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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,255A0082,Brick,Lane,Shop,London,sign,streetart,EastLondon,retail,art,urban,Spitalfields,souvenir,creative,culture,England,UK,tourism,graffiti,store
Description: Tony Smith image Alamy 3E302D3 - . Brick Lane Brick Shop sign and artwork in east London. Photographed on 24 August 2025. The recorded location is Brick Lane, London, England, UK. Brick Lane Brick Shop sign and graphic artwork in east London, using the neighbourhood name as part of a bold retail identity. The small storefront detail reflects the way Brick Lane's name, street-art reputation and creative culture are commercially packaged for visitors. The photograph is useful for editorial stories about tourism, independent retail, souvenirs, neighbourhood branding, street art, creative businesses, gentrification and the visitor economy. It also records the layered visual environment of Brick Lane, where historic buildings, signs, graffiti, markets, restaurants and new businesses coexist in a constantly changing streetscape. 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. In relation to commercial story.htm Target=_Blank>history, historical context shows that local businesses offer unusually precise social-history evidence because names, branding and uses change more quickly than the buildings they occupy
A shop, café, pub or service company can disappear while the façade survives, leaving photographs as a record of the previous commercial life of the street. For the story of creative industries, it is useful to note 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 change the meaning of an apparently permanent object. Further relevant terminology includes independent business, shopfront, town centre, and local economy.
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,IMG_5450,Dundee,Scotland,waterfront,mural,portrait,streetart,public,art,urban,culture,regeneration,Tay,graffiti,painting,Large,near,the,River
Description: Tony Smith image Alamy 3E5TC5W - Large portrait mural on Dundee Waterfront near the River Tay, Dundee, Scotland, UK. The photograph is a contemporary editorial record of the subject and its surroundings at Dundee Waterfront, Dundee, Scotland, UK. Visible signage, lettering, architecture, street furniture, transport infrastructure, public art, commercial branding or landscape details are retained where present, giving the image value both as a description of the immediate scene and as a reference for how the place looked at the time of photography. The image records contemporary public art within Dundee's regenerated waterfront area. Murals and temporary artworks add another layer to a district transformed by major cultural and infrastructure investment, creating a visual record that may change as sites are redeveloped. The image has wider editorial relevance for local history, heritage, tourism, transport, retail, planning, regeneration, business and social change where those themes apply to the subject. It can support news and feature coverage as well as retrospective comparison if the building, business, artwork, service, route or streetscape is altered, redeveloped, rebranded, closed or otherwise changes in future. The composition also preserves small visual details that are easily lost over time, including materials, signs, logos, road or rail features, shopfront treatment, public-realm design and the relationship of the subject to neighbouring buildings or open space. This makes the photograph useful not only as a straightforward location image but also as a documentary record of everyday urban and cultural life.
Dundee Waterfront, Dundee, Scotland, UK
Description
Keywords: Greater Manchester,centre,England,UK,NW,North West,GoTonySmith,HotpixUK,@HotpixUK,OL16,55 Yorkshire St,Rochdale,OL16 1BT,Seven Sisters,mural,art,streetart,in,the,women,female,females,breast,cancer,treatment,town,casino lounge,44,from,2019,uprising festival,graffiti,tale,tales,personal,odyssey,voyage
Description: Tony Smith image Alamy 2RC95RJ - Tea One “ The Baum / Yorkshire Street
Combining elements of classical painting with inspirations from the world of graffiti Tea One is influenced by the post industrial landscape of Northern Britain. Particularly he draws from those remnants left over from the areas once abundant past. Painting on the alley known as the Baum he has weaved seven stories together from seven different women. Calling the piece the ˜Seven Sisters' he is of course also referencing the famous apartment blocks through placing real life stories into that context.
His stories are those which many of us would have experienced. Each of the women in the mural have their own tale to tell but they are tales that all of us could associate with. From left to right the first woman holds something up to a light. It's unknown what it is but it could be an opportunity or it could be a burden. She doesn't know it yet but her life might be about to change either way. Next to her a woman sits in a boat rowing with her back to her destination. She isn't sure what lies ahead yet she still travels into the unknown, she is on her own personal odyssey.
