together with the Watergate scandal contributed to the crisis of confidence that affected America throughout the 1970s.

In the domestic debate over the reasons for the US being unable to defeat North Vietnamese forces during the war, conservative thinkers, many of whom were in the US military, argued that the US had sufficient resources but that the war effort had been undermined at home. I

n an article in Commentary, "Making the World Safe for Communism," the journalist Norman Podhoretz stated:
Do we lack power?... Certainly not if power is measured in brute terms of economic, technological, and military capacity. By those standards, we are still the most powerful country in the world.... The issue boils down in the end, then, to the question of will.
The term "Vietnam Syndrome" thereafter proliferated in the press and policy circles as a way of explaining the United States, one of the world's superpowers, failing to repel North Vietnam's invasion of South Vietnam.

Many hawkish conservatives such as Ronald Reagan agreed with Podhoretz. In time, the term "Vietnam Syndrome" expanded as a shorthand for the idea that Americans were worried they would never win a war again and that their nation was in utter decline.
(Photo credit: Pinterest / Wikimedia Commons / Flickr).

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The Helmet Art: Vintage Photographs of Graffiti on Soldiers' Helmets During the Vietnam War

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Amid the chaos and violence of the Vietnam War, American soldiers adorned their helmets with intricate and often striking artwork. These helmet designs served as a means of personal expression, con...

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Coronavirus street art - London May 2020

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New book Spray Nation shares unseen photos of New York’s pioneering graffiti artists

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A new book shares unseen photos of New York’s pioneering graffiti artists.

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What is Street Art? History & Famous Artists | Artland Magazine

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Learn about how street art turned cities into open sky museums and the artists that found their way from the streets into high art!

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At STRAAT, we showcase some of the most amazing contemporary graffiti and street art. But there is a long history that predates these artworks. What were some of the key events that would eventually lead to graffiti and street art finding their way to museums such as STRAAT? That's where this extended historic overview comes in. This overview aims to introduce crucial moments in the development of both graffiti and street art, which paved the way for the artworks we currently have on display. While we are aware that name writing and art in the public space is about as old as humankind itself, we deliberately start this overview with the birth of ego-oriented name writing graffiti.

The '60s and '70s mark the birth of graffiti and street art culture. In these decades, we see the cultures develop out of their infancies and take their first steps towards adulthood. On the one hand, graffiti and street art have always been and continue to be met with great resistance. But the stylistic developments within graffiti, and the first explorations of the public space by conceptual artists, lead to people from outside graffiti and street art to also notice the artistic potential of the movements. This would result in, amongst many other things, several mainstream media items on graffiti and street art, and the first taste of high brow art success.

History of graffiti and street art: the 1960s

1967 / Philadelphia / Early tags by Cornbread mark the birth of the graffiti movement. After first putting up his name everywhere in a youth detention center, Cornbread continues his dedicated name writing once he returns to the Philadelphia streets. To impress his love interest, he writes his name everywhere along her bus route. He then continues these endeavors on other big bus lines as well. This makes him the first writer to achieve all-city fame, sparking the idea of 'writing your name everywhere to make it big'.

1967 / Philadelphia / Cool Earl uses the arrow as an element in his tags. Many writers would follow this example, adding arrows, stars, copyright icons and much more figurative elements to make their tags stand out.

1968 / New York / Early tags by Julio 204. Although he was only on the scene for a couple of years, Julio 204 was very important for the development of graffiti, as his tags were a major inspiration for graffiti legend TAKI 183.

Cornbread / TAKI 183

1968 / Europe & USA / Large-scale protests by university students. Students from the Sorbonne University in Paris and New York's Columbia University are the first to adopt the visual language of graffiti for their slogans.

1969 / New York / Early tags by TAKI 183. As a delivery boy, TAKI visits all five boroughs of New York and beyond, and leaves his name and street number - 183 - everywhere. He does it in such a dedicated way, that mainstream media aims to track him down, which eventually results in the 1971 New York Times article 'Taki 183 spawns pen pals'.

