Ann M. Graf – Simmons University, United States
Domain Analysis of Graffiti Art Documentation
A Methodological Approach
Abstract:
Details are presented of a recent research project undertaken to ascertain the documentary and descriptive
practices associated with graffiti artwork from within the graffiti art community as evidenced by 241 graffiti
websites. Domain analytic methodologies following a pragmatic approach to knowledge organization and
using evidence obtained from within an artistic community are extremely useful ways to provide insight into
what are the most important facets of information to capture for works not often documented from within
libraries, archives, and museums. This paper will discuss various methods used to analyze community-driven
graffiti art collection, organization, and description in the online environment, the results of which form a part
of the basis upon which a faceted KOS can be built.
1.0 Introduction
Knowledge organization systems (KOS) in use for the documentation and description
of artworks have a respectable, if shorter, history compared to those used in libraries
(Urban 2014). This is often understood to be due to the fact that museums are most often
collecting and creating surrogate records for unique objects (Taylor 1999). Unlike the
library, the art museum is representing objects that would not benefit from shared cataloging practice, though this is changing as images of artworks are increasingly available
online and users desire to have access to them regardless of where they are physically
located.
For certain types of art that often fall outside the purview of the formal institution,
such as graffiti art, documentation and organization of the resulting image records is
carried out largely by the graffiti art community itself, including graffiti artists and enthusiasts. This is due to the extra-institutional nature of the artworks, the legal complications often surrounding their creation, and the inability to monetize the works when
found “on the street” (Schacter 2014). Interest in the artworks continues to rise, despite
these documentary challenges, evidenced by the large number of websites dedicated to
preserving the images of the works around the world. While KOSs in popular use in the
library, archives, and museum environment do not include granular terminology to address the many facets of graffiti art, at least one, the Getty Art and Architecture Thesaurus (AAT), has recently added a limited number of graffiti art descriptive terms.
This paper introduces research conducted on the state of descriptive and organizational practice applied to collections of graffiti art images in websites from around the
world. The data for analysis comes from a set of 241 graffiti websites. This stage of the
research will report on the categories – or facets – used to organize the image galleries
themselves. This research does not explore description as applied to individual images.
Knowledge of organizational practice among those documenting the art form in image
galleries online is foundational to understanding the implicit categories, vocabulary, and
details associated with a particular artistic tradition and may inform further research on
documentation and organization of outsider art.
It is very hard to pin down a community, to draw lines around those within and those
without. In the case of graffiti art, with its intersecting boundaries of what is legal and
what is not, and what is defined by some as true graffiti, and by others as vandalism,
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and yet others as the more sanitized term street art, it can be impossible to find consensus. Should the artists themselves be the ones to say what they are doing, how they are
doing it, and how it is described, documented, and organized? Are those who simply
love the often bright, complex, and (sometimes) publicly placed works allowed to have
a say? Do those who actively look for the works and photograph them, sharing them
online in large galleries, belong to this community? Because graffiti image galleries
online are very often cooperative endeavors, whether knowingly or not, willingly or not,
of images submitted by artists who created the works, photographers who stumbled
upon them, webmasters or social media mavens who enjoy them, and any combination
of these and more, the easiest way to begin this research was to use the evidence of the
collections themselves.
It is acknowledged from the start that this is a messy endeavor, trying to decide who
is acting and what role they may play in the organization of graffiti art online. While
few authors have addressed the challenges of documenting graffiti art specifically (see
Masilamani 2008 and Gottlieb 2008 for two of the more robust examples), the process
is actively taking place in a very broadly distributed fashion, each participant seemingly
acting independently of the others. Despite their autonomy, those doing the documentation in this research represent a community or a domain in that they share “an ontological base that reveals an underlying teleology, a set of common hypotheses, epistemological consensus of methodological approaches, and social semantics” (Smiraglia 2012,
114). This work fills a gap in the research by illuminating the facets for organization of
graffiti art images as used by those working to share large collections of the works
online.
