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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A0068,London,Brick,Lane,Earn,graffiti,street,art,lettering,East
Description: Tony Smith image Alamy 3E30281 - . The word Earn in large graffiti lettering near Brick Lane. Photographed on 24 August 2025. The recorded location is Brick Lane, London, England, UK. Brick Lane developed through successive migrant communities and industries in London's East End, becoming especially associated with Jewish tailoring and later the Bangladeshi community. The former Truman Brewery complex has been reused for markets, offices, exhibitions and creative businesses, helping turn the area into a major destination for street art, food, fashion and independent retail. Looking at cultural landmark, the longer history is that street art and murals are especially valuable as temporary cultural evidence because they may be painted over or lost during redevelopment
Photographs preserve both the artwork and its relationship with the surrounding neighbourhood. In 2026, cultural landmark remains relevant because contemporary street art continues to blur the line between unofficial expression, commissioned mural and tourist attraction
Images are therefore relevant to urban culture, creative industries, heritage interpretation and place-making. Other useful descriptive phrases include public art, sculpture, statue, cultural identity, visual culture, community art, memorial art, public realm, and 255A0068. The background to street art is that public art turns streets and buildings into records of local culture
Murals, statues and memorial sculpture can commemorate people and events, celebrate industry, respond to politics or simply enliven public space, while materials and style often identify a particular era. Within the history of artwork, monuments and civic artworks are part of the visual history of place
Their subjects reveal whom a community chose to celebrate, while later reinterpretation or controversy can change the meaning of an apparently permanent object. Its wider context brings together public art, sculpture and statue.
Brick Lane, London, England, UK
Description
Keywords: Gotonysmith,@HotpixUK,HotpixUK,255A9708,Manchester,Thomas,Street,Charmed,art,shutters,graffiti,urban
Description: Tony Smith image Alamy 3E3P7TY - . Street art on shutters at Charmed on Thomas Street, Manchester. Photographed on 28 June 2025. The recorded location is Thomas Street, Manchester, Greater Manchester, England, UK. The background to artwork is that street art and murals are especially valuable as temporary cultural evidence because they may be painted over or lost during redevelopment
Photographs preserve both the artwork and its relationship with the surrounding neighbourhood. Current 2026 context around artwork is that public art is closely connected with regeneration, tourism, identity and debate about representation
Murals and sculptures can become visitor landmarks while also prompting discussion about whose history is visible in public space. Alternative search wording includes statue, urban culture, cultural identity, visual culture, community art, place-making, memorial art, creative industries, public realm, cultural landmark, 255A9708, graffiti, and urban. Within the history of visual culture, public art turns streets and buildings into records of local culture
Murals, statues and memorial sculpture can commemorate people and events, celebrate industry, respond to politics or simply enliven public space, while materials and style often identify a particular era. In relation to memorial art, historical context shows that monuments and civic artworks are part of the visual history of place
Their subjects reveal whom a community chose to celebrate, while later reinterpretation or controversy can evolution the meaning of an apparently permanent object. For the story of cultural landmark, it is useful to note that street art and murals are especially valuable as temporary cultural evidence because they may be painted over or lost during redevelopment
Photographs preserve both the artwork and its relationship with the surrounding neighbourhood. A further layer of meaning comes from statue, urban culture and cultural identity.
Thomas Street, Manchester, Greater Manchester, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,L1,city,centre,street,graffiti,artwork,art,work,with,behind,3-4,Liverpool,L1 7AG,Great George Pl,hand,hands,face,fear,pain,inner city,inner,feeling,drama,dramatic,history,historic,heritage,imagination,trauma,mental,health
Description: Tony Smith image Alamy 2PJHP43 - . A grounded documentary photograph made at 3-4 Great George Place, Liverpool, Merseyside, England, UK, L1 7AG in 2023, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The principal subject is Liam Bononi, Brazilian street artist - hands, 3-4 Great George Place, Liverpool, Merseyside, England, UK, L1 7AG, with Anglican cathedral behind. The image also relates to creative district, changing streetscape, contemporary mural, regional identity, everyday life, local character, before-and-after reference, creative placemaking, temporary artwork, mural culture, period detail, contemporary social history, historical comparison, and urban graphics. The wider contemporary story combines gentrification, temporary works and how regeneration can support and displace informal culture at the same time. The image fixes street furniture and boundaries within 3-4 Great George Place, Liverpool, Merseyside, England, UK, L1 7AG at one identifiable point, providing a benchmark against changing commercial priorities. The surrounding story also includes community identity, place identity, public art, street creativity, public-realm art, changing land use, local history, and visual street culture. Details involving Bononi, hands, George, Brazilian, and Liverpool make the image more specific than a generic view and strengthen its local or historical value. A later view of 3-4 Great George Place, Liverpool, Merseyside, England, UK, L1 7AG may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. Another strand within the photograph is gentrification and how regeneration can support and displace informal culture at the same time within the specific setting of 3-4 Great George Place, Liverpool, Merseyside, England, UK, L1 7AG. The image fixes part of the area's social history before later change alters the scene.
3-4 Great George Place, Liverpool, Merseyside, England, UK, L1 7AG
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Paint Festival,Gloucestershire,England,UK,GL51,GL51 8NJ,237,bin,red,recycling,art,graffiti,spray,stencil,paint festival,and,bins,mixed,race,general waste,street,streetart,roller,rollers,African,Biffa,contrast,contrasts,recycle,female,woman,lady,portrait,face,profile,Hip-Hop,HipHop
Description: Tony Smith image Alamy 2M6YFF5 - . Photographed at 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ in 2022, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The photograph centres on Koeone, Cheltenham paint festival and Biffa waste bins street art, at 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ. The frame also records themes of street creativity, traditional materials, community art, creative placemaking, adaptive reuse, changing streetscape, contemporary social history, local history, mural culture, temporary artwork, street-level design, visual archive, period detail, and conservation architecture. For current editorial use, public art and gentrification provide additional context, especially through how regeneration can both support and displace urban art. Current relevance extends to energy retrofit and adaptive reuse, particularly through keeping older buildings useful without erasing their character. The archival value lies partly in recording building condition and alterations around 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ before new ownership alters the character of the place. The surrounding story also includes everyday life, visual street culture, architectural character, heritage landmark, regional identity, archival record, period architecture, and historic townscape. The combination of Koeone, Cheltenham, Gloucestershire, festival, and paint anchors the frame to a recognisable activity, place or moment. The wider setting at 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The record includes a trace of local identity before later change alters the scene. The frame retains a local visual benchmark as a date-specific reference.
237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Gloucestershire,England,UK,GL50,painting,art,art work,street,street art,Cotswolds,streetart,artworks,Girl,with,female,women,girl,girls,graffiti,arts,festivals,annual,artists,artis,event,events,colourful,bright,brightens,up,Cheltenhams,town centre,ideas,celebration,celebrating,street arts
Description: Tony Smith image Alamy 2M7JH6F - Cheltenham's paint festival is the latest addition to the Cheltenham festivals calendar which brings high-quality artwork from leading national and international street artists to the town centre.
‹Read more at https://www.cheltenhampaintfestival.co.uk/
Sherborne Place Car Park, Cheltenham, Gloucestershire, England, UK, GL50
Description
Keywords: black,wall,gable,end,of,building,GoTonySmith,HotpixUK,@HotpixUK,painted,over,destroyed,art,street,port street,NQ4,Northern Quarter,mental,health,frontman,with,by,Rapper,local hero,outcry,music,icon,album,new,P19,billboard,punk,MC,graffiti,artist,World Mental Health Day,M1
Description: Tony Smith image Alamy 2JTD2MX - Mural of Joy Division frontman Ian Curtis painted over with advert
Rapper Aitch has vowed to remove advert for his new album and restore the painting of ˜local hero' in Manchester
A mural of former Joy Division frontman Ian Curtis on Port Street, Manchester, has been painted over with an advert for local rapper Aitch, prompting such an outcry that the rapper has promised to restore the original painting.
Aitch, an MC from Moston in north Manchester, said he had no control over which billboards were used to advertise his new album and would never have sanctioned such an act of disrespect against a local hero .
It's come to light that the iconic Ian Curtis mural on Port Street has been painted over with my album artwork. This is the first time I've heard of this, me and my team are getting this fixed pronto. No way on earth would I want to disrespect a local hero like Ian, he tweeted. I don't just choose locations for billboards, he added.
The monochrome mural by graffiti artist Akse P19 was created in October 2020 to commemorate World Mental Health Day. It depicts Curtis performing in Brussels in 1979, a year before he killed himself.
