Graffiti and street art can be found in most big cities and urban environments, and on almost any type of surface. One of the less acknowledged and academically studied places where graffiti and street art exist are the numerous local, state, and national parks. These range from comparatively small areas that local governments set aside for the public use located in urban environments (e.g., the small pocket parks spread throughout a city like Washington, DC), to large swaths of land, with different types of flora, and fauna, topography, and sometimes including ancient priceless American-Indian carvings, etchings, pictographs, and petroglyphs that encompass several states (e.g., Yellowstone National Park).
Frequently there’s also lots of tagging inside the public restrooms (at least the men’s room), including porta potties that are located near the parking lots of these parks. Sometimes the tagging is more complicated, with cartoon like images. If there are train tracks or logging roads, running through the park, there may be tagging on the tracks or on low level rocks. Graffiti may also include letters, words, and images that are carved, chalked, chiseled. or scratched, on to trees and rocks. In terms of street art, the most frequent medium are stickers. On rare occasions will larger graffiti pieces, some with bubble letters, will be placed on rock surfaces.
Why is graffiti and street art that appears in local, state and national parks rarely studied?
In general, there is less graffiti and street art in local, state and federal parks, then the walls, doors, transportation systems, and back alleys of major metropolises. A number of reasons probably exist that explain why this occurs:
• With the exception of local parks, those inclined to engage in graffiti and street art rarely visit state and national parks, or they may not have the motivation to participate in this kind of activity in these areas.
• Implicit norms shared by taggers, writers and artists. Just like, the infrequent graffiti and street art left on houses of worship (i.e., churches, mosques, synagogues, and temples), the natural environment is often considered to be sanctified and out of bounds for writers and artists to leave their mark. Unlike private (and commercial space), it’s frequently assumed that local, state, and federal parks have been set aside as protected areas to be enjoyed by all, and thus writing graffiti or street art is perceived as taboo, among graffiti and street artist community.
Why might academics refrained from studying graffiti and street art in local, state and national parks?
A handful of reasons possibly explain why academics have not produced much scholarship on graffiti and street art in local, state and federal parks. This includes:
• It may not be perceived to be that interesting.
• There is less graffiti and street art in these locations. Thus,
• It may not be considered to be that big a social problem.
• Access to relevant data is resource-intensive. Unless we are talking about city parks, and unlike graffiti and street art that is put up in big cities, perpetrators rarely live near state and federal parks Notwithstanding traveling to these places is costly, based on my experience, the National Park Police and National Park Service Police do not readily share data about this kind of vandalism with qualified researchers.
Moving forward, there are some possible ways to consider tackling this subject.
Since getting interviews with people engaging in graffiti and street art in local, state and federal parks is extremely difficult, researchers might start by reviewing popular news media accounts of graffiti and street art in these locations.
Alternatively investigators might try to secure interviews (or even administer surveys) with rank and file National Park Police, National Park Service Rangers, service personnel, and volunteers who may pick up trash, and help to maintain or cut trails, and visitors.
Another tactic may be a visual ethnography where over a significant period of time, an inventory of graffiti and street art is taken in selected parks, to determine its breadth, frequency, and types.
These methods may enable us to get a better sense of what kinds of graffiti and street art occur in these locations, where it is located, its content, how widespread it is, who is engaging in this activity and how agents of social control are responding to it.
Although the amount of graffiti and street art that appears in local, state, and national parks pales in comparison to that which is typically present in large urban settings, its study may enable us to have a better picture about the depth and breadth of this phenomenon and the people who engage and respond to this activity.
Photo credit:
National Park Service Photos
Chalking, carving, and scratching are all types of graffiti. Depending on the damage, it may take a significant amount of work to remove.
https://jeffreyianross.com/wp-content/uploads/Screen-Shot-2022-03-23-at-4.23.05-PM.png338484Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2022-03-24 11:37:282024-01-07 12:55:47Making sense of graffiti and street art in local, state, and national parks
The 1960s were a tumultuous time in American political history. One of the legacies of this period was the publication of Albert O Hirschman’s classic and influential book, Exit, Voice and Loyalty: Responses to Declines in Firms, Organizations, and States. (1970). Although Hirschman’s book is instructive, it was primarily aimed at American political institutions that were losing their influence, and the examples that he used, are by today’s standards, a little outdated. More importantly, was the scant attention he devoted to what happens to members of organizations when they determine that there is a disconnect between the stated missions of the entities they joined, and the day to day reality of what they do.