The third woman is wearing a mask. She is struggling with her own identity. Perhaps living a charade or just not sure what journey she is on or whether it is indeed the right one. The silhouetted figure next to her represents travel. Either leaving or arriving she could be about to go on a journey or may be coming home after a voyage. The fifth woman represents rebirth, pregnant she is about to bring new life into the world. Next to her meanwhile a tear falls down the face of the sixth woman. She is experiencing her own private tragedy. Though we don't know what it is we will have all had similar emotions from time to time.
The mural from ˜Teaone' is called the Seven Sisters
The final woman as part of this mural is deeply personal to the artist. Showing a woman undergoing treatment for breast cancer. He calls this overcoming the monster
55 Yorkshire St, Rochdale, Greater Manchester, England, UK, OL16 1BT
Description
Keywords: Greater Manchester,centre,England,UK,NW,North West,GoTonySmith,HotpixUK,@HotpixUK,OL16,55 Yorkshire St,Rochdale,OL16 1BT,Seven Sisters,mural,art,streetart,in,the,women,female,females,breast,cancer,treatment,town,casino lounge,44,from,2019,uprising festival,graffiti,tale,tales,personal,odyssey,voyage,Hip-Hop,HipHop
Description: Tony Smith image Alamy 2RC95RN - Tea One “ The Baum / Yorkshire Street
Combining elements of classical painting with inspirations from the world of graffiti Tea One is influenced by the post industrial landscape of Northern Britain. Particularly he draws from those remnants left over from the areas once abundant past. Painting on the alley known as the Baum he has weaved seven stories together from seven different women. Calling the piece the ˜Seven Sisters' he is of course also referencing the famous apartment blocks through placing real life stories into that context.
His stories are those which many of us would have experienced. Each of the women in the mural have their own tale to tell but they are tales that all of us could associate with. From left to right the first woman holds something up to a light. It's unknown what it is but it could be an opportunity or it could be a burden. She doesn't know it yet but her life might be about to change either way. Next to her a woman sits in a boat rowing with her back to her destination. She isn't sure what lies ahead yet she still travels into the unknown, she is on her own personal odyssey.
The third woman is wearing a mask. She is struggling with her own identity. Perhaps living a charade or just not sure what journey she is on or whether it is indeed the right one. The silhouetted figure next to her represents travel. Either leaving or arriving she could be about to go on a journey or may be coming home after a voyage. The fifth woman represents rebirth, pregnant she is about to bring new life into the world. Next to her meanwhile a tear falls down the face of the sixth woman. She is experiencing her own private tragedy. Though we don't know what it is we will have all had similar emotions from time to time.
The mural from ˜Teaone' is called the Seven Sisters
The final woman as part of this mural is deeply personal to the artist. Showing a woman undergoing treatment for breast cancer. He calls this overcoming the monster
55 Yorkshire St, Rochdale, Greater Manchester, England, UK, OL16 1BT
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,The Kop,graffiti,art,fan,fans,scouse,YNWA,street art Merseyside,LFC slogan,urban graffiti,Merseyside,England,UK,on,a,wall,brick,heart,EL ROI,Hope St,orange,red,Liverbird,Anfield,anthem,fan culture,loyalty,terrace,song,community identity,street art lettering,urban expression,supporter tribute,working class culture,city pride,spray paint art,informal memorial
Description: Tony Smith image Alamy 2R64KCJ - This image shows graffiti featuring the phrase You'll Never Walk Alone , widely recognised as the anthem and slogan of Liverpool FC, painted on a brick wall in Merseyside. The bold lettering and Liverpool-red colour palette directly reference the club's visual identity and long-standing supporter culture.
You'll Never Walk Alone has become a powerful symbol of solidarity, loyalty, and collective identity among Liverpool supporters, extending far beyond the football stadium into everyday urban spaces. Graffiti such as this is a common expression of fandom across Merseyside, reinforcing the deep connection between club, city, and community.
The additional handwritten messages and memorial wording suggest a personal tribute layered onto the football slogan, illustrating how public street art is often used both for sporting allegiance and informal remembrance. This blending of football culture and local memory reflects the social role football plays within communities.
Photographed in daylight, the image documents contemporary British football culture as it appears in the urban environment rather than inside a stadium. It is well suited for editorial use covering football fandom, street art, supporter identity, Merseyside culture, and the wider social meaning of sport in everyday life.