Port Street, NQ4, Northern Quarter,Manchester, England, UK, M1 2EQ
Description
Keywords: city,centre,Greater,England,UK,vibrant,arty,artistic,M4,Tib,Street,M4 1SH,City centre,art at,in,mural,graffiti,street,Katie Scott Creative,Northern,soul,art,artist,urban,colour,colourful,NW,North West,creative,creativity,Tib Street,decoration,vibe,wall,walls,canvas
Description: Tony Smith image Alamy 2JTD2NG - . This dated editorial view of Northern Quarter, NQ4, Manchester, England, UK, M4 1SH in 2022 captures more than the immediate subject, retaining clues about local use, design, activity and change. The principal subject is City centre art at Tib St, Northernsoul Manchester, Northern Quarter, NQ4, Manchester, England, UK, M4 1SH. Another layer of the photograph includes urban regeneration, changing streetscape, contemporary social history, social history, period detail, civic architecture, visual archive, period architecture, heritage-led regeneration, public-realm investment, changing land use, place-making, historical comparison, and local history. Today's relevance is strengthened by heritage conservation, construction costs and the continuing question of how public investment can reshape pedestrian movement and evening activity. As a dated visual record of Northern Quarter, NQ4, Manchester, England, UK, M4 1SH, the frame retains building condition and alterations, making it especially useful if later reinterpretation subsequently changes the scene. Other useful contextual ideas include community identity, mixed-use redevelopment, architectural character, regional identity, before-and-after reference, documentary photography, town-centre renewal, and adaptive reuse. Elements such as Quarter, Northernsoul, centre, Manchester, and Northern add documentary specificity and may become increasingly useful when compared with later records. The period setting at Northern Quarter, NQ4, Manchester, England, UK, M4 1SH helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The location additionally provides evidence of heritage conservation and how public investment can reshape pedestrian movement and evening activity as part of the longer story of Northern Quarter, NQ4, Manchester, England, UK, M4 1SH. The period view preserves evidence of earlier appearance for later comparison.
Northern Quarter, NQ4, Manchester, England, UK, M4 1SH
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,graffiti,art,street,stairs,M4,52 Church St,NQ4,Manchester,England,UK,M4 1PW,established 1982,established,est,1982,Hip-Hop,HipHop,Manc,Manchester City centre,Mancunian,trendy,funky,tourist,tourism,attraction,attractions,Affleck,market,vintage,unit,units,history,historic,heritage
Description: Tony Smith image Alamy 2JYYR7T - . An identifiable period record of 52 Church St, NQ4, Manchester, England, UK, M4 1PW in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The frame specifically shows Afflecks Palace, established 1982, 52 Church St, NQ4, Manchester, England, UK, M4 1PW. The subject also carries associations with changing streetscape, regional identity, place-making, community identity, ecclesiastical art, liturgical art, period architecture, architectural character, local history, historical comparison, parish church heritage, documentary photography, town-centre renewal, and place identity. The modern context includes continuing discussion of visitor tourism, heritage conservation and the role of parish churches in local identity and genealogy. For current editorial use, housing pressure and heritage conservation provide additional context, especially through how regeneration tries to create reasons to visit traditional town centres. As a dated visual record of 52 Church St, NQ4, Manchester, England, UK, M4 1PW, the frame retains landscape treatment and surrounding development, making it especially useful if closure or conversion subsequently changes the scene. A second descriptive layer includes ecclesiastical craftsmanship, urban regeneration, sacred decoration, changing land use, visual archive, everyday life, before-and-after reference, and devotional artwork. Details involving established, Afflecks, Palace, Manchester, and Church make the image more specific than a generic view and strengthen its local or historical value. A later view of 52 Church St, NQ4, Manchester, England, UK, M4 1PW may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The photograph keeps period character for future local research. The record includes a trace of local identity before later change alters the scene.
52 Church St, NQ4, Manchester, England, UK, M4 1PW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Lancs,Lancashire,England,UK,door,entrance,outside,paint,art,artwork,streetart,street,graffiti,handle,and,&,locked,Deansgate,FY1 1BN,subversion,street art,pasted,Blackpools,community,derelict,repurposed,canvas,creativity,expression,buildings,brick,walls,characters,fantasy
Description: Tony Smith image Alamy 2JRFF5D - . An identifiable period record of Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The frame specifically shows Old Rock Factory, doorway graffiti and street art, handle & letterbox, Deansgate, Blackpool , Lancs, England, FY1 1BN. The surrounding context encompasses architectural character, place-making, local history, urban fabric, community identity, built heritage, urban regeneration, changing streetscape, contemporary social history, period detail, period architecture, place identity, heritage-led regeneration, and documentary photography. The modern context includes continuing discussion of commercial viability, heritage conservation and how public investment can reshape pedestrian movement and evening activity. For later comparison, the photograph preserves lettering, decoration and surface detail at Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN, details that may look very different after replacement signage. A second descriptive layer includes historical comparison, town-centre renewal, public-realm investment, public realm, historic townscape, commercial redevelopment, before-and-after reference, and civic architecture. References to Lancs, Deansgate, Factory, Blackpool, and handle give the picture a strong period identity and tie it closely to its named subject. For Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Another strand within the photograph is commercial viability and how public investment can reshape pedestrian movement and evening activity without losing the local specificity of Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN. The photograph keeps a trace of local identity as part of Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN's history.
Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,London,RBKC,England,UK,Royal Borough,of,Kensington,Chelsea,street,urban,art,artists,artist,on,outside,exterior,the,284 Portobello Rd,gallery,W10,touch,lady,blue,building,terrace,spots,spotty,graffiti,workshop,workshops,facade,front,NH,NottingHill,NottingHills,Notting Hills
Description: Tony Smith image Alamy 2M0KX74 - . A grounded documentary photograph made at 284 Portobello Rd, Notting Hill, RBKC, London, England, UK, W10 5TE in 2022, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The location is represented through Art on outside of the Graffik Gallery, 284 Portobello Rd, Notting Hill, RBKC, London, England, UK, W10 5TE. The locality and subject together evoke everyday life, changing land use, Westminster landmark, London cityscape, urban tourism, local history, period detail, community identity, social history, before-and-after reference, local character, heritage tourism, contemporary social history, and capital landmark imagery. The wider contemporary story combines heritage conservation, urban mobility and how familiar London symbols function as global shorthand for Britain. Future viewers can use this scene from 284 Portobello Rd, Notting Hill, RBKC, London, England, UK, W10 5TE to compare transport arrangements and footfall with whatever follows after altered transport patterns. The photograph additionally reflects regional identity, historic London streetscape, changing streetscape, historical comparison, archival record, iconic London transport, Thames city view, and documentary photography. Elements such as Graffik, Portobello, outside, Gallery, and Notting add documentary specificity and may become increasingly useful when compared with later records. For 284 Portobello Rd, Notting Hill, RBKC, London, England, UK, W10 5TE, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Its period value extends to heritage conservation and the pressure of visitor economies and housing costs on central neighbourhoods when considered against later change at 284 Portobello Rd, Notting Hill, RBKC, London, England, UK, W10 5TE.
284 Portobello Rd, Notting Hill, RBKC, London, England, UK, W10 5TE
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,2022,GrandPrix,Formula1,GP F1,flag,Union,art,Mural,murals,Sir,Lewis,Hamilton,fanzone,fan zone,cars,automobiles,racing,JimmyC,Jimmy,Jimmy C,street art,street,The Art of James Cochran AKA JimmyC,The Art of,James Cochran,AKA JimmyC,akajimmyc,Jimmy. C,Jimmy.C,Silverstone Circuit,Towcester Northamptonshire,England,UK,NN12 8TN,Towcester,graffiti
Description: Tony Smith image Alamy 2JFTMNX - 03/12/2019 - A mural has been unveiled at Silverstone, the home of the British Grand Prix
A portrait of the British Formula One champion Lewis Hamilton at Silverstone 2019. Project supported by Sky Sport F1
To celebrate his stunning achievements, a mural has been unveiled at Silverstone, the home of the British Grand Prix.
Sky Sports F1 - the home of live and exclusive F1 - hired artist James Cochran , who also created the famous David Bowie mural in Brixton - to design the piece to celebrate Hamilton's latest title crown.
The impressive-looking painting displays Hamilton in his Mercedes gear, with the Union Jack acting as a stunning backdrop.
The mural has been emblazoned on a section of a wall at the world famous Silverstone circuit, a track which has seen Sir Lewis Hamilton triumph a record six times.
More at https://www.mirror.co.uk/sport/formula-1/lewis-hamilton-mural-unveiled-silverstone-21019129
Silverstone Circuit, Silverstone Village, Towcester, Northamptonshire, England, UK, NN12 8TN
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,2022,GrandPrix,Formula1,GP F1,flag,Union,art,painting,Lewis Hamilton,Mural,murals,Sir,Lewis,Hamilton,fanzone,fan zone,fan,fans,people posing,beside,cars,automobiles,racing,JimmyC,Jimmy,Jimmy C,street art,street,The Art of James Cochran AKA JimmyC,The Art of,James Cochran,AKA JimmyC,akajimmyc,Jimmy. C,Jimmy.C,graffiti
Description: Tony Smith image Alamy 2JFTMP7 - 03/12/2019 - A mural has been unveiled at Silverstone, the home of the British Grand Prix
A portrait of the British Formula One champion Lewis Hamilton at Silverstone 2019. Project supported by Sky Sport F1
To celebrate his stunning achievements, a mural has been unveiled at Silverstone, the home of the British Grand Prix.
Sky Sports F1 - the home of live and exclusive F1 - hired artist James Cochran , who also created the famous David Bowie mural in Brixton - to design the piece to celebrate Hamilton's latest title crown.
The impressive-looking painting displays Hamilton in his Mercedes gear, with the Union Jack acting as a stunning backdrop.
The mural has been emblazoned on a section of a wall at the world famous Silverstone circuit, a track which has seen Sir Lewis Hamilton triumph a record six times.