1969 / 'Names, Graffiti and Culture' (Urban Review, April Issue) by Herbert Kohl is the first scientific article about the graffiti movement.

History of graffiti and street art: the 1970s

1970 / Paris / French artist Daniel Buren goes around flyposting in the Paris, New York and Tokyo metro - a site-specific project that becomes known as 'Affichages Sauvages', arguably the first series of poster art.

1971 / New York / SJK 171 - currently on display in our Quote from the streets exhibition - introduces his squiggly lines. These radiant energy lines were later popularized by iconic artist Keith Haring.

1971 / New York / Super Kool 223 paints the first masterpiece on a subway train. The idea of pieces - the larger-sized graffiti works - gives writers more creative opportunities to separate themselves from their competition through the use of (amongst other things) color, connections between letters, shadows, highlights, backgrounds and figurative elements such as arrows and stars. Quality - or having style - starts to gain importance, which helps people from outside the subculture recognize the artistic potential of the movement.

1971 / New York / Birth of WC188 (Writers Corner 188), the first graffiti crew. The corner of Audubon and 188th Street became a popular meeting point for graffiti writers to exchange stories.

1971 / New York / The New York Times (July 21st) publishes Charles Don Hogan's story of TAKI 183 ('Taki 183 Spawns Pen Pals'). This article inspires countless graffiti writers to have a more thorough, strategic, citywide approach to their writing, as they hope to make their name as big as TAKI - the writer who wasn't only up in all five boroughs and beyond, but also made it to the New York Times.

1972 / New York / The City College, although not an art gallery but an educational institute, hosts the first graffiti exhibition; it features works by the collective 'United Graffiti Artists'. This happens after sociologist Hugo Martinez brings together some of the top graffiti writers of the early '70s and convinces them to create graffiti art on canvas. This eventually leads to the first art gallery graffiti exhibition.

1972 / New York / Graffiti has become a political issue and the 'Anti-Graffiti Bill' gains council approval, making it illegal to carry aerosol cans into public facilities. Meanwhile, many citizens line up against what is widely regarded as vandalism and help clean up the city.

1973 / New York / The collective 'United Graffiti Artists' exhibits at the Razor Gallery in SoHo, New York, which makes for the first art gallery show with artworks by graffiti writers. The show even attracts several art critics from highly respected New York newspapers, some of which would write raving reviews about the artworks. Graffiti first enters the high-brow art playing field.

1973 / New York / Writers start painting whole train cars. By painting every inch of the subway wagons, writers eventually focus on more than just their names, as we start to see portraits, characters, background scenery, sociopolitical messages, abstract graffiti and more appear on the trains.

LEE whole car / Punk graffiti in Amsterdam

1973 / New York / Choreographer and dancer Twyla Tharp performs on stage with graffiti writers painting in the background, bringing graffiti into other forms of 'high' culture.

1974 / Chicago / The collective 'United Graffiti Artists' exhibits at the Museum of Science and Industry.

1975 / New York / The Transit Police Graffiti Squad is constituted and all the subway trains are cleaned, only to be painted again shortly thereafter.

1977 / Europe / Birth of punk graffiti in the UK and the Netherlands; punks write slogans, band names and their own nicknames on walls. Even though multiple European countries were familiar with sociopolitical graffiti slogans, this marks the start of a more ego-oriented graffiti writing. Most writers had no clue something similar was taking place in the US.

1978 / Paris / Ernest Pignon-Ernest pastes silkscreen portraits of Arthur Rimbaud around the romantic poets' favorite locales in Paris.

1978 / Publication of the book Graffiti a New York by Andrea Nelli. As a student in his early twenties visiting New York City, Nelli documents tons of graffiti and makes it the subject of his thesis in Literature.

1979 / Rome / Galleria La Medusa opens 'The Fabulous Five / Purest Form of New York Art', the first European art gallery show with artworks by graffiti writers. This event took place after gallery owner Claudio Bruni responded to Fab 5 Freddy's 'advertisement' of buying graffiti per square foot in Howard Smith's Village Voice article.