Given the recent, so-called great resignation, where many workers are leaving their current jobs in search of more accommodating work settings, and institutions that they believe are more favorable to them, perhaps a rethinking of Hirschman’s argument is in order. Let’s start with first principles.
People (also known as members, employees, or recruits) join organizations for a variety of reasons, including, but not limited to, the need to affiliate with like-minded individuals, to achieve mutual goals, gain valuable skills, expertise, and experience, and to earn a paycheck.
To the newbie, whether we are talking about a nonprofit organization like a church, academic, or governmental based organization, or a for profit entity like a corporation, often seems like a great big black box; full of unknowns, mystery and even unlimited potential and opportunity. However, over time, the subtle nuances of the organization are revealed. The member, employee, recruit, etc. learns who likes whom, who detests whom, and where the organization chooses to invest its limited resources in furtherance of its mission, etc.. The newbie may also learn, besides recognizing the formal organizational chart, where they really fit in to the big picture. They may ask themselves are they essential, or are they window-dressing.
Over time, members also realize the disconnects between what the organization claims to be its mission, goals or objectives (typically presented through formal means of communication, authorized by its leadership,, and what it really does. The purpose of the organization is also revealed in the countless informal actions that the entity engages in (especially how they deal with challenges and crises).
Undoubtedly, both internal and external landscapes change. New people are hired and occupy management and leadership positions. Competitors emerge and threaten to undermine the longevity or market position of the organization. New technologies are created and the organization needs to make a decision whether it is in their best interests to adopt and if so how and when. Alternatively, black swan events like the COVID-19 pandemic happen.
Yes, we must pay heed to organizational development. And many entities will revise their mission statement (and other similar documents) to realign with this new reality, state or telegraph what they actually do or want to accomplish, and hire better or worse leaders and managers.
What happens in these situations?
Most members, employees or recruits, if they have been with the organization over a reasonable period of time, eventually notice or determine the disconnect.
How might or do these members/employees respond? There are at least four possible paths. These individuals may:
• Become tarnished, jaded, or disgruntled. These are the people you hate to run into at the copy machine. They contribute to the bad morale that spread throughout the organization.
• Continuously confront the senior administration or leadership in public or behind closed doors. These are the organizational bomb throwers (Similar to Hirschman’s notion of Voice).
• Seek greener pastures, and if successful in this pursuit quit the organization (Similar to Hirschman’s conception of Exit). And finally, they may
• Make peace with the organization and themselves, including making a series of cost-benefit calculations about a variety of reactions and choose the best one as situations develop (Dissimilar to Hirschman’s idea of Loyalty).
What are some possible solutions for modern organizations?
Short of ignoring the previously reviewed disconnect, leaders and managers who care about their organizations, not to mention their employees, members, or recruits, have a number of options they can pursue. These alternatives are pretty basic, but if not implemented properly they can backfire. They include:
• Using well-designed and implemented feedback loops. Typically this begins with professionally commissioned surveys sent to the rank and file. The questions need to tap issues that are of primary concern to the employees/members and be worded in a manner that is meaningful.
• Repeating this exercise on a regular and basis, and the results should be shared with employees, otherwise this exercise will create or foster distrust.
• Carefully reviewing the recommendations derived from this exercise, assessing them, and selectively implementing those that will address both organizational and members needs.
• Explaining to the membership why particular initiatives were implemented or ignored and why.
Conclusions
Some organizations, despite the contradictions between stated objectives and the day to day reality manage to survive, without any attempt at realignment. As long as the entity can attract a sufficient number of new members, and shed the old ones in a relatively effortless manner, can operate for a while. Over time, however the challenges raise their ugly heads.
It’s up to the leaders and managers to be the careful stewards of their organization. They need to be sufficiently invested in the health and longevity of the entity and take important steps towards realignment or change. They can’t simply pass this important activity off to subordinates and hope for the best.