More at https://www.mirror.co.uk/sport/formula-1/lewis-hamilton-mural-unveiled-silverstone-21019129
Silverstone Circuit, Silverstone Village, Towcester, Northamptonshire, England, UK, NN12 8TN
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,painting,graffiti,spraying,art,girl,girl painting,pigtail,pigtails,pasted,paste up,various,artworks,street,lane,themes,tolerated,E1 6QL,face,faces,image,images,points,pointing,write,writes,is,life,corner,wall,walls,Victorian,East End
Description: Tony Smith image Alamy 2AE024F - . Photographed at Brick Lane, London, England, GB, E1 6QL in 2019, this is a specific real-world record of the subject, its setting and the period details surrounding it. The scene shows Art is Life,painting,graffiti,Brick Lane,eastend,London,England,UK, E1. Further facets of the subject include conservation interest, urban fabric, historic frontage, period streetscape, industrial supply chain, heritage asset, changing streetscape, regional identity, traditional building materials, historical comparison, public realm, visual archive, factory history, and industrial artefact. For contemporary context, adaptive reuse and factory closures are closely related themes, especially where the issue becomes the historical importance of everyday manufactured objects and materials. Viewed from the mid-2020s, the subject sits within continuing debate about heritage conservation, planning control and the contrast between preservation and redevelopment. As the area changes, the photograph preserves the way the place functioned before later physical or commercial change within Brick Lane, London, England, GB, E1 6QL. The wider local story also touches on changing land use, local character, historic townscape, period building, production technology, contemporary social history, heritage landmark, and building-material production. References to Brick, graffiti, painting, London, and eastend help fix the photograph to its own subject and period rather than reducing it to a generic view. A later view of Brick Lane, London, England, GB, E1 6QL may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. A further contemporary connection is adaptive reuse and the historical importance of everyday manufactured objects and materials as part of the longer story of Brick Lane, London, England, GB, E1 6QL. The image fixes a local visual benchmark as a date-specific reference.
Brick Lane, London, England, GB, E1 6QL
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,art,graffiti,junction,of,create or die,urban,decay,east end,eastend,street,lane,street art,streetart,painted,paintings,spay,can,old,derelict dereliction,abandoned,plastered,covered,completely,paste up,pasteup,pasteups,Victorian,buildings,building,culture,cobbled,flats,apartments,Create or Die,high streets
Description: Tony Smith image Alamy 2AE02EE - . A grounded stock-photo/gotonysmith-Documentary.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>documentary photograph made at Junction of Grimsby Street and Brick Lane,East London, England,UK in 2019, preserving the main subject alongside smaller details that may become more historically useful with time. The subject recorded here is Street art at the Junction of Grimsby Street and Brick Lane,East London, England,UK. Further facets of the subject include building-material production, local history, housing affordability, community housing, production works, public realm, affordable homes, industrial supply chain, historic manufacturing, community identity, social history, place identity, visual archive, and changing streetscape. From a 2025-onward perspective, the scene also connects with industrial conservation, labour history and the reuse or loss of former production sites. In the mid-2020s, planning and repairs keep the subject current, particularly through the balance between new supply and local infrastructure. For local-history research, the photograph preserves small features of identity that written records may overlook in the immediate surroundings of Junction of Grimsby Street and Brick Lane,East London, England,UK. A second layer of the scene includes archival record, residential environment, period detail, housing stock, local character, housing provision, industrial archaeology, and historical comparison. The combination of London, Brick, Junction, and Grimsby anchors the image to a recognisable activity, place or moment. By fixing the subject within Junction of Grimsby Street and Brick Lane,East London, England,UK, the image preserves more than the headline object or building: it records part of the locality's everyday history. Another useful connection is industrial conservation and the reuse or loss of former production sites as part of the longer story of Junction of Grimsby Street and Brick Lane,East London, England,UK. That local specificity strengthens the long-term documentary value of image 2AE02EE.
Junction of Grimsby Street and Brick Lane,East London, England,UK
Description
Keywords: @HotpixUK,Hotpixuk,GoTonySmith,B5,in Floodgate St,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST,Floodgate St,Graffiti,street,artist,tag,tagged,Deritend,painted,pano,panorama,painting,art,streetart,rail,railway,arch,arches,yard,parking,cul-de-sac,road,car park,open space,industry,industrial
Description: Tony Smith image Alamy 2AERPM7 - . Recorded at Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST in 2019, the image fixes a particular place, use and appearance for later comparison as buildings, businesses, signs and public activity change. The view centres on Graffiti urban street art panorama,in Floodgate St,Digbeth,Bordesley & Highgate,Birmingham,West Midlands,England,UK,B5 5ST. The setting also relates to industrial supply chain, community identity, factory history, railway branding, station environment, place identity, contemporary social history, rail corridor, regional identity, building-material production, transport interchange, traditional building materials, industrial artefact, and public transport network. In the mid-2020s, rail reform and decarbonisation keep the subject current, particularly through preserving railway heritage while modernising the network. The subject remains useful for current coverage of construction materials and embodied carbon, not least because of recording industries that shaped northern towns. Looking back from the mid-2020s, the photograph preserves the visual character of the locality at the time as seen at Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST. The subject sits alongside production works, documentary photography, period detail, public realm, changing land use, trackside infrastructure, local history, and historic manufacturing. References to panorama, Floodgate, Highgate, Digbeth, and Midlands help fix the photograph to its own subject and period rather than reducing it to a generic view. Around Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The image also provides a reference for rail reform and making rail simpler and more dependable within the specific setting of Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST.
Floodgate St,Digbeth, Birmingham,West Midlands,England,UK, B5 5ST
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,paste ups,stickers,tags,from,in various colours,artist,Ready to use,Wheatpaste,pop art,street art,Out House project,OutHouse project,street-art,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,graffiti,art,figures,Northern Quarter,NorthernQuarter,colourful,colorful,colours
Description: Tony Smith image Alamy RFF638 - Here's a little insight into the world of D7606
Picking spots is not always easy, a lot of areas like the east end of London are quite saturated with street art, finding a spot without going over other peoples work and tags is always a priority. Being respectful to others work is very important to me. So I like to find new spots and go into areas where no one has been before, I did a series of Bollywood actors and found myself in a busy Southall one night, that was fun. I have been into the urbex spots around Sheffield where the spray can and letters are king, so adding brightly coloured paste ups to those grimy walls is a risk and one I'm glad I have taken, some will approve and others will not but that's the joy of trying new places.
Mostly I am a lover of other peoples work and my photography of that work is how I find different neighbourhoods. Most areas are well know so often I just wander around taking photos, this then gives me that opportunity to do my own work too. I guess my favourite areas right now are Sheffield in the UK and Kreuzberg in Berlin, the back streets are full of grimy walls and doors, a perfect place for paste ups, stickers and tags..
I love those iconic British symbols, ask an American to name an iconic British symbol and a lot will say our red phone box or post box. They featured in my first work and still do in a big way.
Oh yes, I love to take those iconic British symbols abroad, I have travelled a fair bit in the last year- France, Germany and the USA. Hard to say a favourite place really, all have great art and great spots. Overall New York was the most impressive but maybe that was a size thing? It is massive, so much to see and so much good original work around.
Have you ever got in trouble with the police or other people for putting up your work?
Ha¦ oh no, everything I do is within the law !!! I am sure I have annoyed people with my work, some artists are honest enough to say¦ stop !! That's too much !! or that latest work
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Fuzzylogic75 stencil art,stencil,Northern Quarter,figures,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,artist,stickers,street art,graffiti,paste ups,art,NorthernQuarter,colourful,colorful,colours,arm,pipe,tube,tag,tags,paper,pasted
Description: Tony Smith image Alamy RFF64K - . A grounded editorial photograph records the everyday reality of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, as photographed in 2019. The scene is specifically associated with Fuzzylogic75 stencil art, Manchester Northern Quarter, NQ4, Manchester, England, UK. Related ideas embodied by the location include mural culture, urban visual culture, contemporary mural, community expression, creative regeneration, urban graphics, city artwork, public art, graphic intervention, public realm art, street-level design, and creative streetscape. Seen from a 2025-onward perspective, community artwork also connects with local identity, graffiti versus commissioned work and efforts aimed at creative reuse of redevelopment sites. Because this is a time-specific record of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, later comparison can reveal changes in signage, ownership, land use, transport, street furniture, building condition and the way the public uses the surrounding space. The location additionally reflects art-led regeneration, temporary artwork, illustrated hoarding, local identity, visual placemaking, urban artwork. The scene is further associated with street art, stencilling, street, facs. The scene also carries the language of , and street creativity. Modern coverage of temporary urban art frequently reaches beyond the immediate scene to questions of graffiti versus commissioned work, youth culture and recording temporary artwork. Viewed retrospectively, the photograph can reveal the condition of buildings, public-realm details, local business activity, patterns of everyday use, and regional identity within the surrounding area. Taken together, these details make the photograph a useful record of changes of use, local character, public activity, the appearance of the built environment, and period design as part of the area's longer social history.
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Northern Quarter,RIP,NorthernQuarter,SSOSVATIME,art,street art,graffiti,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,artist,stickers,paste ups,figures,colourful,colorful,colours,silver,monochrome,BW,black and white,hat,hatter,mad,time
Description: Tony Smith image Alamy RFF64M - . A grounded editorial photograph captures the physical context of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, as it appeared in 2019. The location is represented through SSOSVA TIME RIP the mad hatter, Northern Quarter, Manchester, England, UK. Related ideas embodied by the location include city artwork, street-level design, mural culture, temporary artwork, public realm art, art-led regeneration, urban graphics, community art, local identity, illustrated hoarding, street creativity, and urban artwork. Seen from a 2025-onward perspective, visual placemaking also connects with temporary installations, public-realm investment and efforts aimed at recording temporary artwork. Documentary value is strengthened by the precise setting at Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, where even ordinary details of frontage, equipment, signs, traffic or public activity may disappear as the area evolves. Beyond the immediate subject, the setting involves graphic intervention, contemporary mural, community expression, urban visual culture, creative regeneration, public art. Other local associations include pls fix me, I am broke, Alice, Alice in Wonderland, stencil. The scene also carries the language of , and creative streetscape. Modern coverage of visual placemaking frequently reaches beyond the immediate scene to questions of temporary installations, graffiti versus commissioned work and creative reuse of redevelopment sites. The combination preserved here provides evidence of signage and branding, commercial identity, physical infrastructure, community life, and local continuity as an authentic period reference. As the location changes, the frame remains a reference for historic fabric, everyday services, planning and redevelopment, movement through the area, and social change at this precise location. The location view retains the area's visual identity for visual before-and-after study.