Hope Street, Liverpool, Merseyside, England, UK, L1
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,L1,L1 7AZ,L1 5DZ,of,from,Chinese,community,park,playground,art,graffiti,tiger,fence,barrier,view,skyline,tourist,travel,tourists,attraction,district,artists,artist,recreation,area,housing,social housing,socialhousing,bright,playful
Description: Tony Smith image Alamy 2PKA5D2 - . View of the Anglican cathedral from Chinatown, 29 ,Great George Street, play area, Liverpool, Merseyside, England, UK, L1 5DZ. Photographed on 1 April 2023, this spring 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 29 ,Great George Street,, Liverpool, Merseyside, England, UK, L1 5DZ, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Merseyside, L1 7AZ, L1 5DZ, Chinese, community, park, playground, art, graffiti, tiger, fence, barrier, providing natural SEO coverage without losing the specific documentary identity of the photograph. Architecturally, the scene records the form, materials, scale and public-facing character of the built environment, making it useful for coverage of design, planning, conservation, development and urban identity. The image has value for architectural and place-based research because buildings and interiors can be refurbished, repurposed, demolished or substantially altered, while streets and public spaces also evolve. The religious or ecclesiastical setting gives the photograph relevance to faith, worship, sacred architecture, stained glass, church heritage, tourism and the conservation of historic interiors and buildings. It can illustrate the continuing cultural role of churches and cathedrals as places of worship, community activity, music, remembrance and architectural interest. 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.
29 ,Great George Street,, Liverpool, Merseyside, England, UK, L1 5DZ
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: GoTonySmith,Hotpixuk,@HotpixUK,Widewalls,project,Is Inviolable,man,disabled,on a,gable end,in,art,German,graffiti,artist,MaClaim,charity,backontrackmanchester,holistic support,community learning,Ancoats,Cities of Hope festival,Swan Buildings,Cable Street,5 Cable St,Manchester,England,UK,M4 5EQ,wide walls,artworks,mind,pain,mental,health,mental health
Description: Tony Smith image Alamy 2JYYR48 - The streets of Manchester have recently gotten richer by a number of gorgeous street art pieces because of the Cities of Hope festival. Case Ma'Claim was one of the invited artists, and he created a stunning piece entitled Human Dignity is Inviolable. He worked with the charity Back on Track and decided to depict one of the people they support. The German graffiti artist employed his signature life-like imagery to create this amazingly realistic piece that sends a positive message that anyone can make their life better. Just like a man depicted in the mural, we all need to recollect for a moment, and reflect on our decisions and think about are plans before venturing onto a wonderful journey called life. And sometimes, in this world full of negativity and death, it is nice to be reminded that not everything is lost and that we can always get back on track when we fail.
Swan Buildings, 5 Cable St, Manchester , England, UK, M4 5EQ
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,England,UK,Cheshire,pandemic,lock down,Covid19,appreciating,of,NHS,Thanks,painting,art,artwork,graffiti,on,a,gable end,Nantwich town,mask,in,rainbow,background,brick wall,bricks,grateful,Covid,C19,health,healthcare,work,working,workers,artist
Description: Tony Smith image Alamy 2JNN5BF - . This authentic period view of Nantwich, Cheshire, England, UK, CW5 in 2022 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. The image documents NHS Thank You , painting on a gable end, Nantwich town, Cheshire, England, UK, CW5 5DG - on a rainbow background. Another layer of the photograph includes stencil art, community identity, temporary artwork, contemporary mural, street creativity, place identity, visual archive, historical comparison, documentary photography, before-and-after reference, social history, graffiti heritage, period detail, and visual street culture. In present-day coverage, the subject reaches into tourism and regeneration, not least because of how regeneration can both promote and displace informal urban art. Future viewers can use this scene from Nantwich, Cheshire, England, UK, CW5 to compare street furniture and boundaries with whatever follows after conservation work. The wider setting retains connections with everyday life, archival record, local history, regional identity, public realm, public art, creative placemaking, and changing land use. The recorded references to Nantwich, rainbow, gable, background, and painting preserve clues about how the subject was presented, used or understood at the time. The period setting at Nantwich, Cheshire, England, UK, CW5 helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. Another useful connection is tourism and how temporary street art can become an important record of neighbourhood culture as part of the longer story of Nantwich, Cheshire, England, UK, CW5. The scene further reflects gentrification and the blurred boundary between commissioned public art and unsanctioned graffiti when considered against later change at Nantwich, Cheshire, England, UK, CW5.
