Street Art


Street Art


This file was written by Max Darby in June 2010 to help art teachers and students to develop an awareness of Street Art.


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Some people in the Arts haven’t quite grasped the fact that Street Art has already become an Art Movement.

Julia Matthews: Art Consultant Metro Gallery, Melbourne.

How can Art Education continue to ignore the significance of Street Art. It’s no longer just a phenomenon about graffiti and illegal practices. In fact, Street Art has been around for ages. It is all around us in most suburbs. In the future we’ll look back and be embarrassed that we missed it’s well-founded beginnings. Once people in the movement have books in major Art Gallery Bookshops such as The National Gallery in London, no matter what people think, they’ve made it. Banksy is just one such figure…and so is Blek le Rat.

Art teachers who ignore it need to get another job. They’re already obsolete – like those, for example, who for too long denied the value of Impressionism, Abstract Expressionism and Pop Art and, more recently, Post-Modernism.

Dr. Max Darby: Arts Education Consultant.

On location in Union Lane, Melbourne. Listening to Buddha Bar – what else? 2nd July, 2010







The term Street Art has been deliberately chosen for this file. By using that term two things only are required – works included and discussed must firstly be located in the street and, secondly, they must be considered works of Art. While those things seem a little obvious, and while finding works located in the street is fairly easy, qualifying works as Art is rather difficult (refer to the file titled What is Art? found under Articles on this website). For the purposes of this article, artworks that are of a traditional form have been excluded here and will have a file devoted to their qualities at a later stage.



Works I include will show evidence of quality in the use of skills, techniques and design, and will have some worthwhile intention or purpose. While you might disagree with those stipulations, and might like to comment in the space provided below, this site is primarily for educational purposes and needs to meet that expectation. ‘Tagging’ is not considered Art by any known interpretation, has no demonstrated skill, no worthwhile intention or meaning and does enormous damage to the acceptance of some of the wonderful examples of street art and graffiti that can be found in some urban areas.


And, while some examples of non-legal graffiti might also be included because they do meet the expectations mentioned above, this article in no way promotes the making of such works nor does it encourage them. Much of the high quality street artworks  made in graffiti style today are made by enormously talented artists who work with great pride and talent that should be recognised and acknowledged. I watched with amazement as one large, new work in inner Melbourne was recently commenced after the construction of enormous scaffolding and following enormous preparation. Professional spraying equipment was used (spray guns, pressure gas bottles and a range of brushes) to create an enormous work using a ‘spray can style’.




It is my personal advice that if someone wanted to become a professional street artist in any art form, they would better achieve that by undertaking some formal training in Art ad Design (see the exhibition of works by trained Public Spaces and Street Artist Rowena Martinich, a past student of mine, on this website). But then again, I am a teacher and this is an educational site!


The following example is one I consider has no artistic value or appeal and I think you will agree once you view the numerous works that follow below.  In terms of the qualifications made above, this does not fit into the Art category. See what you think after working through the following pages. There is space at the bottom for you to leave your own opinions and ideas.




Alexander Parade (end of the Eastern Freeway, Abbotsford)



Make a quick comparison of the ‘tag’s above and the artistic qualities and skills contained in the following work found in Union Lane, Melbourne CBD. You could make a short list of the major differences. It is worth thinking about the reasons the work above might be disliked and criticized and the reasons why the work below offers far more opportunity for acceptance.






Union Lane, Melbourne CBD.









I recently walked around my own city, Melbourne, one that has often been awarded the title of The World’s Most Livable City. While it has the obvious symbols of a ‘nice place to live’ and is the ‘cultural capital of Australia’, it is also now acknowledged as one of the exciting centres of the growing worldwide art movement known simply as Street Art. These two characteristics are not necessarily in conflict and Melbourne has acknowledged the importance of Street Art by using some locations for PF purposes despite the fact they are not formally recognised as ‘legal locations’ for Street Artists to work. In addition, there are many Street Art projects that are funded by Government and Industry/Business organisations, and many that require formal applications and entries.



Since my walk I’ve been alert for street artworks everywhere I go…whether I walk, jog, drive, tram, train or bike, and when I sail (not much to see when I sail!). I always carry one of my cameras with me – small when on the road or overseas and larger when it’s appropriate. That’s how you need to do things…make them a passion.