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,graffiti,art,artist,paint,painting,urban,graf,hiphop,northernquarter,Dog,man,dogface,cloth cap,Houldsworth St,NQ4,north west England,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,Manchester Northern Quarter,M1 1JW,M1,face,dog,head
Description: Tony Smith image Alamy RFF688 - . A close documentary record captures the character of Manchester Northern Quarter, England, UK, M1 1JW, in this period view from 2019. The principal point of reference is Dog man, dogface in cloth cap, Houldsworth Street, Northern Quarter, Manchester, England, UK. The wider setting includes creative regeneration, community expression, illustrated hoarding, urban visual culture, street creativity, public art, visual placemaking, community art, urban graphics, urban artwork, creative streetscape, and mural culture. In the mid-2020s, community artwork is increasingly discussed through temporary installations and community participation, with attention turning to stronger place identity. Over time, this view of Manchester Northern Quarter, England, UK, M1 1JW can support local-history and planning research by preserving details of appearance, occupation, signage, public access and everyday use that written records may omit. The scene also relates to temporary artwork, public realm art, street-level design, art-led regeneration, contemporary mural, graphic intervention. Associated details include Dogman, dog face, sinister, hands, City centre. A second layer of description includes local identity, and city artwork. Current debate around street-level design often combines graffiti versus commissioned work, local identity and the practical challenge of community-led design. For future comparison, the scene preserves planning and redevelopment, everyday services, movement through the area, historic fabric, and social change as an authentic period reference. Viewed retrospectively, the photograph can reveal transport patterns, public access, architecture and streetscape, ownership or occupation, and neighbourhood identity at this precise location. That gives this view of Manchester Northern Quarter, England, UK, M1 1JW continuing value for local history, retrospective reporting and visual comparison.
Manchester Northern Quarter, England, UK, M1 1JW
Description
Keywords: Manchester,City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Uk,Is,Busy,I dont believe in,selfies,selfie,Look up,mobile,NQ4,art,graffiti,artwork,street art,streetart,poster,sensible mobile use,protect your mobile,protect your phone,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,M1,M1 1JW
Description: Tony Smith image Alamy RFF69K - . This descriptive scene shows the physical context of Manchester Northern Quarter, England, UK, M1 1JW, as recorded during 2019. The source caption identifies Manchester Is Busy, I dont believe in selfies, Look up from your phone, Manchester Northern Quarter, England, UK, M1 1JW. Other closely connected aspects of the subject are temporary artwork, urban visual culture, creative regeneration, connected society, screen-based interaction, public realm art, smartphone culture, street creativity, visual placemaking, city artwork, digital economy, and illustrated hoarding. For present-day editorial use, online platforms can also illustrate debates about digital exclusion and rapid software change, particularly where these affect safer connected systems. Modern coverage of public art frequently reaches beyond the immediate scene to questions of youth culture, temporary installations and community-led design. The photograph fixes Manchester Northern Quarter, England, UK, M1 1JW at one identifiable stage in its history, providing a reference against which later refurbishment, closure, demolition, conversion, new ownership or altered public use can be assessed. The scene also relates to contemporary mural, urban graphics, networked technology, technology adoption, local identity, street-level design. The record also refers to flyingleaps, flyingleaps2016, Smartphone, protect your smartphone. The scene also carries the language of community art, information technology, online identity, art-led regeneration, app-based service, urban artwork, mobile computing, digital technology, digital interface, and connected device. In the mid-2020s, mobile computing is increasingly discussed through artificial intelligence and privacy, with attention turning to accessible online design. That gives this view of Manchester Northern Quarter, England, UK, M1 1JW continuing value for local history, retrospective reporting and visual comparison.
Manchester Northern Quarter, England, UK, M1 1JW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,wall,in,Faulkoner street,England,UK,M1,boxer,boxing,world,champion,art,artwork,punch,punching,Cassius Marcellus Clay Jr,Cassius Clay,professional,the Greatest,activist,fist,Parkinsons,syndrome,streetart,street,stencil,graffiti,fighter,fighting,floats,like,a,butterfly,sting,stings,bee,anti-racism symbol,cultural icon
Description: Tony Smith image Alamy 2K3XNAA - Editorial street art image shows a Muhammad Ali stencil mural on a wall in Manchester Chinatown, in the M1 postcode district of Manchester city centre. The artwork depicts Ali in a boxing stance, with a large clenched fist pushed forward and a butterfly motif painted nearby, connecting visually with his famous sporting persona and cultural legacy. To the right of the black stencil figure is a tribute text panel bearing Ali's name, life dates and an inspirational quote about knowing his own truth and being free to live on his own terms.
The image has strong editorial value because it combines sport, politics, identity, street art and urban memory in a compact Manchester city centre scene. Ali was far more than a heavyweight boxing champion. He became a global symbol of confidence, resistance, anti-war conviction, civil rights, Black pride, religious identity, sporting brilliance and personal freedom. The mural's direct visual language, using a bold black silhouette against a pale wall, suits the subject well. It gives the image a graphic, poster-like quality, while the weathered render, barred window, pipework and side-street setting place it firmly in a real urban environment rather than a gallery or formal memorial.
This photograph is useful for editorial themes around Muhammad Ali, boxing history, sporting icons, Manchester street art, Chinatown, public murals, civil rights, inspirational quotes, urban culture, stencil art, graffiti, social justice, Black history, celebrity tributes, local walking routes, city centre back streets, cultural memory and the use of public walls as informal memorial spaces. It also works for wider stories about how global figures are remembered in British cities, the relationship between sport and politics, and the continued visual power of Ali's image decades after his greatest fights. The butterfly detail, boxing stance and freedom quote make the image instantly recognisable while also giving it strong keyword value for art, sport
Faulkoner street, Chinatown, England, UK, M1
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,German,Rhine,City Centre,ancient Mogontiacum,ancient,Mogontiacum,historic,town,mogontiacum,steps,Graffiti,Kleine Weigasse 12,art,12,55116,city,centre,street,streets,alley,looking,down,downhill,step,tag,tags,writing,vandals,vandalism,high,higher,part,area,of,history
Description: Tony Smith image Alamy RGGE33 - . This location-led image sets out the social and built context of Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany, in this period view from 2018. The location is represented through Graffiti, Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany, Europe. The location also connects creative streetscape, period property, creative regeneration, conservation architecture, adaptive reuse, community art, visual placemaking, temporary artwork, traditional building, architectural detail, community expression, and conservation interest. The wider contemporary story of visual placemaking now includes public-realm investment alongside regeneration, while policy and investment increasingly consider stronger place identity. Current debate around older urban fabric often combines energy retrofit, vacancy and the practical challenge of heritage-led regeneration. Small period details preserved at Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany may become historically important as commercial occupants, public services, infrastructure and the built environment change, making the image useful for retrospective editorial coverage. The resulting scene connects with art-led regeneration, heritage streetscape, local identity, public realm art, city artwork, local landmark. Associated details include Rhineland Palatinate, Deutschland, street, city. A second layer of description includes contemporary mural, urban visual culture, architectural heritage, historic built environment, mural culture, urban conservation, street-level design, public art, historic environment, and architectural character. Seen from a 2025-onward perspective, temporary urban art also connects with youth culture, graffiti versus commissioned work and efforts aimed at community-led design. This period image preserves the location's physical context within the evolving townscape. This period image preserves the location's physical context within the evolving townscape.
Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NOHO NYC,NYC,New York City,St Marks Place,St Marks Place NYC,street,New York Street,USA,America,City Centre,city,centre,center,city center,New York Travel Tourism,shop,cafe,poster,front,shopfront,inner city,downtown,streetart,spray,spraycan,expression,neighborhood,graffiti,art,Manhattan,East Village,attraction,tourist,tourism
Description: Tony Smith image Alamy RBF065 - . A place-specific photograph preserves the physical context of the recorded location, in a documentary image made in 2018. Within that setting the photograph concentrates on Physical Graffiti Tea Shop, St Marks, Graffitea, East Village, Manhattan, NYC,NY, USA. Other closely connected aspects of the subject are bricks-and-mortar retail, retail decline and renewal, chain-store economy, creative regeneration, tourism economy, consumer retail, food-and-drink business, urban commerce, hospitality premises, destination economy, public art, and shopping district. The wider contemporary story of retail streets now includes changing footfall alongside brand consolidation, while policy and investment increasingly consider mixed-use town centres. Current debate around community artwork often combines regeneration, public-realm investment and the practical challenge of recording temporary artwork. In the mid-2020s, local dining is increasingly discussed through changing visitor patterns and staffing, with attention turning to sustainable tourism. The photograph fixes the recorded location at one identifiable stage in its history, providing a reference against which later refurbishment, closure, demolition, conversion, new ownership or altered public use can be assessed, specifically in relation to Physical Graffiti Tea Shop. The view also records themes involving visitor economy, temporary artwork, illustrated hoarding, visitor destination, high-street commerce, art-led regeneration. Associated details include New York St Marks Place, Eastvillage. A second layer of description includes customer service, commercial frontage, restaurant sector, shopping habits, food culture, city-centre economy, commercial streetscape, hospitality trade, catering trade, and local trading. Seen from a 2025-onward perspective, high-street retail also connects with hybrid working, changing footfall and efforts aimed at bringing empty units back into use.