Nantwich, Cheshire, England, UK, CW5
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,firing,guns,uniform,white,armour,rose,artist,art,artwork,Runcorn old town,town,WA7 1LR,storm trooper,fires,flower,flowers,peace,StarWars,blaster,gun,Halton,Cheshire,England,UK,black,graffiti,Star Wars,starwars,Banksy Style,stencilled,streetart,on,white wall
Description: Tony Smith image Alamy 2K14187 - . An identifiable period record of Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The frame specifically shows Stormtrooper fires a gun and a red rose comes out, stencil art in Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR. Another layer of the photograph includes local history, devotional artwork, sacred architecture, Christian iconography, historical comparison, everyday life, liturgical art, documentary photography, regional identity, historic church fabric, archival record, religious heritage, period detail, and parish church heritage. The modern context includes continuing discussion of historic fabric, church maintenance and how sacred art preserves religious, artistic and community history. The image fixes equipment and working practice within Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR at one identifiable point, providing a benchmark against closure or conversion. The photograph additionally reflects ecclesiastical craftsmanship, church interior, faith heritage, changing streetscape, community identity, contemporary social history, changing land use, and sacred decoration. Details involving comes, Stormtrooper, fires, Church, and Halton make the image more specific than a generic view and strengthen its local or historical value. The wider setting at Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Another strand within the photograph is historic fabric and the conservation challenge of historic interiors and artwork within the real-world context of Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR. The photograph keeps a local visual benchmark before later change alters the scene.
Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR
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,UK,England,Brick Lane,East London,No Place,For Hate,Bozo,London,racist,racism,British,GB,great Britain,Brexit,Tories,Bozzer,liars,Johnocchio,artists,liar,Conservatives,Conservative,Johnson,clown,clowns,Boris,E1,E1 6QL,graffiti,hard Brexit,soft brexit,art,artist,no-deal,UK Election Dec 2019
Description: Tony Smith image Alamy 2AE02K0 - . An on-location image from Brick Lane, East London, England, UK in 2019, useful both for the specific subject shown and for the evidence it retains about local identity, design, use and everyday life. At the centre of the frame is Brick Lane graffiti,No Place For Hate,Bojo The Bozo,East London,England. Other connected aspects include period detail, contemporary social history, historical comparison, place identity, electoral messaging, engineering heritage, government priorities, industrial archaeology, building-material production, community identity, historic context, social history, constituency representation, and before-and-after reference. The present-day relevance extends to local services and electoral accountability, while a wider concern is tracking how priorities change after elections. Current discussion around this subject increasingly includes manufacturing history alongside adaptive reuse, with particular attention to recording industries that shaped northern towns. From an archival perspective, the photograph anchors small features of identity that written records may overlook around Brick Lane, East London, England, UK. A second layer of the scene includes historic manufacturing, industrial artefact, traditional building materials, public policy, changing streetscape, local character, working-industry history, and civic debate. Details involving graffiti, Place, Brick, and London give the scene useful specificity and strengthen its local, cultural or historical identity. The surrounding context at Brick Lane, East London, England, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Its period value extends to local services and preserving campaign language that can quickly date when considered against later change at Brick Lane, East London, England, UK. The photograph keeps period character for later comparison.
Brick Lane, East London, England, UK
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,December,UK Election Dec 2019,Liars,The Withdrawal Method Never Works,Tory,Never Works,deal,no-deal,hard Brexit,soft brexit,art,artist,graffiti,Bozzer,Brick Lane,London,GB,E1 6QL,E1,Boris,Johnson,clown,clowns,Tories,Conservative,Conservatives,Brexit,liar,liars,Johnocchio,artists,withdrawal,method,racism
Description: Tony Smith image Alamy 2AE02N0 - . An on-location image from Brick Lane, London, England, GB, E1 6QL in 2019, useful both for the specific subject shown and for the evidence it retains about local identity, design, use and everyday life. The location is represented through Bojo The Bozo,UK Election Dec 2019,Brexit,Liars,The Withdrawal Method Never Works. The frame also contains themes of engineering heritage, production works, manufacturing heritage, party-political communication, factory history, contemporary social history, documentary photography, production technology, industrial material culture, social history, constituency representation, changing streetscape, local character, and historic manufacturing. The present-day relevance extends to housing and electoral accountability, while a wider concern is showing how national debate reaches local places. Current discussion around this subject increasingly includes embodied carbon alongside factory closures, with particular attention to recording industries that shaped northern towns. For retrospective editorial use, the photograph anchors a particular stage in the life of the location at Brick Lane, London, England, GB, E1 6QL. A second layer of the scene includes government priorities, local history, industrial archaeology, community identity, public realm, place identity, before-and-after reference, and industrial artefact. The combination of Liars, Works, Withdrawal, Election, and Method anchors the image to a recognisable activity, place or moment. Around Brick Lane, London, England, GB, E1 6QL, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Its period value extends to housing and preserving campaign language that can quickly date when considered against later change at Brick Lane, London, England, GB, E1 6QL. The photograph keeps a point of historical comparison for future local research.