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By Giulia BLocal and Alex Pope

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History of graffiti and street art: the 1960s and the 1970s

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The '60s and '70s mark the birth of graffiti and street art; we see the cultures develop out of their infancies and take their first steps to adulthood.

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We promise to only send you information and highlights about exhibitions, events, and special releases related to Obey Giant.

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A Closer Look: André the Giant by Shepard Fairey - 1989

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A Closer Look at the Story of the famous André the Giant Has a Posse and OBEY Giant Stickers by Shepard Fairey - Deodato Arte

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Cave Painting Removal, May 2008 - Banksy Explained

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Cave Painting Removal Cave Painting Removal Date: May 2008 Location: Leake street tunnel, London, England This mural was created at the occasion of the Cans Festival, a "street party of stencil art" organized and hosted by Banksy in May 2008. Cave Painting Removal portrays a man, most probably a city worker, who seems to [...]

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Darryl McCray, known by his tagging name, “Cornbread,” is a graffiti artist from Philadelphia, credited with being the first modern graffiti artist. Darryl McCray was born in North Philadelphia in 1953 and raised in Brewerytown, a neighborhood of North Philadelphia. During the late 1960’s, he and a group of friends sta

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All available silk was needed for making parachutes. American soldiers over here could get “Nylon”…

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Berlin Wall Trabant | World History Commons

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This painting by Birgit Kinder is on a segment of the Berlin Wall that was on the east bank of the Spree River that separated portions of East and West Berlin. Because this section of the wall was on the opposite shore of the river, it was not covered by graffiti as was the case with the rest of the west face of the Wall (accessible to West Berliners). After the reunification of East and West Germany, this segment of the wall was made into a public gallery and various artists were invited to add their work to the wall’s unadorned segments. This particular image commemorates not only the breaking of the wall in November 1989, but the ubiquitous Trabant--the car driven by most East Germans in 1989.

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Mister President, We Hope You’re On Our Side on JSTOR

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JSTOR is a digital library of academic journals, books, and primary sources.

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cyber-graffiti is something that we haven't seen and it surprises me. i would think with the development of technology and hackers we would be seeing invasive art on public web pages

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and if the artist's name and identity is usually hidden how will AI effect the practice? how will you know what is human made or not

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expressing his part in the LGBT community

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using chalk an non permanent way to graffiti

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More than just an unsightly nuisance, graffiti is commonly seen as a form of vandalism that devalues property and consumes valuable police time and other public resources. More often than not, graffiti tarnishes our local neighbourhoods, damages key infrastructure, and causes severe financial losses to both individuals and businesses within our communities. But some argue that graffiti is in fact a form of creative expressionism. Let's dive deeper!

Tagging vs. Graffiti Artwork

Modern graffiti finds its roots in places where there is a strong need for social change or where street art acted as a major propellant of expression and dialog between groups of people. With its origins stretching as far back as the 1960s, graffiti as we know it today was born in New York and Philadelphia where young people would spray images on buildings and the side of subway trains.

By the 1980s, graffiti had morphed from its origins as expressive artwork to a method of marking territory, often used by gangs to denote that an area belonged to them. This became known as tagging.

The outcome was two distinct groups of graffiti 'artists' - those who believed that what they were creating was artistic, and those who used graffiti as a tool for organised crime.

According to a report by Keep Britain Tidy, graffiti is regarded by the general public as either legitimate and permissible or illegal depending on the type of graffiti, location and context. In the simplest terms, most people believe that graffiti is acceptable if it is of a high quality and contains community-based artwork. Tagging is perceived as the least acceptable type of graffiti, in part because it is overtly common and meaningless to the average passer-by.

The Keep Britain Tidy report also found that people often confuse tagging with graffiti art because they are both forms of street art that are often difficult to tell apart. But there are some key differences between the two.