Three of the best known of the Street Art spaces in Melbourne are Hosier Lane, Union Lane and Rutledge Lane in the Melbourne CBD. These sites are passed daily by thousands of Melburnians because they provide links between major streets (perhaps greater than 10,000 people daily). Over a year they are used by far more people than would visit an art gallery. There are other Street Art sites too, of course, many of them not so formally recognised street spaces where artists work, some legally and some illegally. In fact, walk down most side streets in inner-Melbourne and you’re sure to find a wealth of Street Artworks, some great and some not so great. For many people this is their only on-going viewing of art during their busy working lives.

Apart from the wall paintings and some cut paper installations (included below) a series of light boxes attached to the walls in Hosier Lane have been provided and are coordinated by the Director fo the Citylights Project, an independent and private public art organisation founded in 1996. Despite the Council sometimes claiming credit for supporting these projects, the Citylights Project receives no independent or private funding. Some of the current light box works will be included below. One last unexpected inclusion on the walls are some 3D works that utilise a variety of materials (some of these are also included below).



Works like all of these not only contribute to an excitingly colourful cityscape, they demonstrate, perhaps, the most democratic form of public sharing possible between artists and the living population. They need to be taken seriously by all of us.





Art teachers have a responsibility to let students express themselves by making their own artworks, and in teaching them about how artists past and present have expressed their ideas through their artworks – but they also have a major responsibility to help students to understand why they like the things they like (Darby 2010).



If that responsibility is not taken up, we can expect students to develop likes and dislikes that are totally unguided and totally beyond our understanding. If that is allowed to happen, we risk becoming artistically irrelevant to many young people. And, while such interest in student-favoured art should never be used just as a way to ‘con’ students into something some of us might prefer them to take an interest in, it does, nonetheless, provide wonderful opportunities to take students to ‘other’ places. I do it because I love it in its enormous variety and as a valid artform and I hope my students recognise that.






Permission to include the girls in the photograph was given.



I encountered about 60+ young, school-aged students plus their parents in Union Lane and Hosier Lane in Melbourne CBD in the short time I was there (a school holiday) viewing and photographing the artworks.



There is enormous interest in this art form and in these spaces.  Art teachers ignore it at great risk, and it’s something students are already interested in making it a good starting point for a classroom-based activity or two! Many ‘good’ schools already do this – see the exhibition of Stencil Artworks found under Exhibitions on this website. Why not join them on their side of the fence for a while rather than try to always drag them onto our side of the fence? (based on an idea espoused by Art Educator Vince Lanier).









Even very young students visit Hosier Lane and want their photographs taken with the works.

School holidays with parents.





There seems little point in simply supplying  a history of the topic. That’s already been well-documented, and while the list of possible sources is enormous, the following provide some obvious starting points (please send me any others you’ve found useful and that you recommend).




Swoon, Graffiti Artist: Abrams Press. 2010. New York.

Street Studio: The Place of Street Art in Melbourne. Alison Young, Ghostpatrol, Miso, Timba. Thames and Hudson, 2010. Victoria, Australia.

Graffiti Colouring Book Subway Suds, Author (available from Giant Productions, 192 Drysborough St. North Melbourne, Victoria, 3051)


Everfresh: Blackbook (available in good bookstores from Sept. 2010. Everfresh is one of Melbourne’s premier Street Studios (see example below)




Guerilla Art: Edited by Sebastian Peiter. Text and DVD. Laurance King Publishing. 2009. London. UK.


Blek Le Rat: The Sky is Blue, Life is Beautiful. Exhibition Catalogue, Metro Gallery. 2010 Victoria. Australia.


Banksy: Wall and Piece. Banksy. Random House Publishers. 2005


Jean-Michel Basquiat. Richard Marshall. Whitney Museum of Art. 1993/4.


The Street Art Stencil Book. Curated by On Studio.  A book of laser cut stencils of well-known worldwide street art personalities.

Exit Through the Bookshop, a Banksy film, is now available at Metro Gallery in High St. Armadale, Melbourne, Australia.


The following websites are some I’ve found really interesting for different reasons (there will be many more provided so please send me any you come across that you think might be of interest to schools/teachers/students/art lovers). Simply copy the links and paste into your web provider (eg, Google)



www.Buff Diss. Street art using masking tape. A local Melbourne artist now known worldwide and quoted by students.


http://www. (a local Melbourne artist) (a local Melbourne production company)


 The Citylights Project is mentioned in the text below and is responsible for the works in Hosier and Rutledge Lanes

http://www.Speedy Graphito Shows Us How It’s Done The site shows a demonstration of stencil style on a very large and complex work using plastic sheet and spray can paints.

http://www.BLU: MUTO a wall-painted animation by BLU. Blu is a street artist who makes animated wall art that evolves in front of our eyes. Time delay photos were used to record numerous stages of large drawing/paintings that develop into animated moving images. There are many other BLU files found on this website.