Brick Lane, London, England, GB, E1 6QL
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: GoTonySmith,Hotpixuk,@Hotpixuk,Ireland,Dublin City,Leopold Bloom,James Joyce,Irish graffiti movement,art,public artwork,Temple Bar,Eire,Irish,graffiti,movement,Ulysses,side,of,hotel,colourful,Blooms of Dublin,colour,wall,mural,murals,decorated,outside,exterior,outdoors,rooms,bedrooms,street art,streetart,color,colorful,building,buildings
Description: Tony Smith image Alamy 2AYHHNJ - Every year on June 16th many James Joyce enthusiasts, some dressed in Edwardian costume, re-enact this epic pub crawl, and though it's referred to as a ˜literary event' it's basically an excuse for lots of drinking broken up by a bit of walking and the reading of various excerpts from the book. The event is known as Bloomsday and the first mention of such a thing was found in a letter from James Joyce to a Miss Weaver, dated June 27th 1924 and referring to a group of people who observe what they call ˜Bloom's Day' “ June 16th . The book itself must have made a big impression on someone back in the 1970s as the hotel was named after one of the story's main characters.
Fast forward to the present day and we find James Earley, a Dublin artist whose works are based on his family's artistic past within Irish stained glass art. James has been producing artworks in public spaces since 1997, playing an active role in the Irish graffiti movement, and from 2010 has developed abstract figurative works based on the principles and beauty of stained glass. He has travelled widely with his art throughout Europe, Asia and America and has worked on a variety of large-scale projects with various art-based organisations and multi-nationals which support the arts.
In 2014 James was commissioned to paint the exterior of Blooms Hotel
the project took a full year to complete and to date is the largest public artwork in Ireland. When I first saw it I was quite surprised that this street art wasn't just part of one wall, it was the whole exterior of the building. With my liking for bright colours and abstract, psychedelic designs I just had to take a few photos although the names on the pictures meant nothing to me at the time until I did a bit of later research and found the connection to James Joyce's Ulysses
3-6 Anglesea St, Temple Bar, Dublin 2, D02 FK84, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Irish,skeleton,Australia,take it easy,Skull,graffiti,in,Dublin,near,no,worries,informal,saying,expression,you are welcome,Oz,down under,No problem,do not worry about that,thats all right,forget about it,sure thing,talk,talking,stencil,art,street art,streetart,speech,optimism,national motto,of
Description: Tony Smith image Alamy 2M8BNNE - . Made at Temple Bar, Dublin, Eire, Ireland in 2019, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. The scene records Skull graffiti, in Dublin, near Temple Bar - No Worries. The subject also carries associations with public-realm art, temporary artwork, social history, medical consumer history, contemporary social history, contemporary mural, public-health intervention, health-service prevention, creative placemaking, healthcare access, healthcare communication, everyday life, street creativity, and local character. The wider contemporary story combines local identity, gentrification and the blurred boundary between commissioned public art and graffiti. Viewed from the mid-2020s, the subject also connects with NHS capacity, preventive care and how home testing can widen access to preventive healthcare. The archival value lies partly in recording materials and architectural details around Temple Bar, Dublin, Eire, Ireland before new construction alters the character of the place. Further associations within the scene are patient self-testing, period detail, mural culture, public-health screening, urban artwork, before-and-after reference, historical comparison, and visual archive. The recorded references to graffiti, Skull, Dublin, Temple, and Worries preserve clues about how the subject was presented, used or understood at the time. The wider setting at Temple Bar, Dublin, Eire, Ireland matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Another strand within the photograph is local identity and the blurred boundary between commissioned public art and graffiti in a form that can be compared with future views of Temple Bar, Dublin, Eire, Ireland. The image fixes evidence of earlier appearance for future local research.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Irish,art,artwork,painting,graffiti,Big City Lover,positive,shop,store,vibrant,interesting,cultural,area,quarter,Dublins,bars,pubs,ornate,watering holes,boozer,boozers,attraction,attractions,tourism,problem,problems,ASB,antisocial behaviour,trouble,Bloom,Blooms,hotel,St Patricks Day,St Patrick
