Le monde du graff (French Edition)
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Colors Tiger, x x 5 cm Graffiti Angel, x 81 x 2 cm Gangsta Girl, x x 5 cm Miss Sweet, x x 5 cm Gold Spray, 56 x 32 x 3 cm 22 x Gold Diablo Spray, 72 x 40 x 3 cm Street Picsou, x x 4 cm Vandal Panther, x 81 x 2 cm Graffiti Holy Virgin, x 89 x 2 cm No Fear, x 81 x 2 cm Vandal T-Rex, x x 4 cm Put Some Colors, x x 5 cm Absence de Marquage, 60 x 80 x 2 cm Game of Spray, x 81 x 2 cm War Is Over, x 81 x 2 cm Amour, Gloire et Money, x 81 x 2 cm Graffiti Girl, x x 5 cm Colors Gang, x 81 x 2 cm My Name Is Smape, 89 x x 3 cm 35 x Bunny King, 89 x x 3 cm 35 x Street Dark Night, 50 x 61 x 2 cm Free Life, 87 x 87 x 3 cm Funky Panther, 89 x x 3 cm 35 x King of The Street, 89 x x 2 cm 35 x Gogogadgeto Graff, x 89 x 2 cm Be Different, 70 x 50 x 2 cm Not Pass, 60 x 80 x 2 cm Bunny's Life, 67 x 67 x 3.
des artistes venus du monde entier
King of the Jungle, 60 x 66 x 3 cm Panam, 60 x 80 x 3 cm Painting Mickey, 85 x 96 x 4 cm Art is not a crime, 60 x 80 x 3 cm Gum-Gum, 93 x 74 x 2 cm Supreme Vandal, 60 x 60 x 3 cm Bomb World, 97 x x 2 cm Bombs Battle, 40 x 80 x 3 cm Accueil Artistes France Smape. The agency studied at-risk areas in France, places selected because they had experienced some level of urban violence, to assess whether they had already degenerated into ghettos.
Most of the "sensitive suburbs" are run-down housing estates built by the French government between the 50s and 70s to house immigrant workers. The intelligence body based its definition on a range of criteria encompassing high immigration levels, high levels of non-French speakers at school, the presence of anti-semitic and anti-western graffiti, growing numbers of inhabitants wearing religious or oriental dress, and a growth in Muslim religious institutions.
They reported that more than areas were already ghettoised. The report added that the wealthier inhabitants "usually of European descent" were moving out en masse. The agency underlines the "growing role of radical Islamic preachers", whose presence is recorded in of the quartiers studied. In the past, ephemeral graffiti, scrawled in chalk on stone, contrasted with the well-formed lettering on buildings and monuments to the glory of the great and good.
Their feeble strokes conveyed resignation, barely affecting the image of urban cohesion promoted by government. In the early 20th century, no one would have claimed to find interest, let alone aesthetic value, in these unauthorised inscriptions or pictograms. Beauty was still a moral issue and could not flourish outside museums.
These institutions framed and organised what a few experts judged worth seeing.