There also appears little point in analysing in-depth every street artwork included. And, there’s little point in including every work that can be found in the streets – I find new works almost everyday! Many common features are evident in many of the works emphasising the common belief systems and practices of many of the artists. It is these commonalities that make Street Art a movement. The works need simply to be viewed to be enjoyed for their colourful, strong, patterns, shapes, lines and forms, and the relationships between all of those things. Many were created for this sole purpose – as are some fine art works – for their aesthetic or artistic appeal. In some ways many of them can be directly related to some of the Modernist art movements. In some works there will also be found strong meanings and messages but these are best experienced and interpreted individually, as was intended by the artists. Where appropriate, there will sometimes also be some comments that ‘push’ your thinking and viewing, and things for you to undertake.





The artworks included in this file were photographed in Melbourne; some in Bristol and London, UK, one in Paris, France, one in Los Angeles, USA., and some in Belfast, Ireland, where Street Art was used extensively for political purposes during the 1970’s, 1980’s and 1990’s.




Metro 5 Gallery in Melbourne  is having a major Street Art Exhibition between 27th September  and 17th October and Blek le Rat, Banksy and local artists  will be some of those represented. Expect some new Banksy’s to appear  around Melbourne since it’s expected he will be here. If he’s ‘come  out’, as is suggested, who knows, we might even meet him!



Please send me examples of outstanding works you see in your own locality and any information you can find  out. And, any good texts or sources of information you recommend.





Blek le Rat and Max at Metro 5 Gallery, High Street Armadale, May 2010.

Blek is acknowledged as the Father of Street Stencil Art.

Banksy found that often when he thought he’d done something unique, Blek had done it years before.

I asked him about it and Blek, a wonderful, gentle family man, said “Maybe, but don’t let anyone put Banksy down, he’s awesome.




The following street stencil work by Blek le Rat demonstrates his art style. The use of precision and care in the cutting of the paper is evident in the details on the garments. The amount of paint sprayed onto the surface is critical in ensuring paint doesn’t ‘bleed’ under the paper edges.



Blek le Rat. Street stencil work, Paris, France.








Max with one of the best-known Banksy street stencil works.

Bristol, U.K.

Check the separate file on Banksy under Exhibitions.




While similarities in working processes and even art style are evident between this work and the ‘Blek’ work above, the differences are more noticeable here than the similarities. Banksy sometimes worked in fairly ‘monochromatic’ or limited colours, as can be seen in the ‘Blek’ work, but he also used some very strong colour schemes as can be seen below. You might like to make a systematic comparison between the two works (and any other works on this file) based on similarities and differences evident in working style; use of colour; arrangement and design; impact; meanings and messages; over-all artistic effects and your own preferences.






Banksy, Whatever. Located on Cahuenga Boulevard, Los Angeles. USA.








While the term Street Art can be applied to any of the artforms that are encountered in the street to many people Street Art will just mean graffiti. That definition is extremely restrictive.




While this file will refer primarily to Visual Art forms including graffiti and works made in a ‘graffiti style’, there are many other valid options that art teachers and students can research, explore or investigate. Other options will be addressed in additional files, yet to be developed.






The decision to provide an approach to Street Art with a Visual Arts focus was been made because this whole website has been designed primarily to support Visual Art teachers and students. There are, of course, many times when Visual Arts activities cross over into other artforms including performance arts, dramatic arts, dance, movement and role playing, music, assemblages and various kinds of installations. Many variations of these can be encountered in the street.




This file should not be interpreted as providing advice or encouragement for students to break the law and to engage in illegal forms of street art. All of the formal education authorities I know worldwide will not accept or condone such practices. The presentation of ‘illegal’ forms of street art by students for assessment purposes will not be accepted. Apart from legal and moral reasons there are two major educational  reasons for this:






1.  Education will not and can not condone illegal activity. The legal implications for schools are enormous, as are their reputations and community educational standings.



2.  For works to be formally recognized as having been made by individual students, the teacher needs to be able to verify that the works have been produced by the student who presents them. A teacher doing that would be party to an illegal activity should they be present on site to make that observation. In some educational systems, they would then lose their jobs.