Image credit
“Untergang der Titanic”,
as conceived by Willy Stöwer, 1912
https://jeffreyianross.com/wp-content/uploads/Screen-Shot-2022-03-17-at-11.26.17-PM.png434641Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2022-03-18 07:03:052023-02-13 19:31:19Reconsidering Hirschman’s EXIT, VOICE, AND LOYALTY in the context of the great resignation
In the weeks leading up to the Russian invasion of Ukraine, and ever since tanks rolled over the border, an increase in anti-war, more specifically anti-Russian, and anti-Putin graffiti and street art has been produced.
This type of urban public art, collectively referred to as “Conflict Graffiti” was in many respects predictable, however the unique messages and images and where they have been placed were not.
When events, similar to the Russian incursion into Ukraine occur, we almost always see provocative graffiti, street art and similar kinds of public art.
Noteworthy is a substantial amount of graffiti and street art in Russia (on walls and in subway stations), in particular St. Petersburg and Moscow, where protests against the war has been heavy, is illegal, and has led to the arrest of countless numbers of people. Thus, in the Russian context engaging in graffiti and street art is not simply a passing critique of government policies and leaders, but it is a form of nonviolent resistance and a weapon of the weak.
What kinds of graffiti and street art have been produced ? Some of the slogans and phrases that have been painted on surfaces, both in English and Russian, all in capital letters, are as simple as “NO WAR” or “NO TO WAR.” Others include, “PRAY FOR UKRAINE,” along with images of people next to or colored in the pattern of the Ukrainian flag. Otherwise most wall writing seems to be directed towards Russia (e.g., “STOP RUSSIAN FASCISM”), or Vladimir Putin, the Russian leader in the form of “PUTIN WAR CRIMINAL,” “NO PUTIN NO CRY,” and “ADOLF PUTIN” comparing him to the universally despised former leader of Nazi Germany.
There are more colorful and detailed pieces of graffiti and street art with images vilifying Putin, by depicting him as Hitler or Voldemort from the Harry Potter stories. Also prominent on the streets in different locations are also more detailed mural like images of Ukrainians (e.g., Skakun, Polina, etc.) who have died at the hands of Russian soldiers. Many of the images use the Ukrainian flag as part of its color palate. The street art that has been produced includes stickers and flyers/wheat pastes that have appeared bearing many of these same phrases and images.
Meanwhile, it’s not just subterranean groups who are engaging in graffiti/street art, or borrowing its ethos. For example, in Vilnius, the capital of Lithuania, Remigijus Simasius, the mayor, enlisted the aid of a local graffiti writer to spray paint “Putin, the Hague is waiting for you,” on a bridge near the Russia embassy. We also saw a group of 70 artists in Germany who painted, “LET US BUILD BRIDGES,” on the surface of a bridge that is slated for demolition. These pieces are interesting and engaging, but unlike traditional graffiti and street art, they are not transgressive in nature.
As the invasion progresses there will be new subthemes that emerge that will provide the basis for new phrases and images that will appear both in the Ukraine and throughout the world.
However it’s equally important to remember that although graffiti and street art may be interesting, provocative, and educational, it’s going to take more than this type of political activity to bring an end to the brutality that is reigning upon Ukraine and its citizens.
Photo credit:
designwallah
“Путін іди на хуй” – “Putin idy na khuy”
“Putin, go fuck yourself”
Street art by @nick_sweetman @mr_tensoe2 @twice.born @workingspy3000
https://jeffreyianross.com/wp-content/uploads/51926941391_e0944a48af_o-scaled.jpg5412560Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2022-03-10 19:25:562022-03-10 19:25:56Painting without permission: Graffiti & Street Art as a response to the Russian invasion of Ukraine
Making sense of graffiti and street art in local, state, and national parks
/by Jeffrey Ian RossGraffiti and street art can be found in most big cities and urban environments, and on almost any type of surface. One of the less acknowledged and academically studied places where graffiti and street art exist are the numerous local, state, and national parks. These range from comparatively small areas that local governments set aside for the public use located in urban environments (e.g., the small pocket parks spread throughout a city like Washington, DC), to large swaths of land, with different types of flora, and fauna, topography, and sometimes including ancient priceless American-Indian carvings, etchings, pictographs, and petroglyphs that encompass several states (e.g., Yellowstone National Park).