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NYC,St Marks Place,New York St Marks Place,street,New York Street,USA,America,City Centre,city,centre,center,city center,East Village,Eastvillage,store,stores,shop,graffiti,paint,art,urban,Manhattan,NY,86,East 7th Street,7th St,inner city,downtown,streetart,spray,spraycan,expression,neighborhood,NOHO NYC,Hip-Hop,HipHop
Description: Tony Smith image Alamy RBF070 - . A grounded editorial photograph sets out the physical context of 86, East 7th Street, East Village, Manhattan, New York, NY, USA, in an image captured in 2018. The supplied image information identifies 7th St Village Farm inc store, 86, East 7th Street, East Village, Manhattan, New York, NY, USA. Other closely connected aspects of the subject are urban artwork, customer footfall, contemporary mural, community art, storefront culture, retail decline and renewal, commercial frontage, street-level design, shopping habits, shopfront economy, independent retail, and public realm art. Seen from a 2025-onward perspective, retail streets also connects with hybrid working, shifts in leisure spending and efforts aimed at bringing empty units back into use. The wider contemporary story of public art now includes youth culture alongside temporary installations, while policy and investment increasingly consider stronger place identity. Over time, this view of 86, East 7th Street, East Village, Manhattan, New York, NY, USA can support local-history and planning research by preserving details of appearance, occupation, signage, public access and everyday use that written records may omit. The scene also relates to creative streetscape, local trading, temporary artwork, consumer spending, city artwork, city-centre economy. Other local associations include urban art, NOHO NYC, St Marks Place NYC, 86 East 7th Street, New York Travel Tourism, 7th Street Village Farm inc. The location further reflects graphic intervention, community expression, high-street commerce, street creativity, retail property, urban graphics, chain-store economy, art-led regeneration, mural culture, and visual placemaking. Modern coverage of consumer spending frequently reaches beyond the immediate scene to questions of vacant premises, brand consolidation and mixed-use town centres. The location view retains the area's visual identity for visual before-and-after study.
86, East 7th Street, East Village, Manhattan, New York, NY, USA
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NOHO NYC,NYC,New York City,St Marks Place,St Marks Place NYC,street,New York Street,USA,America,City Centre,city,centre,center,city center,East Village,Eastvillage,Cash Machine,AutoTeller,street cash machine,Manhattan,New York,NY,Harlem,cash,inner city,downtown,streetart,spray,spraycan,expression,neighborhood,graffiti,art,Hip-Hop,HipHop
Description: Tony Smith image Alamy RBF071 - . A detailed visual record records the setting around East 7th Street, East Village, Manhattan, New York, NY, USA, in a 2018 record. The image record centres upon Money and Art, ATM at East 7th Street, East Village, Manhattan, New York, NY, USA. The wider setting includes mural culture, local identity, art-led regeneration, community art, contemporary mural, urban visual culture, city artwork, street-level design, temporary artwork, illustrated hoarding, street creativity, and public art. For present-day editorial use, urban murals can also illustrate debates about youth culture and public-realm investment, particularly where these affect art integrated with regeneration. The date and location give the photograph archival strength: future views of East 7th Street, East Village, Manhattan, New York, NY, USA may show different businesses, branding, services, architecture, traffic patterns or redevelopment, allowing clear before-and-after comparison. Beyond the immediate subject, the setting involves creative regeneration, creative streetscape, graphic intervention, urban graphics, community expression, urban artwork. The scene is further associated with street ATM, cash Machine in the street, Cash machine, Auto Teller, New York Travel Tourism, New York St Marks Place. Its context additionally embraces visual placemaking, and public realm art. In the mid-2020s, community artwork is increasingly discussed through community participation and public-realm investment, with attention turning to recording temporary artwork. The lasting documentary value lies in its record of public access, neighbourhood identity, architecture and streetscape, transport patterns, and ownership or occupation within the surrounding area. That gives this view of East 7th Street, East Village, Manhattan, New York, NY, USA continuing value for local history, retrospective reporting and visual comparison.
East 7th Street, East Village, Manhattan, New York, NY, USA
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NOHO NYC,NYC,New York City,St Marks Place,St Marks Place NYC,street,New York Street,USA,America,City Centre,city,centre,center,city center,East Village,Eastvillage,Cash Machine,AutoTeller,street cash machine,Manhattan,New York,NY,Harlem,cash,inner city,downtown,streetart,spray,spraycan,expression,neighborhood,graffiti,art
Description: Tony Smith image Alamy RBF074 - . A place-specific photograph preserves the physical context of East 7th Street, East Village, Manhattan, New York, NY, USA, in this period view from 2018. The principal point of reference is Money and Art, ATM at East 7th Street, East Village, Manhattan, New York, NY, USA. The location can also be described in terms of community expression, creative regeneration, urban artwork, street creativity, illustrated hoarding, contemporary mural, mural culture, public realm art, public art, city artwork, urban graphics, and visual placemaking. The wider contemporary story of temporary urban art now includes public-realm investment alongside temporary installations, while policy and investment increasingly consider community-led design. Over time, this view of East 7th Street, East Village, Manhattan, New York, NY, USA can support local-history and planning research by preserving details of appearance, occupation, signage, public access and everyday use that written records may omit. The resulting scene connects with local identity, creative streetscape, temporary artwork, graphic intervention, street-level design, community art. Associated details include street ATM, cash Machine in the street, Cash machine, Auto Teller, New York Travel Tourism, New York St Marks Place. Further aspects present in the subject include urban visual culture, and art-led regeneration. Seen from a 2025-onward perspective, public art also connects with youth culture, graffiti versus commissioned work and efforts aimed at stronger place identity. Viewed retrospectively, the photograph can reveal community life, commercial identity, physical infrastructure, local continuity, and signage and branding at this precise location. Taken together, these details make the photograph a useful record of historic fabric, planning and redevelopment, movement through the area, social change, and everyday services within the surrounding area.
East 7th Street, East Village, Manhattan, New York, NY, USA
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NOHO NYC,NYC,New York City,St Marks Place,street,New York Street,USA,America,City Centre,city,centre,center,city center,East Village,Eastvillage,New York Travel Tourism,hearts,Manhattan,NY,streets,shops,retail,Taberna 97,Hertad,art,street art,painting,graffiti,urban art,inner city,downtown,streetart,spray,spraycan,expression
Description: Tony Smith image Alamy RBF075 - . A grounded editorial photograph sets out the everyday reality of St Marks Place, East Village, Manhattan, New York, NYC, in an image captured in 2018. The principal recorded subject is Heart by Hertad at Taberna 97, St Marks Place, East Village, Manhattan, New York City, NYC, NY ,USA. Other aspects of the setting include urban visual culture, illustrated hoarding, town-centre trading, bricks-and-mortar retail, consumer spending, mural culture, urban graphics, public art, city artwork, customer footfall, commercial frontage, and city-centre economy. Seen from a 2025-onward perspective, independent trading also connects with shifts in leisure spending, online shopping and efforts aimed at stronger local footfall. The wider contemporary story of street-level design now includes temporary installations alongside graffiti versus commissioned work, while policy and investment increasingly consider creative reuse of redevelopment sites. Small period details preserved at St Marks Place, East Village, Manhattan, New York, NYC may become historically important as commercial occupants, public services, infrastructure and the built environment change, making the image useful for retrospective editorial coverage. The location additionally reflects creative regeneration, shopping district, shopping habits, urban commerce, community expression, street creativity. The record also refers to love in the city, Love the city, love your town, love your city, Taberna97, New York St Marks Place. The scene also carries the language of commercial streetscape, high-street commerce, urban artwork, graphic intervention, retail property, creative streetscape, public realm art, chain-store economy, storefront culture, and visual placemaking. That gives this view of St Marks Place, East Village, Manhattan, New York, NYC continuing value for local history, retrospective reporting and visual comparison.
St Marks Place, East Village, Manhattan, New York, NYC
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NYC,St Marks Place,New York St Marks Place,street,New York Street,USA,America,City Centre,city,centre,center,city center,Eastvillage,Astor Place,mosaic,art,street art,hippy,Manhattan,NY,Street,City,Centre,Lafayette Street,plaza,neighborhood,urban,urban art,graffiti,East Village,NOHO NYC,attraction,tourist,tourism
Description: Tony Smith image Alamy RBF07A - Astor Place is a one-block street in NoHo/East Village, in the lower part of the New York City borough of Manhattan. It runs from Broadway in the west, just below East 8th Street
to Lafayette Street, ending at Alamo plaza. Astor Place is also sometimes used for the neighborhood around the street. It encompasses two plazas at the intersection with Cooper Square, Lafayette Street, Fourth Avenue, and Eighth Street “ Alamo Plaza and Astor Place Station Plaza. It was named for John Jacob Astor (at one time the richest person in the United States), soon after his death in 1848. A $21 million reconstruction to implement a redesign of Astor Place began in 2013
Astor Place, East Village, Manhattan, New York City, NY
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,England,rule,she would rule you through her bankers,landlords and Stormont,BT11,533,Falls Rd,Andersonstown,Belfast,Northern Ireland,BT11 9AA,IRSP,English,Free Marian Price,Marian Price,poster,wall,lettering,stencil
Description: Tony Smith image Alamy 2PM62D2 - . IRSP graffiti - England will still rule you, she would rule you through her bankers, landlords and Stormont, Irish Republican Socialist Party. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, rule, she would rule you through her bankers, landlords and Stormont, providing natural SEO coverage without losing the specific documentary identity of the photograph. The housing context makes the image suitable for coverage of homes, neighbourhoods, residential estates, social and affordable housing, landlord investment, repairs, regeneration, planning and the lived environment. It can support reporting on housing condition, estate renewal, energy efficiency, building safety, development, tenure and the long-term transformation of residential areas. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison.