Despite these deliberately included restrictions in this file, there are no such hindrances to students exploring, researching, investigating and recording a wide range of Street Art projects, both legal and illegal. In fact, some senior art course at the school level, provide the flexibility to encourage students to undertake such investigations. If a course requires students to demonstrate a relationship between their research/investigation and the studio works they produce, options for making legal artworks can be pursued.





Some alternatives to illegal activities will be  provided below. One, for example, provided by a senior student in a  Victorian country school is his use of ‘Street Art’ skill, style and form  on canvases (While this is a valuable alternative in an educational  setting, in the Street Art world it often gets little recognition by many people who see other  street artists doing this and selling their works for profit, as  ‘selling out’). This criticism has even been directed to people such as Banksy and Blek le Rat. I could have bought a Banksy offered to me  in Bristol for  25,000 British Pounds. It’s rather like the criticism that was  directed at Heavy Metal Band Metallica when they did a collaborative CD  with The San Francisco Symphony Orchestra!







Racquel Buis-Kerr, Wanganui Park S.C. VCE student Racquel Buis-Kerr . Works on canvas.





The following advertising mural can be found in the main street of Victorian beach-side suburb, Ocean Grove. Apart from its large scale, there is obvious interest in the way the work has been created using a more traditional interpretive style that is reminiscent  of Impressionist  landscape painting. The two details that follow show that more clearly. Certainly, the cliff-face depiction of The Bluff across the water at Barwon Heads is easily recognisable.




Chris Sturk, 2004. Advertising Mural Ocean Grove




Detail 1. Advertising Mural above, Ocean Grove.




Detail 2. Advertising Mural above, Ocean Grove.





Shark fin car parking guides cast in metal using the seaside theme. Ocean Grove shopping centre. Ocean Grove, Victoria.







Classroom Discussion Topics.






Some initial questions that could be set or used as discussion issues to introduce the topic of Street Art could include






–                  What do we mean by Street Art?


–                  What is the history of Street Art?


–                  Who makes Street Art?


–                  What is the difference between legal and illegal Street Art?


–                  Is there such a thing as good and poor Street Art?


–                  What qualities would distinguish between good and poor Street Art?


–                  Is there a Street Art ‘Style?’ Do individual Street Artists change their own style?


–                  Does it remain Street Art if it’s taken off the streets to be sold or exhibited?


–                  Is Street Art made to last or is it temporary?


–                  Can Street Artists feel badly done by if someone damages or destroys their works?


–                  Is it possible for a street artist to claim ownership and copyright of Street Art?




Some of these questions are critical to all Art, not just Street Art. This file is about Art so such questions need to be asked. For example What do we mean by Street Art is dependant on the issue of What is Art? A good starting point is to go to the file on this website that is titled What is Art?



Whatever your opinion is about Art and Street Art in particular, there seem to be some key qualities you need to look for – and find – if anything is to be considered Art…the quality of the skills, techniques and working procedures used to produce the works; the nature of the intentions, ideas, meanings and messages expressed through the works; the ways the works have been designed and/or arranged, and the quality of the way all of these things work together to create an impact that the viewer (you and me) finds powerful and/or  beautiful and/or attractive and/or appealing and /or interesting and/or aesthetic (or artistic).


What you find when you look for various combinations of all of these things will help you to determine whether what you are looking at is genuinely Art, whether it’s good or poor Art and, in many instances, whether the making is worth the effort put into it. Now, as I’ve been saying, this is true whether the works are ‘Fine Art’, Popular Art, whether they are located in galleries or on home walls or street walls, whether they are legal or illegal, and even whether they are student or professional artist works. if you agree to some extent and go down this line with me, you will quickly see that not all that you find in the street or on walls is of value. I get kind of worried and often angry when someone tells me they have the right to ‘write’ on walls and to express themselves publicly. Too often they have ‘nothing to say’ demonstrate no skill and technical competence and are actually are totally self-indulgent when they propose that what they do is of any use, even to themselves.





These points clearly address the question above – Is there such a thing as good and poor Street Art? There are also files on this website that address this issue. If you want to undertake an in-depth analysis of any of the Street Art examples you find you might like to use one of the worksheets provided such as Art Analysis Worksheet No. 1 and Art Analysis Worksheet No. 2.







“Using spray cans takes great control and is not an easy way to paint.”

Street artist ‘Zac’ working during the day in Hosier Lane, Melbourne.