Description: Tony Smith image Alamy 2M8BNNW - . Made at rown Alley Temple Bar, Dublin, Eire, Ireland in 2019, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. At the centre of the view is Crown Alley Temple Bar, Dublin, Eire, Ireland, graffiti, Eye Walk These Streets, Big City Lover. The broader subject matter reaches into visual archive, before-and-after reference, mural culture, street creativity, temporary artwork, licensed hospitality, changing streetscape, urban artwork, night-time economy, traditional ale house, creative placemaking, public realm, beer-led hospitality, and community identity. The modern context includes continuing discussion of local identity, temporary works and the role of murals in giving neighbourhoods a distinctive identity. For current editorial use, hospitality costs and food inflation provide additional context, especially through the survival of local pubs as social meeting places. As a dated visual record of rown Alley Temple Bar, Dublin, Eire, Ireland, the frame retains equipment and working practice, making it especially useful if later reinterpretation subsequently changes the scene. The subject also sits alongside social history, community art, local history, food-and-drink business, documentary photography, traditional pub, contemporary mural, and visual street culture. The recorded references to Alley, graffiti, Crown, Lover, and Temple preserve clues about how the subject was presented, used or understood at the time. For rown Alley Temple Bar, Dublin, Eire, Ireland, 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 local identity and the blurred boundary between commissioned public art and graffiti within the real-world context of rown Alley Temple Bar, Dublin, Eire, Ireland.
rown Alley Temple Bar, Dublin, Eire, Ireland
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: Manchester,City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,art,streetart,street art,M1 1DF,North West,M1,artist,artwork,urban,native,red,background,paint,painting,graffiti,Spear St,Aboriginal,faces,Aboriginals,face,on,of,looking,out,fence,site,building,Hip-Hop,HipHop
Description: Tony Smith image Alamy RFF67R - . A carefully observed scene preserves the social and built context of Spear Street, Manchester, England, UK, in documentary coverage dating from 2019. The frame is associated with Aboriginal face on red background of graffiti, Spear St, Northern Quarter, Manchester, England, UK. Related ideas embodied by the location include period property, urban fabric, creative regeneration, urban graphics, visual placemaking, community expression, public art, historic environment, urban visual culture, adaptive reuse, architectural heritage, and illustrated hoarding. Seen from a 2025-onward perspective, visual placemaking also connects with regeneration, local identity and efforts aimed at recording temporary artwork. The wider contemporary story of historic buildings now includes conservation of original fabric alongside maintenance cost, while policy and investment increasingly consider keeping older buildings useful. Small period details preserved at Spear Street, Manchester, England, UK 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 mural culture, local landmark, historic townscape, city artwork, traditional building, conservation interest. Other local associations include Urban art in Spear Street, Spear Street, urban art, vibrant, NQ4. The location further reflects street-level design, built heritage, graphic intervention, townscape identity, urban conservation, historic built environment, heritage asset, architectural character, street creativity, and period architecture. Modern coverage of urban murals frequently reaches beyond the immediate scene to questions of community participation, temporary installations and recording temporary artwork. This image retains local character before further change occurs.
