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Images for street art; more images...

Images, UC QuakeStudies

A photograph of street art on the wall of a building on Colombo Street. The artwork is by Otis Frizzell and depicts police officer Constable Nao Yoshimizu comforting the grieving relative of an earthquake victim. Constable Yoshimizu acted as liaison officer for the families of Japanese victims of the earthquake. The mural was commissioned by the New Zealand Police as a recruitment advertisement.

Images, eqnz.chch.2010

Photographs of the Brick Art unveiling, Greening the Rubble, on the former Asko site - corner of Victoria and Salisbury Streets, Christchurch 8 February 2011. From the collection of Christchurch City Libraries CCL-Brickart-2011-IMG_2484

Images, UC QuakeStudies

A photograph of Andrew Just from F3 Design (left), Jessica Halliday, Director of FESTA, and Martin Trusttum, CPIT Faculty of Creative Arts, on the corner of St Asaph Street and Madras Street where the temporary ArtBox gallery is to be constructed. The photograph was taken during a public talk about the temporary studio and gallery space. The event was part of FESTA 2012.

Research papers, University of Canterbury Library

This thesis considers the presence and potential readings of graffiti and street art as part of the wider creative public landscape of Christchurch in the wake of the series of earthquakes that significantly disrupted the city physically and socially. While documenting a specific and unprecedented period of time in the city’s history, the prominence of graffiti and street art throughout the constantly changing landscape has also highlighted their popularity as increasingly entrenched additions to urban and suburban settings across the globe. In post-quake Christchurch, graffiti and street art have often displayed established tactics, techniques and styles while exploring and exposing the unique issues confronting this disrupted environment, illustrating both a transposable nature and the entwined relationship with the surrounding landscape evident in the conception of these art forms. The post-quake city has afforded graffiti and street art the opportunity to engage with a range of concepts: from the re-activation and re-population of the empty and abandoned spaces of the city, to commentaries on specific social and political issues, both angry and humorous, and notably the reconsideration of entrenched and evolving traditions, including the distinction between guerrilla and sanctioned work. The examples of graffiti and street art within this work range from the more immediate post-quake appearance of art in a group of affected suburbs, including the increasingly empty residential red-zone, to the use of the undefined spaces sweeping the central city, and even inside the Canterbury Museum, which housed the significant street art exhibition Rise in 2013-2014. These settings expose a number of themes, both distinctive and shared, that relate to both the post-disaster landscape and the concerns of graffiti and street art as art movements unavoidably entangled with public space.