As mentioned by Zac, above, ‘spray can style’ isn’t an easy medium to use. The angle on which the spray can is held effects the degree of clarity and/or fade-out in any confined area. The variations in distance the spray can is held from the surface of the wall, and the speed with which the paint is applied are just some of the variables that help create some of the surface qualities evident. Hold the can too long and too close on any area and the paint will run. Varying each of these techniques ‘ during any single paint stroke is a common skill used by artists while working. And, there is simply not time to keep adjusting or altering areas that don’t work. That’s not necessarily due to the work needing to be completed quickly but has more to do with needing to re-paint the unsatisfactory area out and allowing it to dry before starting again. While control and skill is required, the style itself is about ‘quickness’ (or appearing that way) rather than being ‘laboured’. A Street Art work that was faultless because it took weeks to complete would not fit in with the style that is currently sought. Then again, if Street Art is to be considered a serious artform, and one that began by breaking boundaries of traditional art expectations, it too must face on-going development, variation and challenge.




Some of the skills and techniques evident in some Street Art styles can be observed in the following details of works found in Foundry and Hosier Lanes.








Foundry Lane. Abbotsford. Melbourne. Australia







Detail evident in a close up of a work in Foundry Lane, Abbotsford, Melbourne, Australia.







Detail evident in a close up of a work in  Foundry Lane, Abbotsford, Melbourne, Australia.





Many of the following artworks photographed here in Melbourne and worldwide exhibit an enormous range of stylistic similarities and differences to those included above. While the similarities establish a ‘form’ or ‘style’ that relates them to each other, the differences reflect the individual interests and tastes of those who created them. The kaleidoscope of colour they exude certainly cannot be missed.



Some street artists insist their work is far more attractive and appealing than the bland, bare and boring walls that many locations reflect. Other artists demand the right to artistically explore spaces themselves. They argue that the enormous number of  commercial and money making advertisements that also demand our attention regardless of whether we want to see them or not, present an unwelcome intrusion into our lives.



It is interesting that when I was photographing this unwelcome and unappealing advertising space (below), I noticed one of the advertisements was for the current film by well-known street artist Banksy, Exit Through The Gift Shop!






Collection of Street Artworks



Rather than comment on each of the following works, comparisons and analyses can be made at your own leisure.




Just Another Brick in the Wall (Pink Floyd influenced). York Street, Richmond. Melbourne.






Just Another Brick in the Wall (Pink Floyd influenced). York Street. Richmond. Melbourne.





That number plate – Is that ‘Street Art 001?  Licensed to Thrill? No, Just Another Brick in the Wall.





Spray can style. Colour variations, lines and shapes. Union Lane. Melbourne.







Hosier Lane, Linear, structured, geometric. Melbourne. Australia.







Linear Style. Hosier Lane.









Linear form with colour. Hosier Lane.






Even the bins in Hosier Lane get the colourful treatment and are much different to the flat, drab grey that is their base colour.







Street Art on a van! Collingwood, Melbourne.









Street Art on a van, Elsternwick. Melbourne.









Street Art on a van in Elsternwick. Melbourne.








Street Art on a van, Elsternwick. Melbourne.








Street Art on a Van. Elsternwick. Melbourne.






Street Art on a van. Carlton. Melbourne.




Street Art on a van, Napier St. Fitzroy.





Street Art on a van – the other side. Napier St. Fitzroy, Melbourne.






Union Lane, Melbourne. Australia.








Union Lane, Melbourne. Australia.







Union Lane, Melbourne. Australia.

Union Lane. Melbourne. Australia.

Hosier Lane. Melbourne. Even the pipes are painted.







The following 3- Dimensional works were attached to the wall in Hosier Lane showing the diversity of ideas explored in this public space. The ‘gallery’ of works is primarily spray can painted or paper stick ups (a common Street Artform).








3D arrangement in found materials – wood, metal and plastics. Hosier Lane, Melbourne.










3D arrangement in found materials – drink cans, lids, ring top, nails and paper. Hosier Lane, Melbourne.









3D arrangement in found materials –  crushed drink can, bottle lids and nails. Hosier Lane, Melbourne.








Stencil work, Corner Brunswick St. + St. George’s Rd. Fitzroy.








4 light boxes with Street Art works back-lit in Hosier Lane, Melbourne.