What does graffiti and street art in local, state and national parks look like?
The majority of graffiti that appears in these locations are tags, a moniker of sorts, typically done with white or black indelible marker pens on the front or back of “man-made” signs, posts, and culverts. Occasionally, numerous statues, memorials, and plaques are covered with graffiti. This kind of visual resistance appeared to increase during the Black Lives Matter protests, in the spring and summer of 2020 as a reaction to the death of George Floyd, an unarmed African-American man, at the hands of a white Milwaukee police officer.
Frequently there’s also lots of tagging inside the public restrooms (at least the men’s room), including porta potties that are located near the parking lots of these parks. Sometimes the tagging is more complicated, with cartoon like images. If there are train tracks or logging roads, running through the park, there may be tagging on the tracks or on low level rocks. Graffiti may also include letters, words, and images that are carved, chalked, chiseled. or scratched, on to trees and rocks. In terms of street art, the most frequent medium are stickers. On rare occasions will larger graffiti pieces, some with bubble letters, will be placed on rock surfaces.
Why is graffiti and street art that appears in local, state and national parks rarely studied?
In general, there is less graffiti and street art in local, state and federal parks, then the walls, doors, transportation systems, and back alleys of major metropolises. A number of reasons probably exist that explain why this occurs:
• With the exception of local parks, those inclined to engage in graffiti and street art rarely visit state and national parks, or they may not have the motivation to participate in this kind of activity in these areas.
• Implicit norms shared by taggers, writers and artists. Just like, the infrequent graffiti and street art left on houses of worship (i.e., churches, mosques, synagogues, and temples), the natural environment is often considered to be sanctified and out of bounds for writers and artists to leave their mark. Unlike private (and commercial space), it’s frequently assumed that local, state, and federal parks have been set aside as protected areas to be enjoyed by all, and thus writing graffiti or street art is perceived as taboo, among graffiti and street artist community.
Why might academics refrained from studying graffiti and street art in local, state and national parks?
A handful of reasons possibly explain why academics have not produced much scholarship on graffiti and street art in local, state and federal parks. This includes:
• It may not be perceived to be that interesting.
• There is less graffiti and street art in these locations. Thus,
• It may not be considered to be that big a social problem.
• Access to relevant data is resource-intensive. Unless we are talking about city parks, and unlike graffiti and street art that is put up in big cities, perpetrators rarely live near state and federal parks Notwithstanding traveling to these places is costly, based on my experience, the National Park Police and National Park Service Police do not readily share data about this kind of vandalism with qualified researchers.
How might researchers study this subject?
Moving forward, there are some possible ways to consider tackling this subject.
Since getting interviews with people engaging in graffiti and street art in local, state and federal parks is extremely difficult, researchers might start by reviewing popular news media accounts of graffiti and street art in these locations.
Alternatively investigators might try to secure interviews (or even administer surveys) with rank and file National Park Police, National Park Service Rangers, service personnel, and volunteers who may pick up trash, and help to maintain or cut trails, and visitors.
Another tactic may be a visual ethnography where over a significant period of time, an inventory of graffiti and street art is taken in selected parks, to determine its breadth, frequency, and types.
These methods may enable us to get a better sense of what kinds of graffiti and street art occur in these locations, where it is located, its content, how widespread it is, who is engaging in this activity and how agents of social control are responding to it.
Although the amount of graffiti and street art that appears in local, state, and national parks pales in comparison to that which is typically present in large urban settings, its study may enable us to have a better picture about the depth and breadth of this phenomenon and the people who engage and respond to this activity.
Photo credit:
National Park Service Photos
Chalking, carving, and scratching are all types of graffiti. Depending on the damage, it may take a significant amount of work to remove.