The value of domain analysis as a research tool is well documented in the knowledge
organization literature (Hjørland and Albrechtsen 1995, Hjørland 2002, Smiraglia 2015,
Albrechtsen 2015), as well as facet analysis (Hjørland 2013, Cho et al. 2018, Campbell
2004). There are no domain analyses that examine modern graffiti art image documentation and the facets used as attributes to organize the images. Research reported by Graf
(2016) revealed the lack of graffiti art-related terminology available in the AAT. Only
three out of the twenty most often used graffiti terms from her analysis of graffiti zines
appeared in the AAT. Interestingly, within two years, eleven more of the same twenty
terms were added to the AAT, bringing the original percentage from 15% to 70%. This
indicates the influence of the graffiti art community and their practices, and the reporting
of research on those practices, on widely used professional tools for the documentation
and organization of artworks. Further granularity can be found in this current research
for those desiring to extend the available terminological offerings for graffiti art documentation.
2.0 Methodology
As preliminary research in this area, the first step was to decide exactly what would
be examined. There are many websites devoted to the documentation of graffiti and
street art. One of the very first and most well known of these is Art Crimes (www.graffiti.org). The About page on their website states that “Art Crimes was the first graffiti
site on the net, and we're still one of the biggest …” (Art Crimes 2020). As an early and
large graffiti art website, Art Crimes has gathered links to numerous other graffiti and
street art websites around the world. At the time of the research, Art Crimes included a
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list of 709 links to other sites. This list was used as the basis for the eventual set of 241
websites evaluated.
Each of the 709 links on Art Crimes was visited and a judgement was made on
whether or not to include the site in the study based on several criteria. 318 of the links
were either dead, empty, or presented a notification that the site had moved without
providing forwarding information. 64 sites were fully in languages other than English
and therefore eliminated from the study, though some sites that were kept employed
other languages but kept navigation labels for the site in English. 57 of the sites were
professional artists’ sites, not specifically galleries of graffiti or street art images. 20 of
the sites were not relevant because they were focused on music, advertising, or other
products or services. Eight of the sites were links to social media galleries, such as Flickr
or Instagram. These were not included in this study at this time because of the organizational confines of social media platforms. Each social media platform includes specific ways that uploaded images can be labeled, organized, and grouped. There exist
thousands of graffiti and street art image galleries on social media platforms, and they
are ripe for further investigation, but were considered outside the purview of this research. One site among the 709 was not an independent website, but rather a sub-page
of the Art Crimes website itself, and therefore eliminated, though Art Crimes itself remained in the study. After all of the sites were evaluated in this way, 241 live sites remained.
Each site was evaluated for structural elements of pages and sub-pages, indicated by
navigation labels and hotlinked text. Examples of navigation labels can be easily seen
across the top of the webpage banner in Figure 1 for the site 50mm Los Angeles
(http://www.50mmlosangeles.com/). These navigation labels include: Gallery, Articles,
Events, L.A. Legends, Blackbook, Links, Forum, About Us, and Submit an Event. There
is also hotlinked text, “login | register”, that leads to other sub-pages of the website. All
of these labels were entered into a QDA Miner database for each of the 241 websites.
Figure 1. 50mm Los Angeles website home page with navigation labels.
Each of the sub-pages accessed through the navigation labels and hotlinked text were
visited and each was evaluated for evidence of further navigation labels, or sub-divisions
of organization. Some websites had very shallow organization with only a couple levels,
while others were deeper structures with several levels. An example of a website with
deeper structure is Fatcap (fatcap.com). The home page of this website includes a navigation label for “pictures.” Hovering the mouse over this label gives the user several
sub-levels from which to choose: all pictures, worldwide graffiti, artists, crews, types,
supports, and styles. Clicking on “worldwide graffiti” takes the user to a new sub-page
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that includes links to 117 deeper sub-pages, arranged by larger geographic regions: Africa, Asia, North America, South America, Europe, and Oceania. Clicking further, on
“United States” for example, takes the user to a list of 40 states and the District of Columbia, each with from 1 to 69 individual cities linked as sub-pages to go even deeper.
