“The result is that Los Angeles has a really unique graffiti style,” Illescas said. In the 1980s, those traditions then incorporated colorful, whimsical East Coast influences. Rich graffiti writing traditions emerged, including “placas,” or tags that list a writer’s stylized signature, and “barrio calligraphy,” which blends rolling scripts with Old English lettering. Graffiti styles in East Los Angeles, for example, reflect Mexican-American artistic influence that began with Pachuco counterculture in the 1940s. Graffiti also offers what Illescas calls an “illicit cartography,” meaning that it can be read like a cultural map of the city. “They feel that the system is against them, and upward social mobility is limited for them, so putting their names up around the city is a way for them to achieve respect from their peers and assert their dignity, and that doesn’t come easily from other places and institutions in society.” The artists of a legal mural in Los Angeles list their names in a style inspired by traditional 'placas.' Photo courtesy of Ismael Illescas. “In a city where these youth are marginalised, ostracized, and invisibilized, graffiti is a way for them to become visible,” Illescas said. But graffiti allows Black and Latino young men to transform these areas into spaces of congregation and empowerment. Some of the most popular graffiti yards in Los Angeles are abandoned spaces in communities of color that neither the economy nor the city has been willing to invest in, he says. In fact, now, as a doctoral candidate in Latin American and Latino Studies, his dissertation research has taken him back to Los Angeles, where he gathered insights from current and former graffiti writers about how their work connects with concepts of art, identity, culture, and space.įor those who create it, graffiti is an expression of identity and an outlet for creativity, social connection, and achievement, according to Illescas’s research.

He has since given it up, but he never lost his initial sense of curiosity and admiration. Illescas became a graffiti writer himself, for a time. And, eventually, he started writing back. Little by little, he began to understand the meanings behind some of these messages. They were written on walls and scrawled daringly across billboards. In his urban environment, he found himself surrounded by beautiful, cryptic messages. He had migrated to the city with his mother and brother from Ecuador in the 1990s as part of a large Latin American diaspora.

Graffiti fans have compiled a street art map of Tartu, if you're keen on making a self-guided walking tour.Ismael Illescas grew up admiring the graffiti around his neighborhood in Los Angeles. Another tip is to check out the toilets at Genialists' Club, where a collection of funny and sometimes political graffiti is growing. One sure-fire place to see new art is under bridges. Some murals have been there for years and have become landmarks of the city.

You won't have to look far to find slogans and magical creatures on everything from lampposts to buildings. Tartu is dubbed the 'cultural capital' of Estonia and has a noticeably high concentration of street art. Socially conscious street art serves as a commentary on current events, giving the observant visitor a glimpse into local society.įreehand graffiti is more common in Tallinn, while Tartu is known for its well-prepared stencil artworks. Graffiti is technically illegal in Estonia, yet has evolved beyond vandalism into a respected and beloved art form. In Tallinn and Tartu you can find it almost everywhere, but colourful, detailed works can be seen in smaller places like Võru, Haapsalu and even the odd village. You don't have to visit a showroom or museum to view art in Estonia it's all around you on the streets. Street art is ever changing the thrill is in knowing the masterpiece you saw today might be gone tomorrow.