Reconsidering Hirschman’s EXIT, VOICE, AND LOYALTY in the context of the great resignation
/by Jeffrey Ian RossThe 1960s were a tumultuous time in American political history. One of the legacies of this period was the publication of Albert O Hirschman’s classic and influential book, Exit, Voice and Loyalty: Responses to Declines in Firms, Organizations, and States. (1970). Although Hirschman’s book is instructive, it was primarily aimed at American political institutions that were losing their influence, and the examples that he used, are by today’s standards, a little outdated. More importantly, was the scant attention he devoted to what happens to members of organizations when they determine that there is a disconnect between the stated missions of the entities they joined, and the day to day reality of what they do.
Given the recent, so-called great resignation, where many workers are leaving their current jobs in search of more accommodating work settings, and institutions that they believe are more favorable to them, perhaps a rethinking of Hirschman’s argument is in order. Let’s start with first principles.
People (also known as members, employees, or recruits) join organizations for a variety of reasons, including, but not limited to, the need to affiliate with like-minded individuals, to achieve mutual goals, gain valuable skills, expertise, and experience, and to earn a paycheck.
To the newbie, whether we are talking about a nonprofit organization like a church, academic, or governmental based organization, or a for profit entity like a corporation, often seems like a great big black box; full of unknowns, mystery and even unlimited potential and opportunity. However, over time, the subtle nuances of the organization are revealed. The member, employee, recruit, etc. learns who likes whom, who detests whom, and where the organization chooses to invest its limited resources in furtherance of its mission, etc.. The newbie may also learn, besides recognizing the formal organizational chart, where they really fit in to the big picture. They may ask themselves are they essential, or are they window-dressing.
Over time, members also realize the disconnects between what the organization claims to be its mission, goals or objectives (typically presented through formal means of communication, authorized by its leadership,, and what it really does. The purpose of the organization is also revealed in the countless informal actions that the entity engages in (especially how they deal with challenges and crises).
Undoubtedly, both internal and external landscapes change. New people are hired and occupy management and leadership positions. Competitors emerge and threaten to undermine the longevity or market position of the organization. New technologies are created and the organization needs to make a decision whether it is in their best interests to adopt and if so how and when. Alternatively, black swan events like the COVID-19 pandemic happen.
Yes, we must pay heed to organizational development. And many entities will revise their mission statement (and other similar documents) to realign with this new reality, state or telegraph what they actually do or want to accomplish, and hire better or worse leaders and managers.
What happens in these situations?
Most members, employees or recruits, if they have been with the organization over a reasonable period of time, eventually notice or determine the disconnect.
How might or do these members/employees respond? There are at least four possible paths. These individuals may:
• Become tarnished, jaded, or disgruntled. These are the people you hate to run into at the copy machine. They contribute to the bad morale that spread throughout the organization.
• Continuously confront the senior administration or leadership in public or behind closed doors. These are the organizational bomb throwers (Similar to Hirschman’s notion of Voice).
• Seek greener pastures, and if successful in this pursuit quit the organization (Similar to Hirschman’s conception of Exit). And finally, they may
• Make peace with the organization and themselves, including making a series of cost-benefit calculations about a variety of reactions and choose the best one as situations develop (Dissimilar to Hirschman’s idea of Loyalty).
What are some possible solutions for modern organizations?
Short of ignoring the previously reviewed disconnect, leaders and managers who care about their organizations, not to mention their employees, members, or recruits, have a number of options they can pursue. These alternatives are pretty basic, but if not implemented properly they can backfire. They include:
• Using well-designed and implemented feedback loops. Typically this begins with professionally commissioned surveys sent to the rank and file. The questions need to tap issues that are of primary concern to the employees/members and be worded in a manner that is meaningful.
• Repeating this exercise on a regular and basis, and the results should be shared with employees, otherwise this exercise will create or foster distrust.
• Carefully reviewing the recommendations derived from this exercise, assessing them, and selectively implementing those that will address both organizational and members needs.
• Explaining to the membership why particular initiatives were implemented or ignored and why.
Conclusions
Some organizations, despite the contradictions between stated objectives and the day to day reality manage to survive, without any attempt at realignment. As long as the entity can attract a sufficient number of new members, and shed the old ones in a relatively effortless manner, can operate for a while. Over time, however the challenges raise their ugly heads.