Other websites only had a couple levels, but then divided a single level into hundreds
of sub-pages. An example of a sub-page in a shallower organizational structure with
numerous organizational divisions, again from the website 50mm Los Angeles, is shown
in Figure 2. Only part of the screen is visible in this image, but the organization of the
image gallery is divided into an alphabetical, hotlinked list of navigation labels, some
representing artist names (pseudonyms), locations, and styles, etc. Clicking on any of
the hotlinked labels in this expansive list will take the user to a gallery of graffiti and
street art images with works that have something to do with the label. Each of these subpages used as organization for image galleries was also entered into the QDA Miner
database for further evaluation, as will be explained in detail below.
Figure 2. Gallery page of 50mm Los Angeles website with links to individual galleries.
Once all 241 websites were visited and all navigation labels were entered into QDA
Miner for all levels of organization, each individual label was coded to indicate what
type of organization was indicated. The coding developed as the analysis proceeded. Six
broad categories of codes, or facets, evolved during the research, two of which focused
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on the websites themselves, and four of which focus on the artwork images on the websites.
The two categories of codes that apply to the websites themselves include Sites and
Other Media. The Sites category includes navigation labels that refer to aspects of the
websites, how users can interact with the websites, and other information related to
shopping, subscribing, and other graffiti and street art-related information accessed
within the websites. They do not concern description of graffiti and street art images
associated with the image galleries on the websites. The Sites codes include: About,
Contact, ContributeFlix, Disclaimer, FAQ, Forum, Glossary, Guestbook, History,
HowTo, Interviews, Map, MyAccount, Poll, Shop, Subscribe, and Videos. This category
of codes relates to the structure, navigation, and use of the website in general. The second of the two categories not concerned with description of graffiti and street art images
is the Other Media codes. This category of code was applied to navigation labels that
linked to a blog or social media account associated with a website, such as an Instagram,
Facebook, or Flickr account, or to a list of links to other graffiti or street art sites, or
other associated media located outside the websites studied.
The remaining four categories of codes are the focus of the research reported herein.
These categories were used to describe graffiti and street art images themselves and
include General, Types, Supports, and Locations. Each of these four works-based categories will be described in greater detail and will provide insight into the documentation,
description, and organization practices of the graffiti art community, which includes artists, photographers, and various enthusiasts as described earlier.
3.0 Findings
Each of the code categories is divided into sub-categories, which reflect aspects of
description for graffiti works. The first of these is the General category, which is divided
into 17 codes, or facets, as shown in Table 1. In each of the code tables, the name of the
code is given first, followed by how many times that code was applied over all 241
websites. The third column indicates the percentage of all codes applied. The fourth
column indicates how many of the 241 sites earned that code at least once, followed in
the last column by the percentage of all sites that used that code at least once. Some of
the websites earned the same coding in multiple places on the site, which accounts for
the sometimes very large number of individual codes, like Artist. Whenever the name
of an artist was used as a way to organize a gallery of images, that label of the artist’s
name was coded as Artist. As evident in Figure 2, some websites included hundreds of
individual artist’s names.
Each of the tables lists codes in order of the percentage of sites making use of the
code at least once, providing a type of ranking for the popularity of an aspect of organization across all sites. This also avoids the skewing effect of using each code instance
as a popularity measure instead. While the month of a work was applied 35 individual
times, putting it fifth in terms of instances, it was seen on only 2.1 percent of all sites,
or 5 sites, which indicates it was 13th out of 17 in popularity.
Some of the General codes reflect common aspects of traditional art documentation,
such as the use of an artist’s name or the year. Others reflect affordances of an online
gallery, such as New, Color, Featured, RatedHigh, and Old. A very interesting aspect of
many of the General codes is their specific applicability to graffiti art. This is evident in
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codes such as Gallery (used to indicate when a work was in a gallery and not in a traditional graffiti location), RIP (used for commemorative pieces in honor of a graffiti artist
who has died), Legal, Outside, and Illegal. Most graffiti is assumed to be illegal, but
there are also legal walls where graffiti is allowed. It makes sense to include organization
for legal works, as they are created under very different circumstances than illegal ones.