533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,25/11/1992,murdered,by,police,force,murder,memorial,to,man,533,Falls Rd,Andersonstown,Belfast,Northern Ireland,BT11 9AA,death,died,innocent,casualty,casualties,hotpix.org.uk,NI troubles,PSNI
Description: Tony Smith image Alamy 2PM62GW - . Justice Sinn Fein - Pearse Jordan, murdered by the RUC, 25 November 1992. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, 25/11/1992, murdered, police, providing natural SEO coverage without losing the specific documentary identity of the photograph. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. For search and editorial use, the image is relevant to the named location, local identity, contemporary Britain, regional tourism, urban life, community activity and the changing appearance of towns and cities. Additional relevant search concepts include force, murder, memorial, man, Falls Rd, Andersonstown, broadening discoverability while remaining tied to the supplied subject information. The scene contributes a specific, place-based record rather than a generic illustration.
533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,dedicated,to,for,gable,end,protestant,unionist,royalist,crown,monarchy,royal,The Salvation Army - Care and Share Shop,349-351,Newtownards Rd,Belfast,BT4 1AJ,shop,Salvation Army,Our message is simple,where our music is welcome we will play it loud,Where our music is challenged,we will play it louder
Description: Tony Smith image Alamy 2PM63CR - . Mural, For God, and Ulster, East Belfast Protestant Boys - UDF Gareth Keys 1981-2008, Salvation Army, 349-351 Newtownards Rd, Belfast BT4 1AJ. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 349-351 Newtownards Rd, Belfast BT4 1AJ, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, dedicated, gable, end, providing natural SEO coverage without losing the specific documentary identity of the photograph. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed.
349-351 Newtownards Rd, Belfast BT4 1AJ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,shop,store,retail,flags,Shankill,style,union jack,union,flag,BT4,354,Belfast,Northern Ireland,BT4 1HG,royalist,nw CD,sale,unionJackShop,drums,Born in Ulster,UVF,Covenants Without Swords are only words,NI troubles
Description: Tony Smith image Alamy 2PM63J0 - . The Union Jack Souvenier Shop, World Flag supplies, British By Birthright, 354 Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1HG. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 354 Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1HG, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, shop, store, retail, providing natural SEO coverage without losing the specific documentary identity of the photograph. The retail context supports editorial themes around high streets, shopping centres, consumer behaviour, independent and chain businesses, store branding, commercial property, hospitality and the changing economics of town and city centres. Shopfronts, promotional material, prices, signage and surrounding public space can become valuable historical evidence as businesses close, rebrand, relocate or adapt to online competition and changing consumer demand. The political or campaigning content is suitable for neutral editorial coverage of protest, organised labour, elections, public debate, campaigning, civil society and the way political messages are presented in public. Placards, posters, leaflets, slogans and demonstrations are valuable documentary evidence of a particular moment and can support later historical comparison without implying endorsement of the views displayed. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. The composition retains practical contextual detail for news, feature, documentary, educational and historical use.
354 Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1HG
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the past,future,peace,gable,end,211,Newtownards Rd,Belfast,Northern Ireland,BT4 1EA,mural,traditional,history,historic,end-terrace,gable-end,understanding,futures,Belfast peace
Description: Tony Smith image Alamy 2PM64K4 - . Community mural - Peace cannot be kept by force, it can only be achieved by understanding - Belfast Looking to a better future. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, the past, future, peace, providing natural SEO coverage without losing the specific documentary identity of the photograph. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed.
211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,UYM,HW,Newtownards,road,rd,shipbuilding,company,yellow,crane,Harland and Wolff,BT4 1AB,BT4,1974,flag,flags,union,paramilitary,group,groups
Description: Tony Smith image Alamy 2PM64TF - . Ulster Young Militants Freedom Corner,Tomorrow Belongs To Us,HW, Harland & Wolff Shipbuilding company yellow crane in background, Belfast, NI, BT4 1AB. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1AB, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, UYM, Newtownards, shipbuilding, providing natural SEO coverage without losing the specific documentary identity of the photograph. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. For search and editorial use, the image is relevant to the named location, local identity, contemporary Britain, regional tourism, urban life, community activity and the changing appearance of towns and cities. Additional relevant search concepts include company, yellow, crane, Harland and Wolff, BT4 1AB, BT4, broadening discoverability while remaining tied to the supplied subject information.
Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1AB
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Britains,Genocide,By,Starvation,Irelands,Holocaust,gable,end,gableend,Irish Famine,Britains Genocide By Starvation,Irelands Holocaust,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Belfast streets,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Belfast Catholic Community
Description: Tony Smith image Alamy HEW1HD - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Dedicated,to,Bobby McCrudden,Mundo O-Rawe,Pearse Jordan,Mundo ORawe,flag,rifle,gun,guns,people,family,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Irish volunteers,Irish,volunteers,Belfast streets,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Belfast Catholic Community
Description: Tony Smith image Alamy HEW1A7 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Dedicated,to,Bobby McCrudden,Mundo O-Rawe,Pearse Jordan,Mundo ORawe,flag,rifle,gun,guns,people,family,gable end,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Irish volunteers,Irish,volunteers,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Irish History,Ireland History,Northern Ireland History
Description: Tony Smith image Alamy HEW1BA - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,on,council,house,gable end,Dedicated,to,Bobby McCrudden,Mundo O-Rawe,Pearse Jordan,Mundo ORawe,flag,rifle,gun,guns,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Irish volunteers,Irish,volunteers,Belfast streets,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Belfast Catholic Community
Description: Tony Smith image Alamy HEW1BH - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,street,Amcomri St,resistance,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HEW1G8 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,800 years of Crime,800,years,of,Crime,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0AB - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,IRA Volunteer,Joe McDonnell,Joe,McDonnell,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B4 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B5 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Our Revenge will be the laughter of our children,Our,Revenge,will,be,the,laughter,of,our,children,Bobby,Sands,MP,Bobby Sands MP,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B7 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,MP,Bobby Sands,hero,martyr,soldier,terrorist,hunger striker,hunger,striker,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B8 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Library,book,books,learning,catholic,community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B9 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDKW91 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,MP,Bobby,Sands,Mural,and,Carnegie Library,Carnegie,Library,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDKYE8 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDM1AF - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDM1B5 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Prisoner Of War,Prisoners Of War,Peace wall,Solidarity with POWs,Hands,united,between,cell,cells,Ireland,Palestine,POW,Solidarity,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Irish History,Ireland History,Northern Ireland History,Belfast Catholic Community
Description: Tony Smith image Alamy HDM1F3 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,RPG Avenue,IRA Beechmount Cafe,Eiri Amach 1916 na casca,1916,Ave,Avenue,Roll Of Honour,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDPM1E - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,RPG Avenue,IRA Beechmount Cafe,Eiri Amach 1916 na casca,1916,Ave,Avenue,Roll Of Honour,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDPM1P - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,women of the resistance,women,females,of the,resistance,Beechmount Avenue,Beechmount Ave,RPG Avenue,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDPM21 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Easter Rising,James Connolly,Seamus Ó Conghaile,outside,society,HQ,office,Erected,March,2016,James Connolly statue,bronze,Pat,Finucane,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Belfast Catholic Community
Description: Tony Smith image Alamy HDWTFT - James Connolly (Irish: Séamas Ó Conghaile
5 June 1868 “ 12 May 1916) was an Irish republican and socialist leader, aligned to syndicalism and the Industrial Workers of the World.
He was born in the Cowgate area of Edinburgh, Scotland, to Irish-born parents. He left school for working life at the age of 11, but became one of the leading Marxist theorists of his day. He also took a role in Scottish and American politics. He was executed by a British firing squad because of his leadership role in the Easter Rising of 1916.
in 1910 he was right-hand man to fellow-syndicalist James Larkin in the Irish Transport and General Workers Union. He stood twice for the Wood Quay ward of Dublin Corporation but was unsuccessful. His name, and those of his family, appears in the 1911 Census of Ireland - his occupation is listed as National Organiser Socialist Party
In 1913, in response to the Lockout, he, along with an ex-British officer, Jack White, founded the Irish Citizen Army (ICA), an armed and well-trained body of labour men whose aim was to defend workers and strikers, particularly from the frequent brutality of the Dublin Metropolitan Police. Though they only numbered about 250 at most, their goal soon became the establishment of an independent and socialist Irish nation. He also founded the Irish Labour Party as the political wing of the Irish Trade Union Congress in 1912 and was a member of its National Executive. Around this time he met Winifred Carney in Belfast, who became his secretary and would later accompany him during the Easter Rising.