The individual images in the light boxes above will be included later in this file. Some of them have strong social and political messages. Street Artists can apply to have access to the light boxes in turn. The costs associated with the gallery in Hosier Lane are covered by the City Council. There were two works by well-known world street art identity Banksy included in this lane. One was deliberately damaged and one was accidentally removed by council cleaners working in the lane! While Banksy had no issue with these things happening, declaring that such works are temporary and not expected to last for ever, the City Council was most upset! How ironic?





Most of the images following this point have been added without comment at this stage. As mentioned above, this file is still being developed. It is interesting to look for any similarities and/or differences that exist in imagery, scale, technique and style. If you’re a student, you could select two or more and make a comparison. There are worksheets provided on this Website (found under Student Worksheets) which you could use to help your comparison or even to systematically analyse a single work here that you like. They are titled Art Analysis Worksheet 1. and Art Analysis Worksheet 2.








Hosier Lane








Hosier Lane







Hosier Lane








Hosier Lane






Union Lane







Hosier Lane.








Paper cut out on wall. Hosier Lane.




An advertisement for Olive Oil made in an area of Portugal known for its bulls.

Iberian House (Casa Iberica) is where it can be bought in Melbourne.




Further part of advertisement for Olive Oil made in an  area of Portugal known for its bulls.





Further part of advertisement for  Olive Oil made in an  area of Portugal known for its bulls.








Street wall art. Grange Road, Caulfield, Melbourne, Australia.







Mick Porter. Street wall art. Very large and interestingly expressive brushwork.

Langridge St and Little Oxford St, Abbotsford. Australia.






Detail of Mick Porter work (above).







Hosier Lane.





Made by Everfresh Studio. Location, Young St. Fitzroy. Melbourne.

Dramatic effect of contrasts of  Black, White and Grey.





Close up – Night Club, Bar and Reception Centre. Young  St. Fitzroy. Melbourne.




Close  up – Night Club, Bar and Reception Centre. Young  St. Fitzroy.  Melbourne.




Close  up – Night Club, Bar and Reception  Centre. Young  St. Fitzroy.  Melbourne.




Close  up – Night Club, Bar and Reception Centre. Young  St. Fitzroy.  Melbourne.







Street wall art. Collingwood, Melbourne,  Australia.







Street wall art, Smith St. Fitzroy, Melbourne, Australia.







Advertising street painting as a reproduction of

Tiepolo`s Banquet of Cleopatra (located not far away in the

National Gallery of Victoria). Popular contemporary

media and entertainment persons depicted.

Bar and lounge. Burnley Street. Burnley. Melbourne.

Bar and lounge. Burnley Street. Burnley. Melbourne.

Bar and lounge. Burnley Street. Burnley. Melbourne.








Large Wall Mural Cutter St. Burnley. Close ups and details follow immediately below.










Close up, Cutter Street, Burnley.  Melbourne.






Close up, Cutter St, Burnley. Melbourne.








Close up, Cutter St. Burnley. Melbourne.






Close up, Cutter St. Burnley. Melbourne.







Close up, Cutter St. Burnley. Melbourne.






Detail of painting style – Close up, Cutter St. Burnley. Melbourne.







Detail of painting style – Close up, Cutter St. Burnley. Melbourne.







Detail of painting style – Close up, Cutter St. Burnley. Melbourne.

Napier Street, Fitzroy. Melbourne.

Young Street Fitzroy. Melbourne.

Napier Street, Fitzroy. Melbourne.

Young Street, Fitzroy. Melbourne.







Political Street Mural, Belfast, Ireland. People who died fighting for the IRA. 1970.







Political Street Mural, Belfast. Contemporary comment 2006.






Street Art. Bristol. UK.




One of the better known Banksy’s. Kemp Street. Brighton. England.






Street Art. Bristol. U.K.






Banksy. Waterloo, London. UK.



Banksy. Islington, London. UK.





Work by graffiti artist Ge Feng.






Street Art in the art students’ area,  Chongqing, China (legal, of course).










Street Art in the art students’ area, Chongqing, China.









Street Art in the art students’ area,  Chongqing, China.




Spray can style used in street advertising in a heavily street art area. Buttons for sale.







Private Street Art, Electricity Pole. Melbourne.







Private Street Art, Electricity Pole.  Melbourne.






Westgarth St. Fitzroy. Melbourne.






Street Stencil. Australian Football Cultural Icon.Silvagni taking a ‘screamer’.








Banksy. Bristol Street. UK.







Hosier Lane, Melbourne.






Hosier Lane, Melbourne.