It doesn’t make as much sense to offer organization specifically for illegal works, and
this code was applied on only 2 sites, compared with 7 sites that earned the Legal code.
Table 1. General codes and their usage across all sites.
General Codes
Count
% of Codes
# of Sites
% of Sites
Artist
14439
71.2
50
20.7
Event
89
0.4
31
12.9
Gallery
49
0.2
29
12.0
Year
227
1.1
27
11.2
New
35
0.2
26
10.8
Old
35
0.2
26
10.8
Featured
27
0.1
20
8.3
Inside
11
0.1
10
4.1
RIP
75
0.4
10
4.1
RatedHigh
14
0.1
8
3.3
Legal
15
0.1
7
2.9
Outside
7
0.0
7
2.9
Month
35
0.2
5
2.1
Color
12
0.1
4
1.7
Day
5
0.0
4
1.7
Decade
8
0.0
4
1.7
Illegal
5
0.0
2
0.8
The next category of work-related codes are the Support codes. These codes were
applied when organizing by the surface upon which the artwork was created or placed.
One distinction in this group of codes is the Canvas code, applied here to works produced in a studio. One-third of all sites earned this code, reflecting the difference in
perception of graffiti-style artworks committed on canvas as opposed to walls, trains, or
other publicly accessible spaces. The use of the street is important to the notion of graffiti and street art (Austin 2010, Riggle 2010). Painting on canvas is often seen as a desire
for profit, a safe way to make art in the comfort of a studio, or a type of selling out of
the art form (Jacobson 2017). This conception is common enough that a relatively large
number of sites used this type of organizational label to separate out works made in a
studio from those made on the streets.
Table 2. Support codes and their usage across all sites.
Support Codes
Count
% of Codes
# of Sites
% of Sites
Canvas
109
0.6
77
32
Walls
107
0.5
65
27
Trains
253
1.2
51
21.2
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Blackbook
Freights
CarsTrucksVans
Subways
Billboards
Body
Clothing
Rooftops
Tunnels
Subway Cars
Buses
Highways
Signs
Skate Deck
Trash Bins
Shutters
28
27
28
81
10
5
11
4
5
60
3
2
2
2
2
2
0.1
0.1
0.1
0.4
0.0
0.0
0.1
0.0
0.0
0.3
0.0
0.0
0.0
0.0
0.0
0.0
20
16
12
11
5
4
4
4
4
3
2
2
2
2
2
2
8.3
6.6
5.0
4.6
2.1
1.7
1.7
1.7
1.7
1.2
0.8
0.8
0.8
0.8
0.8
0.8
One of the most interesting categories of codes is that devoted to types of art. This
category is rich with terminology, much of it specific to graffiti art. It is also the largest
of the code categories, with 31 individual codes. Many of the codes are familiar terms
that could be associated with more traditional art forms, such as Sketches, Murals, Stencils, Posters, and Political. Many others have specific meaning within the graffiti art
community, such as Tags, Pieces, Bombs, Throwups, Productions, TrainWholecars,
TrainEtoEs (end-to-ends), TrainTtoBs (top-to-bottoms), Wheatpaste, and Wildstyle.
Table 3. Type codes and their usage across all sites.