Connolly was sentenced to death by firing squad for his part in the rising. On 12 May 1916 he was taken by military ambulance to Royal Hospital Kilmainham, across the road from Kilmainham Gaol, and from there taken to the gaol, where he was to be executed. Visited by his wife, and asking about public opinion, he commented, They will all forget that I am an Irishman
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Easter Rising,James Connolly,Seamus Ó Conghaile,outside,society,HQ,office,Erected,March,2016,James Connolly statue,bronze,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Belfast Catholic Community
Description: Tony Smith image Alamy HDWTK0 - James Connolly (Irish: Séamas Ó Conghaile
5 June 1868 “ 12 May 1916) was an Irish republican and socialist leader, aligned to syndicalism and the Industrial Workers of the World.
He was born in the Cowgate area of Edinburgh, Scotland, to Irish-born parents. He left school for working life at the age of 11, but became one of the leading Marxist theorists of his day. He also took a role in Scottish and American politics. He was executed by a British firing squad because of his leadership role in the Easter Rising of 1916.
in 1910 he was right-hand man to fellow-syndicalist James Larkin in the Irish Transport and General Workers Union. He stood twice for the Wood Quay ward of Dublin Corporation but was unsuccessful. His name, and those of his family, appears in the 1911 Census of Ireland - his occupation is listed as National Organiser Socialist Party
In 1913, in response to the Lockout, he, along with an ex-British officer, Jack White, founded the Irish Citizen Army (ICA), an armed and well-trained body of labour men whose aim was to defend workers and strikers, particularly from the frequent brutality of the Dublin Metropolitan Police. Though they only numbered about 250 at most, their goal soon became the establishment of an independent and socialist Irish nation. He also founded the Irish Labour Party as the political wing of the Irish Trade Union Congress in 1912 and was a member of its National Executive. Around this time he met Winifred Carney in Belfast, who became his secretary and would later accompany him during the Easter Rising.
Connolly was sentenced to death by firing squad for his part in the rising. On 12 May 1916 he was taken by military ambulance to Royal Hospital Kilmainham, across the road from Kilmainham Gaol, and from there taken to the gaol, where he was to be executed. Visited by his wife, and asking about public opinion, he commented, They will all forget that I am an Irishman
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Clowney,Street,Hunger Strikers,Maggie Thatche,think again,Hunger Strike,Striker,catholic,community,catholic,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDWTNH - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Raidiofailte,Irish Language,Radio Failte,FM107.1,Irish Language Radio Failte,FM107,Rebublican,catholic,community,Belfast Catholic Commun,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Irish History,Ireland History,Northern Ireland History,Belfast Catholic Community
Description: Tony Smith image Alamy HEEF6R - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,HBlock,Smash,H-Block,Brendan Hughes,Irish Prisoners,Irish,Prisoners,face,faces,posters,poster,corner,Sinn Fein,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HEEF8N - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Soup Tin,Campbells,Garfield Street,Belfast,Garfield St,Community Confidence,Campbell,streets,City Centre,city,centre,Northern Ireland,UK,GoTonySmith,HotpixUK,graffiti,street,art,soup,tins,red,the,think,resist,artists,artist,original,Andy Warhol,homage,vote,voting,democracy,Royalist,Republican,tinned,can,canned,alternative,political
Description: Tony Smith image Alamy HE7MC1 - . This dated editorial view of Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011 captures more than the immediate subject, retaining clues about local use, design, activity and change. The main point of reference is Dont Vote, Community Confidence,Educate,Agitate,Organise,Belfast Garfield St City Centre, Northern Ireland, UK. Further facets of the scene include contemporary social history, public art, stencil art, contemporary mural, visual archive, urban artwork, regional identity, mural culture, archival record, changing land use, social history, public-realm art, creative placemaking, and place identity. Current relevance extends to creative districts and public art, particularly through how regeneration can both promote and displace informal urban art. Future viewers can use this scene from Garfield street,Belfast,County Antrim,Northern Ireland,UK to compare lettering, decoration and surface detail with whatever follows after redevelopment. The surrounding story also includes urban graphics, local character, graffiti heritage, public realm, before-and-after reference, street-level design, temporary artwork, and everyday life. The recorded references to Educate, Northern, Ireland, Organise, and Agitate preserve clues about how the subject was presented, used or understood at the time. For Garfield street,Belfast,County Antrim,Northern Ireland,UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The image also provides a reference for creative districts and the role of murals and stencils in giving creative districts a distinctive identity in a form that can be compared with future views of Garfield street,Belfast,County Antrim,Northern Ireland,UK. Another useful connection is tourism and how regeneration can both promote and displace informal urban art within the real-world context of Garfield street,Belfast,County Antrim,Northern Ireland,UK.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: Belfast Garfield Street,Garfield Street,streets,City Centre,city,centre,Northern Ireland,UK,Venus tattoo Studio,shop,award,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,graffiti,grafitti,honour,painting,wall,walls,tribute,grafiti,paint,painting,tag,tagging,tagged,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast Garfield St,2b Gresham St,Gresham,St,street,1967,2b Gresham street,Street Art,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7MCF - . This location-specific image from Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The main point of reference is Venus tattoo Studio Skulls, Belfast 2b Gresham St, City Centre, Northern Ireland, UK. Other connected aspects include visual street culture, place identity, everyday life, public realm, graffiti heritage, changing land use, mural culture, local character, documentary photography, street creativity, social history, archival record, community art, and public art. In present-day coverage, the subject reaches into temporary works and local identity, not least because of how regeneration can both promote and displace informal urban art. For later comparison, the photograph preserves lettering, decoration and surface detail at Garfield street,Belfast,County Antrim,Northern Ireland,UK, details that may look very different after altered transport patterns. Further associations within the scene are regional identity, temporary artwork, urban graphics, street-level design, before-and-after reference, changing streetscape, community identity, and public-realm art. References to Ireland, Northern, Studio, Skulls, and Gresham give the picture a strong period identity and tie it closely to its named subject. The wider setting at Garfield street,Belfast,County Antrim,Northern Ireland,UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The setting also helps illustrate temporary works and how regeneration can both promote and displace informal urban art within the specific setting of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The scene captures evidence of changing use within the wider story of Garfield street,Belfast,County Antrim,Northern Ireland,UK.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: Belfast Garfield Street,Garfield Street,streets,City Centre,city,centre,Northern Ireland,UK,Studio,shop,multi-award,eyesore,eye,sore,dilapidation,decrepitude,shabby,ruin,decayed,run,down,rundown,decay,collapse,building,boarded,up,boarded,Belfast Street Art,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,graffiti,grafitti,honour,painting,wall,walls,tribute,grafiti,paint,painting,tag,tagging,tagged,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast Garfield St,2b Gresham St,Gresham,St,street,1967,2b Gresham street,Street Art,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7MCM - . This dated editorial view of Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011 captures more than the immediate subject, retaining clues about local use, design, activity and change. The photograph centres on Venus tattoo Studio, Belfast 2b Gresham St, City Centre, Northern Ireland, UK. Another layer of the photograph includes temporary artwork, visual archive, street-level design, urban graphics, visual street culture, street creativity, local character, creative placemaking, place identity, mural culture, community identity, everyday life, period detail, and contemporary social history. The wider contemporary story combines public art, local identity and how temporary street art can become an important record of neighbourhood culture. The archival value lies partly in recording street furniture and boundaries around Garfield street,Belfast,County Antrim,Northern Ireland,UK before closure or conversion alters the character of the place. The location also brings in community art, contemporary mural, stencil art, public realm, historical comparison, public-realm art, local history, and regional identity. The combination of Centre, Venus, Studio, Belfast, and Ireland anchors the frame to a recognisable activity, place or moment. Around Garfield street,Belfast,County Antrim,Northern Ireland,UK, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The setting also helps illustrate public art and how regeneration can both promote and displace informal urban art within the specific setting of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The image also provides a reference for gentrification and the role of murals and stencils in giving creative districts a distinctive identity as part of the longer story of Garfield street,Belfast,County Antrim,Northern Ireland,UK.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: Garfield St,Community Confidence,Campbell,streets,City Centre,city,centre,Northern Ireland,UK,GoTonySmith,HotpixUK,graffiti,street,art,soup,tins,tin,red tin,think,resist,artists,artist,original,Andy Warhol,homage,Royalist,Republican,tinned,can,canned,alternative,political
Description: Tony Smith image Alamy HE7MDX - . This authentic period view of Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. The image documents Community Confidence, Campbells,soup tin, graffiti in Belfast Garfield St City Centre, Northern Ireland, UK. A broader reading of the photograph includes creative placemaking, social history, historical comparison, urban artwork, stencil art, contemporary mural, changing streetscape, before-and-after reference, changing land use, local character, visual street culture, documentary photography, public art, and visual archive. In present-day coverage, the subject reaches into graffiti policy and public art, not least because of the role of murals and stencils in giving creative districts a distinctive identity. Future viewers can use this scene from Garfield street,Belfast,County Antrim,Northern Ireland,UK to compare materials and architectural details with whatever follows after different community use. The surrounding story also includes contemporary social history, public-realm art, place identity, public realm, everyday life, community identity, graffiti heritage, and period detail. Details involving Belfast, Garfield, Northern, Ireland, and Community make the image more specific than a generic view and strengthen its local or historical value. For Garfield street,Belfast,County Antrim,Northern Ireland,UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Another strand within the photograph is graffiti policy and the role of murals and stencils in giving creative districts a distinctive identity within the real-world context of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The scene captures a local visual benchmark as part of Garfield street,Belfast,County Antrim,Northern Ireland,UK's history.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: grafiti,graffiti,graffitti,grafitti,stencil,street,streat,art,ar grafiti,artist,spray,can,strictly,no,authorised,revenge,nd,co,company,tonysmith,lomo,holga,hotpicks,hotpix!,#tonysmithhotpix,hotpix.rocketmail.com,hotpixuk.rocketmail.com,contact.tony.smith.gmail.com,tony.smith.gmail.com,tonys@miscs.com,tony.smith@mis-ams.com,@hotpixuk
Description: Tony Smith image Flickr 4738089885 - 'Far from a modern stream of art or general annoyance, graffiti has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire. Graffiti and graffito are from the Italian word graffiato ('scratched').
