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Images for graffiti; more images...

Images, eqnz.chch.2010

Christchurch's Graffiti House... This Cranford Street house was damaged in the earthquakes and is due for demolished this week but has been given a Graffiti Makeover by local Street Artists.

Images, UC QuakeStudies

An elaborate graffiti tag sprayed on a wall beside a demolition site on Tuam Street. A collection of abandoned objects lie on the site. The photographer comments, "Graffiti spotted in the Christchurch earthquake red zone. What I liked was the odd mixture of bits and bobs around it".

Images, UC QuakeStudies

Graffiti on a damaged building. The photographer comments, "They should have painted four leaf clover, if they wanted this tagging to survive the demolition of the earthquake damaged Ozone in Christchurch

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.

Images, UC QuakeStudies

Graffiti on a damaged building on Colombo Street. The photographer comments, "This street art has been unseen by the general Christchurch population as it was off limits in the Red Zone".

Images, UC QuakeStudies

A photograph of graffiti on one of the walls of the kitchen in Donna Allfrey's house at 406 Oxford Terrace. Parts of the graffiti read, "Quakes, a national disaster", "Recovery, a national disgrace", "Ring fn EQC, ring fn insurance", "Useless fn council", "Don't let the bastards get you down", "Avon Loop - park or developers fodder?", and "Never trust a Carter". There are also shopping and to-do lists scrawled amongst these messages.