Simply put, graffiti artwork usually has meaning or purpose. It isn't as much a form of vandalism as it is about conveying an important social message which may speak for - or represent the views of - the wider community. Examples include memorial displays and youth art projects sited in parks and at youth centres.

Tagging, on the other hand, often comes in the form of scribbling, scratching or etching created in a deliberate attempt to vandalise public or private property without permission.

The cost of graffiti on the taxpayers' pockets

Graffiti has historically been seen as an ugly problem, although local authorities have always struggled to convince members of the public to report it. This is despite the obvious negative impact on local communities and public spaces - bus shelters, train stations and parks for example.

According to Keep Britain Tidy's report, "People are deterred from reporting graffiti because they don't know who to call. Or they believe that if they call the council they will be on the phone for a long time, giving details, or will be passed around from department to department."

This attitude is one of the major hurdles facing the local governments at present and is the main reason why local authorities have a tough time controlling the spread of graffiti in some areas, and certainly a key reason why the police struggle to convict people for illegal graffiti.

In the UK, punishments for defacing public or private property with graffiti range from a fixed penalty notice of £150 to ten years in prison. But according to the London Assembly, the number of people arrested for graffiti each year is in the hundreds, and the number of successful criminal convictions even fewer.

Data from DEFRA shows that as few as 108 fixed penalty notices were handed out to graffiti offenders over a three-year period, with only seven of these going to court, highlighting just how challenging it is for police to tackle the problem head on.

The London Assembly report also reveals that Londoners pay out more than £100 million for graffiti-related issues every year, out of which £23 million is spent by boroughs and transport companies. It is estimated that graffiti costs the UK as a whole more than £1 billion per year to clean up. So, in terms of finances, graffiti contributes to some major monetary losses indeed.

How graffiti impacts our communities

Promote turf wars

Graffiti is a form of vandalism that damages property, causes public safety issues and can result in liability. It negatively impacts local neighbourhoods by making public spaces appear unsafe.

More often than not, graffiti is also used as a means to mark territories. Research shows that if a lot of the graffiti in an area is gang-related or offensive, then that area is more likely to obtain a larger gang presence, which would result in more crime and turf wars.

Damage local businesses

Graffiti isn't just a nuisance for communities; it is also a major headache for businesses. It may appear threatening and make customers unhappy when they see something inappropriate written on an advertisement or sign.

Customers may not want to visit a business because they see something offensive written on its walls or windows; therefore, it can negatively impact businesses financially by reducing sales or causing customers to boycott shops that have offensive graffiti displayed outside or near their stores.

Devalue property

"Vandalism that is perceived negatively can reduce the value of properties," says ArtRadar Journal. Graffiti isn't pretty to look at. The unevenness of design that graffiti creates can neither be easily fixed nor is it often covered by insurance.

Graffiti can also create an environment where residents feel unsafe, which may lead them to move away from their community. All of this can contribute to the devaluation of properties in communities where graffiti is a problem.

Graffiti removal services

Removing graffiti from your commercial property is crucial in maintaining its visual appeal and can even impact your property's value, as well as the properties around you.

For over thirty years, See Brilliance has been committed to helping commercial building owners and occupiers keep their buildings looking fantastic.

Our graffiti removal methods are safe and reliable and are used by the Royal Institute of British Architects and Historic England.

To find out more about our graffiti removal methods, including DOFF Steam Cleaning and restorative cleaning, get in touch with our cleaning and restoration specialists today.

Over thirty years of experience

See Brilliance has more than three decades of experience helping commercial building owners and occupiers restore and maintain all types of building facades and cladding so they can retain their pristine exterior for years to come.

Get in touch with our building restoration specialists to discuss your project.

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The frightening impact of graffiti on our local communities - See Brilliance

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In this article we look at the aesthetic and functional improvements that stone building facades and cladding can offer. Find out more.

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Once it was the Berlin Wall. Now it's the longest open-air gallery in the world.