The first known example of 'modern style' graffiti survives in the ancient Greek city of Ephesus (in modern-day Turkey). Local guides say it is an advertisement for prostitution. Located near a mosaic and stone walkway, the graffiti shows a handprint that vaguely resembles a heart, along with a footprint and a number. This is believed to indicate that a brothel was nearby, with the handprint symbolizing payment.
In modern times, spray paint, normal paint and markers have become the most commonly used materials. In most countries, defacing property with graffiti without the property owner's consent is considered vandalism, which is punishable by law. Sometimes graffiti is employed to communicate social and political messages or just to be comic or witty.
To some, it is an art form worthy of display in galleries and exhibitions
to others it is merely vandalism. Graffiti has since evolved into a pop culture existence often related to underground hip hop music and b-boying creating a lifestyle that remains hidden from the general public.
Banksy is one of the world's most notorious and popular street artist who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England but his work can be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest.
Much of Banksy's artwork can be seen around the streets of London and surrounding suburbs, though he has painted pictures around the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions have also taken place since 2000, and recent works of art have fetched vast sums of money.
Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art while city officials and law enforcement have deemed all work by Banksy to be vandalism and property destruction. Many members of Bristol's communities feel that Banksy's graffiti reduces property value and encourages rogue behavior.
Before anyone comments, this one is not likely to be a 'Banksy'. If it were I may have taken it into pieces and loaded it into the boot of my car for my retirement fund 8-)
NB: Like all the images on this stream, full size prints up to 30x20inches are available, Check my profile for how to contact me.
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(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC',
Description
Keywords: george,osbourne,chancellor,shadow,opposition,manchester,UK,tatton,knutsford,tory,candidate,conservative,sign,general,election,2010,may,6th,true,blue,majority,cheshire,electorial,parliament,westminster,government,britain,british,politition,politicion,politic,politics,taton,graffitti,grafitti,graffiti,graffittied,street,art,Labour,Liberal,Democrats,Green,Party,libdems,lib,dems,Hotpicks,hotpics,hot,pics,pix,picks,politician,hotpix!
Description: Tony Smith image Flickr 4526888778 - 'For goodness sake someone sort the economy (!)
I spotted this on the way to work (and stopping to snap it nearly made me late!).
Check Gideon out at en.wikipedia.org/wiki/George_Osborne . At least his eyebrows are co-ordinated with the hair on his head :-)
I did not notice this yesterday, mabe it has been added after last nights TV debate, who knows. I did also see similar decorations on election posters in Northamptonshire earlier in the week. So we might see more of this across the UK, keep your eyes peeled.
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...
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(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC 07092182899',
Description
Keywords: lothian,still,fucking,skint,graffitti,grafitti,graffiti,grafitto,street still,street,art,edinburgh,scotland,city,UK,united,kingdom,spray,paint,arty,artistic,arts,purple,blue,silver,disturbia,tourist,destination,scottish,escotia,NRSP,edinbrugh,hotpix!,Edinburg,edimburgh
Description: Tony Smith image Flickr 4523624815 - 'Theft = Still f**king skint
When you cast your eyes upon the skylines
Of this once proud nation
Can you sense the fear and the hatred
Grwoing in the hearts of its population
And our youth, oh youth, are being seduced
by the greedy hands of politics and half truths
The beaten generation, the beaten generation
Reared on a diet of prejudice and mis-information
The beaten generation, the beaten generation
Open your eyes, open your imagination
We're being sedated by the gasoline fumes
and hypnotised by the satellites
Into believing what is good and what is right
You may be worshipping the temples of mammon
Or lost in the prisons of religion
But can you still walk back to happiness
When you've nowhere left to run?
And if they send in the special police
To deliver us from liberty and keep us from peace
Then won't the words sit ill upon their tongues
when they tell us justice is being done
and that freedom lives in the barrels of a .....warm gun
Lyrics somewhat still true over 20 years after they were penned.
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(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC 07092182899',
Description
Keywords: Road,painting,graffiti,IRA,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,ave,Female Resistance,Beechmount Avenue,Ni saoirse go saoirse na mban,lady,Republican Lady,Republican Ladies,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Belfast Catholic Community
Description: Tony Smith image Alamy HDWTNN - Large republican mural commemorating Cumann na mBan fills the gable wall of a building at the corner of Beechmount Avenue and the Falls Road in West Belfast. The artwork combines portraits, historical photography, Irish-language text and nationalist symbolism to celebrate the contribution of women to the Irish revolutionary movement. A bilingual street sign reading Beechmount Avenue and Ascaill Ard na bhFeá appears above the painted scene.
The dominant portrait on the left depicts Countess Constance Markievicz wearing a green military-style uniform. Across the centre, a formation of Cumann na mBan members marches forward in period dress, while an armed and partly veiled female figure stands at the right. The group's emblem is represented by the abbreviated lettering C na mB incorporated into the outline of a rifle. A Celtic interlace pattern frames the upper and side edges of the blue composition.
The words Céad Bliain , meaning one hundred years, refer to the centenary of Cumann na mBan, founded in Dublin on 2 April 1914. The organisation worked alongside the Irish Volunteers and its members participated in the 1916 Easter Rising as couriers, nurses, intelligence gatherers and combatants. Markievicz served with the Irish Citizen Army during the Rising and was stationed around St Stephen's Green in Dublin.
Painted in 2014, the mural replaced an earlier Fianna Éireann centenary image that also featured Markievicz. The Irish inscription along the bottom reads Nà saoirse go saoirse na mban , commonly translated as There is no freedom until the freedom of women . It links the republican commemoration with a broader statement about women's liberation and political equality. Photograph records one of the many political murals associated with the Falls Road and West Belfast. Such artwork forms part of the area's visible historical landscape, presenting local interpretations of conflict, resistance, identity and remembrance on prominent public walls.
Beechmount Avenue, off Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NOHO NYC,NYC,New York City,St Marks Place,St Marks Place NYC,street,New York Street,USA,America,City Centre,city,centre,center,city center,East Village,Eastvillage,Cash Machine,AutoTeller,street cash machine,Manhattan,New York,NY,Harlem,cash,neighborhood,graffiti,art,attraction,tourist,tourism,streets,24 hrs,24 hours,on,rough,money,bank card
Description: Tony Smith image Alamy RBF07B - Money and Art, ATM at East 7th Street, East Village, Manhattan, New York, NY, USA gives a direct editorial record of a recognisable subject, with location, signage, architecture or everyday behaviour carrying much of the meaning. An ATM in Manhattan's East Village turned into or surrounded by art links money, street culture and neighbourhood identity in a city where cash machines are part of the visual clutter of commerce. The subject can illustrate urban art, financial access, gentrification, consumer culture, New York street life, cash use and the way everyday infrastructure becomes part of a creative streetscape. The location detail, New York, Manhattan, strengthens searches for regional features, travel pages, local-history pieces and news use where a named place matters. For buyers, the strength lies in the combination of a named subject, a lived-in setting and enough visual specificity to carry stories about how places are used, remembered, funded, visited or contested.
East 7th Street, East Village, Manhattan, New York, NY, USA
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,1798,Eire,United,Irishmen,Rebellion,catholic,community,catholics,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF07Y - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Volunteer,Sean McCaughey,Sean,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0AN - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Political Change,James Connolly,outside,society,HQ,office,Erected,March,2016,James Connolly statue,bronze,Pat,Finucane,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDWTG8 - James Connolly (Irish: Séamas Ó Conghaile
5 June 1868 “ 12 May 1916) was an Irish republican and socialist leader, aligned to syndicalism and the Industrial Workers of the World.
He was born in the Cowgate area of Edinburgh, Scotland, to Irish-born parents. He left school for working life at the age of 11, but became one of the leading Marxist theorists of his day. He also took a role in Scottish and American politics. He was executed by a British firing squad because of his leadership role in the Easter Rising of 1916.
in 1910 he was right-hand man to fellow-syndicalist James Larkin in the Irish Transport and General Workers Union. He stood twice for the Wood Quay ward of Dublin Corporation but was unsuccessful. His name, and those of his family, appears in the 1911 Census of Ireland - his occupation is listed as National Organiser Socialist Party
In 1913, in response to the Lockout, he, along with an ex-British officer, Jack White, founded the Irish Citizen Army (ICA), an armed and well-trained body of labour men whose aim was to defend workers and strikers, particularly from the frequent brutality of the Dublin Metropolitan Police. Though they only numbered about 250 at most, their goal soon became the establishment of an independent and socialist Irish nation. He also founded the Irish Labour Party as the political wing of the Irish Trade Union Congress in 1912 and was a member of its National Executive. Around this time he met Winifred Carney in Belfast, who became his secretary and would later accompany him during the Easter Rising.
Connolly was sentenced to death by firing squad for his part in the rising. On 12 May 1916 he was taken by military ambulance to Royal Hospital Kilmainham, across the road from Kilmainham Gaol, and from there taken to the gaol, where he was to be executed. Visited by his wife, and asking about public opinion, he commented, They will all forget that I am an Irishman
Falls Rd, Belfast, Northern Ireland, UK