Spear Street, Manchester, England, UK
Description
Keywords: Manchester,City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,art,streetart,street art,M1 1DF,North West,M1,artist,artwork,urban,native,red,background,paint,painting,graffiti,Spear St,Aboriginal,faces,Aboriginals,face,on,of,looking,out,fence,site,building
Description: Tony Smith image Alamy RFF67W - . This descriptive scene records a moment within Spear Street, Manchester, England, UK, in a view made during 2019. The location is represented through Aboriginal face on red background of graffiti, Spear St, Northern Quarter, Manchester, England, UK. The photograph carries associations with street creativity, period architecture, heritage asset, architectural heritage, heritage streetscape, urban visual culture, urban fabric, illustrated hoarding, visual placemaking, historic environment, public realm art, and community expression. For present-day editorial use, street-level design can also illustrate debates about community participation and regeneration, particularly where these affect stronger place identity. Modern coverage of historic buildings frequently reaches beyond the immediate scene to questions of planning control, vacancy and heritage-led regeneration. The date and location give the photograph archival strength: future views of Spear Street, Manchester, England, UK may show different businesses, branding, services, architecture, traffic patterns or redevelopment, allowing clear before-and-after comparison. The surrounding context also touches on conservation architecture, community art, urban graphics, historic townscape, conservation interest, historic fabric. Further recorded details include Urban art in Spear Street, Spear Street, urban art, vibrant, NQ4. Its context additionally embraces townscape identity, architectural detail, local identity, creative streetscape, built heritage, traditional building, city artwork, historic built environment, period property, and mural culture. In the mid-2020s, community artwork is increasingly discussed through regeneration and temporary installations, with attention turning to community-led design. That gives this view of Spear Street, Manchester, England, UK continuing value for local history, retrospective reporting and visual comparison.
Spear Street, Manchester, England, UK
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,Bee,Mcr,Bees,Busy Bee,symbol,art,artist,mural,tribute,The Koffee Pot cafe,Tib Street,22 worker bees,representing,22 people killed,Manchester Arena bombing,graffiti artist Russell Meeham,Qubek,Tib St,worker bees,bomb,graffiti,tragic,Mancunian,The North Will Rise Again,Oldham St,M4 1LE,M4,Madchester
Description: Tony Smith image Alamy RFF68B - This new mural is our Manc tribute to those killed in the Manchester Arena attack.
The huge image of 22 Manchester worker bees has been emblazoned on a wall on the side of the Koffee Pot building in the heart of the Northern Quarter.
Each bee, pictured swarming around a honey heart, represents one of the innocent people killed in the horrific attack.
It has been completed over last weekend by graffiti artist Russell Meeham , also know as ˜Qubek'. As word spread about the work of art taking shape people came past to see what he was doing. When the last bee was competed it drew a round of applause.
Manchester bees mural: Amazing Mancunian tribute to the 22 victims of the terror attack
MEN Bee mural being painted on the side of the Koffee Pot on Oldham Street, Manchester by artist Qubek
View gallery
Two days after the attack, Russ painted the old toilet block in Stevenson Square with bees and two hands joined together in a heart.
It prompted the M.E.N to commission him to create the mural.
Working from atop a cherry picker armed with dozens of cans of spray paint and some music, Russ spent two days creating his masterpiece.
Cafe bosses have previously turned down all requests for it to be used for a mural but kindly agreed to this one.
Speaking as he worked on his mammoth tribute Russ said: It's simple but effective, without being too morbid. Everyone will know why we've painted it and it's nice to have been involved in the project.
MEN Bee mural being painted on the side of the Koffee Pot on Oldham Street, Machester by artist Quebek
MEN Bee mural being painted on the side of the Koffee Pot on Oldham Street, Machester by artist Quebek (Image: Manchester Evening News)
I did a piece following the bombing to put a positive message out there to represent the community in Manchester and a tribute to those who lost their lives that wasn't too morbid.
It got people talking and, from what I saw, brightened a lot of people's days.
84-86 Oldham St, Manchester, North West England, UK, M4 1LE
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: HousingITguy,Project365,2nd 365,HotpixUK365,Tone Smith,GoTonySmith,365,2365,one a day,Tony Smith,Hotpix,Wood street,Wood St,Taunton,Somerset,art,Graffiti
Description: Tony Smith image Flickr 4625530145 - 'If you are on Twitter, do add a follow there and I will follow back in return mobile.twitter.com/HotpixUK
Have a look at my archived photography, from ten years back at www.flickr.com/photos/hotpixuk/
All images (c) Tony Smith - @HotpixUK - No images to be used without express permission',
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: HotpixUK,@HotpixUk,GoTonySmith,NYC,NY,New York,Manhattan,USA,city,city centre,US,punk,new wave,music,icon,vocalist,ticket,wall,Lower Manhattan,club,venue,CBGB,CBGB band,1970s,rock band,American,punk band,Chris Stein,Blondie mural,art,graffiti,Deborah Harry,RIP Debbie Harry,Deborah Ann Harry,Playboy Bunny,OMFUG,Country BlueGrass Blues,27,Parallel Lines,rap
Description: Tony Smith image Alamy 2AFK65H - Large graphic mural depicting Debbie Harry, singer and co-founder of the American rock band Blondie, covers a wall at 2 Bleecker Street near its junction with the Bowery in Lower Manhattan, New York City. Created in 2017 by artist Shepard Fairey in association with the LISA Project NYC, the artwork presents Harry with platinum-blonde hair, red lips, angular earrings and leopard-print clothing. Its bold black, cream, orange and red palette combines portraiture with concert posters, typography and imagery linked to Blondie's career.