Type Codes
Count
% of Codes
# of Sites
% of Sites
Sketches
74
0.4
56
23.2
Graffiti
75
0.4
50
20.7
Other
184
1.1
43
18.3
CommercialDesign
63
0.3
43
17.8
StreetArt
38
0.2
35
14.5
Murals
39
0.2
32
13.3
Tags
22
0.1
17
7.1
3D
18
0.1
16
6.6
Characters
59
0.3
15
6.2
Pieces
37
0.2
15
6.2
Stencils
20
0.1
13
5.4
Bombs
13
0.1
12
5.0
Throwups
16
0.1
12
5.0
Letters
19
0.1
10
4.1
Productions
12
0.1
10
4.1
Stickers
14
0.1
10
4.1
Digital
8
0.0
8
3.3
TrainWholecars
13
0.1
8
3.3
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Action
Posters
SprayPaint
Wheatpaste
Political
Projections
TrainEtoEs
Collaborations
TrainPanels
Silvers
TrainTtoBs
Wildstyle
Handstyle
6
9
4
4
3
3
5
3
3
2
2
3
2
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
6
5
4
4
3
3
3
3
3
2
2
2
2
2.5
2.1
1.7
1.7
1.2
1.2
1.2
1.2
1.2
0.8
0.8
0.8
0.8
The last category of work-related codes is the Location codes. Location can be
considered a common attribute to document for most traditional artworks, but it holds
special significance in the graffiti art community. Graffiti art styles are passed on from
older, more established writers to younger ones, and graffiti writers will often “bite” or
copy work they admire by others. Styles can be associated with geographic locations
around the world as well as with individual artists. Having as precise a location as possible for an individual work is desirable for those wishing to see the work in person as
well as for those who research the art style and its evolution across time and space. The
value of location information is counterbalanced by the desire of artists acting illegally
to remain anonymous and not leave a trail by which they can be tracked by law enforcement. This tension is evident in the very consistent lack of precise location information
available across all 241 websites.
The most commonly employed level of geographic location information was by city,
followed closely by country. Only one site got close enough to mention a street address,
while another once mentioned an intersection of streets. Thirteen sites referenced location via specific landmarks that might be recognizable to some familiar with the next
level up in the location hierarchy, such as city name. Parts of cities were also used by
thirteen sites. This would include mention of a specific borough of New York City, or a
cardinal direction employed with a city name, such as East L.A. Many sites employed
numerous levels of geographic faceting, starting by continents or countries, and working
down through specific states and cities. A number of websites were geographically focused and indicated works from countries outside their focus with a gallery for World
graffiti, a type of “other” code.
Table 4. Location codes and their usage across all sites.
Location Codes
Count % of Codes
# of Sites
% of Sites
Cities
1637
8.6
43
17.8
Countries
543
2.8
37
15.8
SpecificLandmarks
73
0.4
13
5.8
CityParts
94
0.5
13
5.4
World
22
0.1
12
5.0
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Continents
States
CountryParts
Address
Intersection
Undisclosed
42
117
10
2
27
2
0.2
0.6
0.0
0.0
0.1
0.0
11
6
5
1
1
1
4.6
2.5
2.1
0.4
0.4
0.4
4.0 Conclusion and Further Research
This research has analyzed the organizational facets employed across a large number
of websites that share graffiti art images and how they are further broken down. The
work is the first of its kind to describe the results of efforts by a distributed group of
image collection managers to organize graffiti images online. It is valuable in that it
provides insight into the facets of organization in use around the world to categorize
artworks not often collected or documented by traditional art or cultural heritage institutions. The methodology employed has been fruitful for description of current organizational practice.
Several factors intrinsic to the art form complicate the ability to effectively use traditional methods of documentation for works of art, including in large part the often illegal
nature of creating graffiti and street art. Legal issues often contribute to the obfuscation
of common aspects of art documentation, such as where works are, the identities of those
who created them, and dates for creation, change, and destruction of works. Commonalities in practice are easily seen from this research, but there is a lot more that can be
gained by further study. Knowing how these works are organized right now is only half
of the equation that could lead to development of systems to serve not only those who
maintain these diverse collections, but the many users who approach them as well. Further research into the needs and desires of such collection users could fill in other missing facets that may be extremely useful.
While conducting this research, it was found that a number of the websites studied
were very well developed. Nineteen of the 241 sites had very large collections, employed notably consistent, very granular use of facets, were active and adding new images, and included clear and in-depth information about the sites themselves. These 19
sites have been noted for further study. Much more analysis was carried out on the websites and interviews of website curators were also conducted, adding still more valuable
information about why certain facets and terminology are used. These additional details,
in combination with study from the user perspective, would add to the growing amount
of information that could be used to design systems for the documentation and organization of graffiti art and street art, as well as other types of found art and ephemera.
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