1.3 kilometres of amazement: take a walk along the East Side Gallery and rediscover art and the history of the Berlin Wall.

A Trabant, cleverly painted to look like it's breaking through the wall. Honecker and Brezhnev in a brotherly socialist kiss. A section of the Berlin Wall along the river spree now is the longest open-air gallery in the world:

How long is the East Side Gallery?

At 1316 metres long, the open-air art gallery on the banks of the Spree in Friedrichshain is the longest continuous section of the Berlin Wall still in existence. Immediately after the wall came down, 118 artists from 21 countries began painting the East Side Gallery, and it officially opened as an open air gallery on 28 September 1990. Just over a year later, it was given protected memorial status.

Cycling tour at the East Side Gallery © visitBerlin, Foto: Philip Koschel

What is there to see at the East Side Gallery?

In more than a hundred paintings on what was the east side of the wall, the artists commented on the political changes in 1989/90. Some of the works at the East Side Gallery are particularly popular, such as Dmitri Vrubel's Fraternal Kiss and Birgit Kinders's Trabant breaking through the wall. They are not just a popular subject for postcards - you're sure to want to photograph them yourself.

© visitBerlin, Foto: Artfully Media, Sven Christian Schramm

Out in the open air, the East Side Gallery is completely exposed to the weather, which means that there are regular efforts to restore it. In 1996, Kani Alavi founded East Side Gallery e. V., an artists' initiative to preserve and restore the works. By 2000, a 300-metre stretch of the wall had already been restored and 33 pictures repainted, and in 2009 the whole East Side Gallery was restored. 87 artists took part and 100 paintings were restored.In November 2018, the State of Berlin transferred the East Side Gallery to the property of the Stiftung Berliner Mauer (SBM), which is thus responsible for the preservation of the monument.

Where does the East Side Gallery start?

© visitberlin, Foto: Philip Koschel

A good place to start your visit of the East Side Gallery is The Wall Museum, located in a former warehouse building right next to the Oberbaumbrücke. Here you can experience the history of Berlin's division. In 13 staged rooms some of the most excting moments of Berlin history come alive, From here you can walk towards Ostbahnhof to see all the famous paintings, indlucing The Kiss. All in all over 100 artists from all over the world have taken part to make the East Side Gallery to a landmark well worth visiting while in Beriln.

How do I get to Berlin East Side Gallery?

Warschauer Straße and Ostbahnhof railway stations are a the perfect starting points for visiting the East Side Gallery. Both stations are close and easily accesible by U-, S-Bahn and Tram. If you want to add a walk across Oberbaumbrücke choose U1 and U3 to Schlesisches Tor.

What can I do around the East Side Gallery?

And there's also plenty to discover either side of it. Opposite the East Side Gallery, for instance, is the Mercedes Benz Arena, a venue for sporting and musical events. On the Oberbaumbrücke, two giant hands play scissors-paper-stone. They represent the two districts of Friedrichshain and Kreuzberg that the bridge connects. Or use the banks of the Spree as a starting point for a leisurely boat trip through Germany's capital city.

Public guided tours

Public overview tours on various topics take place regularly at the East Side Gallery. The tours last around 1 hour and are conducted with audio guides. These tours are free of charge for schoolchildren. Registration is not required. Please check the website for the current dates.

Up to a size of 10 persons, the guided tours can be booked for different target groups and at an individual date. These guided tours are available

History at the East Side Gallery

Art at the East Side Gallery

Discovering Wall Art. Family tour at the East Side Gallery

Tip: In our ABOUT BERLIN app you can find more information about the history of the East Side Gallery and many other suggestions and tours to discover street art in Berlin.
Download now for free for iPhone and Android:

There's many stories to tell. ABOUT BERLIN.

Find further information here
East Side Gallery

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Once the Berlin Wall, today the longest open-air gallery in the world - the East Side Gallery ► Experience art & history in Friedrichshain!