The central portrait was based on a photograph by New York music photographer Bobby Grossman. Surrounding details include Blondie graphics, stylised band figures and a ticket advertising a Central Park performance on Wednesday 27 June. The collage-like composition reflects Fairey's poster, screen-printing and street-art aesthetic while celebrating Harry as an influential female figure in punk, new wave and popular music.
The mural stood close to the former CBGB nightclub at 315 Bowery. Founded by Hilly Kristal in 1973, CBGB initially took its name from Country, Bluegrass and Blues, although it became internationally associated with original underground rock. During the 1970s, its small stage helped establish a distinctive New York scene that included Blondie, Television, the Ramones, Talking Heads, Patti Smith Group, Richard Hell and the Voidoids, and other emerging performers.
Blondie developed within this downtown artistic community before achieving international commercial success with songs blending punk, pop, disco, reggae and new wave. Harry's distinctive appearance, commanding stage presence and songwriting partnership with Chris Stein made her one of the period's most recognisable performers.
The photograph records the mural beneath a partly cloudy sky before it was replaced in 2022 by Fairey's tribute to the New York hardcore band Bad Brains. It therefore preserves a temporary work of public art and a changing Bowery streetsca
Blecker Street, Lower Manhatten, New York City, NY, USA, North America
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,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,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,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,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,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,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: 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: Belfast Garfield Street,Garfield Street,streets,City Centre,city,centre,Northern Ireland,UK,bar,bars,pub,pubs,eyesore,eye,sore,decrepitude,shabby,ruin,run,down,decay,collapse,purple,red,orange,up,boarded up,boardedup,building,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,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7ME1 - . Recorded at Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011, the image fixes a recognisable subject and its environment at one point in time, giving later viewers a reliable basis for comparison. The principal subject is Belfast Garfield St Owl City Centre, Northern Ireland, UK. The wider scene also brings together local character, street creativity, public art, historical comparison, documentary photography, temporary artwork, public realm, street-level design, community art, stencil art, public-realm art, visual street culture, before-and-after reference, and creative placemaking. Current relevance extends to creative districts and graffiti policy, particularly through the role of murals and stencils in giving creative districts a distinctive identity. As a dated visual record of Garfield street,Belfast,County Antrim,Northern Ireland,UK, the frame retains materials and architectural details, making it especially useful if later reinterpretation subsequently changes the scene. The subject also sits alongside visual archive, social history, regional identity, mural culture, changing streetscape, everyday life, changing land use, and archival record. Details involving Garfield, Ireland, Centre, Belfast, and Northern make the image more specific than a generic view and strengthen its local or historical value. The period setting at Garfield street,Belfast,County Antrim,Northern Ireland,UK helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. A further contemporary connection is creative districts and the role of murals and stencils in giving creative districts a distinctive identity when considered against later change at Garfield street,Belfast,County Antrim,Northern Ireland,UK. The frame retains part of the area's social history for later comparison. Image HE7ME1 also remains a dated record of Garfield street,Belfast,County Antrim,Northern Ireland,UK.
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: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,are,art,artwork,arty,streets,at,the,John Rocques,1756,map,old,historic,history,Eye walk,these streets,Big city lover,cool,trendy,retail,retailers,area,district,eyewalk,eye,walk,walking,painted,painting,graffiti,hipster,hipsters,tourist,destination,cultural quarter
Description: Tony Smith image Alamy 2M84KD4 - Temple Bar is an area on the south bank of the River Liffey in central Dublin, Ireland. The area is bounded by the Liffey to the north, Dame Street to the south, Westmoreland Street to the east and Fishamble Street to the west. It is promoted as Dublin's 'cultural quarter' and, as a centre of Dublin's city centre's nightlife, is a tourist destination. Temple Bar is in the Dublin 2 postal district.
Temple Bar, Dublin, Eire, Ireland
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