It’s up to the leaders and managers to be the careful stewards of their organization. They need to be sufficiently invested in the health and longevity of the entity and take important steps towards realignment or change. They can’t simply pass this important activity off to subordinates and hope for the best.
Image credit
“Untergang der Titanic”,
as conceived by Willy Stöwer, 1912
Painting without permission: Graffiti & Street Art as a response to the Russian invasion of Ukraine
/by Jeffrey Ian RossIn the weeks leading up to the Russian invasion of Ukraine, and ever since tanks rolled over the border, an increase in anti-war, more specifically anti-Russian, and anti-Putin graffiti and street art has been produced.
This type of urban public art, collectively referred to as “Conflict Graffiti” was in many respects predictable, however the unique messages and images and where they have been placed were not.
When events, similar to the Russian incursion into Ukraine occur, we almost always see provocative graffiti, street art and similar kinds of public art.
We experienced this when COVID-19 first appeared, Briana Taylor was shot by Lexington, Kentucky Police officers, George Floyd was killed by a Minneapolis police officer, and supporters of the Black Lives matter movement took to the streets during the spring of 2020.
No public surface seems untouched by anti-war, Russia, and Putin graffiti and street art, and the photographs of this work have been posted on almost all social media channels. Likewise some of this work has then been amplified by mainstream media news coverage.
Not only has anti-war, anti-Russian and anti-Putin graffiti and street art been seen in Ukraine, but we have witnessed this work in neighboring formerly eastern bloc countries (those geographically close to Russia – Romania, Poland, etc.), across the European Union, and as far away as Israel, the United States, Canada, and New Zealand.
Noteworthy is a substantial amount of graffiti and street art in Russia (on walls and in subway stations), in particular St. Petersburg and Moscow, where protests against the war has been heavy, is illegal, and has led to the arrest of countless numbers of people. Thus, in the Russian context engaging in graffiti and street art is not simply a passing critique of government policies and leaders, but it is a form of nonviolent resistance and a weapon of the weak.
What kinds of graffiti and street art have been produced ? Some of the slogans and phrases that have been painted on surfaces, both in English and Russian, all in capital letters, are as simple as “NO WAR” or “NO TO WAR.” Others include, “PRAY FOR UKRAINE,” along with images of people next to or colored in the pattern of the Ukrainian flag. Otherwise most wall writing seems to be directed towards Russia (e.g., “STOP RUSSIAN FASCISM”), or Vladimir Putin, the Russian leader in the form of “PUTIN WAR CRIMINAL,” “NO PUTIN NO CRY,” and “ADOLF PUTIN” comparing him to the universally despised former leader of Nazi Germany.
There are more colorful and detailed pieces of graffiti and street art with images vilifying Putin, by depicting him as Hitler or Voldemort from the Harry Potter stories. Also prominent on the streets in different locations are also more detailed mural like images of Ukrainians (e.g., Skakun, Polina, etc.) who have died at the hands of Russian soldiers. Many of the images use the Ukrainian flag as part of its color palate. The street art that has been produced includes stickers and flyers/wheat pastes that have appeared bearing many of these same phrases and images.
Meanwhile, it’s not just subterranean groups who are engaging in graffiti/street art, or borrowing its ethos. For example, in Vilnius, the capital of Lithuania, Remigijus Simasius, the mayor, enlisted the aid of a local graffiti writer to spray paint “Putin, the Hague is waiting for you,” on a bridge near the Russia embassy. We also saw a group of 70 artists in Germany who painted, “LET US BUILD BRIDGES,” on the surface of a bridge that is slated for demolition. These pieces are interesting and engaging, but unlike traditional graffiti and street art, they are not transgressive in nature.
As the invasion progresses there will be new subthemes that emerge that will provide the basis for new phrases and images that will appear both in the Ukraine and throughout the world.
However it’s equally important to remember that although graffiti and street art may be interesting, provocative, and educational, it’s going to take more than this type of political activity to bring an end to the brutality that is reigning upon Ukraine and its citizens.
Photo credit:
designwallah
“Путін іди на хуй” – “Putin idy na khuy”
“Putin, go fuck yourself”
Street art by @nick_sweetman @mr_tensoe2 @twice.born @workingspy3000