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Iconic

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‘The Simpsons’ Sideshow Bob Is a Street Art Icon

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Graffiti writers around the world know the name that started it all: TAKI 183. A kid from 183rd Street in Washington Heights in northern Manhattan, TAKI's simple signature captured the attention of a reporter and, in the summer of 1971, an article appeared in The New York Times. TAKI was the first New Yorker to become famous for writing graffiti. The floodgates opened.

In the summer of 1969, Demetrius was bored. He lived uptown, north of Harlem, in a neighborhood full of Greek kids, like himself, and also a growing population of Cubans, Dominicans and Puerto Ricans. The Savage Nomads gang was headquartered a block away, but they didn't bother the locals. One afternoon that summer, Demetrius' friend Phil wandered down to 183rd and had some news for Demetrius and his friend Greg. A kid in Inwood, 20 blocks north, was writing his name and street number: JULIO 204. Demetrius and Greg thought that was pretty cool. They all started to write their names. Demetrius wrote 'TAKI,' a diminutive for a number of Greek names, and his street number.

In the fall of 1970, TAKI went to high school in Midtown Manhattan, taking the 1 train down and back. Along the way, he wrote TAKI 183 on the subway stations and anywhere else he thought was a good spot. He had seen the election posters and stickers plastered around the city in 1968, and again in 1970, and emulated their campaign tactics.

When he started working as a delivery boy in midtown, running packages of high-end cosmetics to fancy places like the Upper East Side, he held the box up against light poles, using it as cover while he wrote his name.

It was probably one of these tags on the Upper East Side that caught the eye of the New York Times reporter, who tracked TAKI down near his home. On July 21, 1971, TAKI's fate was sealed: "TAKI 183 Spawns Pen Pals," read the headline of the Times article. Just like that, TAKI 183 became the father of contemporary graffiti. His legend grew, and rumors spread that TAKI even tagged a Secret Service car and the Statue of Liberty.

Over the next five years, graffiti exploded to the point where it became a colorful, stylish mural-sized art form. TAKI had no interest in that. He was done with graffiti and had moved on to being a sensible grown-up. He went to college and learned car repair and bodywork. He raised a family. And amid all the flurry of nearly 40 years of graffiti around the world, he has kept silent.

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Graffiti writers around the world know the name that started it all: TAKI 183. A kid from 183rd Street in Washington Heights in northern Manhattan, TAKI's simple signature captured the attention of a reporter and, in the summer of 1971, an article appeared in The New York Times.

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the not so friendly side of the graffiti world

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Banksy vs King Robbo | Back in 1985, graffiti artist King Robbo painted one of London's earliest pieces in a well known tunnel in Camden. You can see the piece above in all of its original glory.

In his 2011 interview, Robbo confirmed the feud was genuine: "I never wanted to take Banksy's stuff out, I just wanted to do something tongue in cheek. But when he put those three letters 'Fuc' up, that changed things."

The dispute was chronicled in a Channel 4 documentary filmed shortly before Robbo's head injury.

In dept article about the feud and King Robbo's death on The Guardian | More Street Art on Art Ctrl Del

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Banksy vs King Robbo -The Graffiti War in Pictures | Art Ctrl Del

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Banksy vs King Robbo | Back in 1985, graffiti artist King Robbo painted one of London's earliest pieces in a well known tunnel in Camden. You can see the piece above in all of its original glory.

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How this graffiti artist made $200 million overnight

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David Choe painted Facebook’s first office mural in 2005.

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graffiti-empire allows to create custom tags with any chosen font and writing

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i would assume this would happen on more controversial websites to spread a message, but it would also make sense to add to websites people use more frequently

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Wedgwood x NavinderNangla | Global Street Art

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RESULTSNa Vinci, known for his distinctive misspellings of iconic fashion names, designed the mural which was then beautifully hand-painted by our in-house team. The artist then visited Village Underground to leave his distinctive mark on the mural in a stunt that bought the Florentine Marine to life in an unexpected way, drawing the attention of everyone walking by.

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Gang tag