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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Birmingham Rep,Repertory,theatre,Centenary Square,Birmingham,city,art,arts,culture,centre,West Midlands
Description: Tony Smith image Alamy 3F58GC6 - . Birmingham Rep Repertory Theatre, Centenary Square, Birmingham city centre, West Midlands. Photographed on 29 July 2026, this summer editorial image shows the principal frontage of The Rep facing Centenary Square beneath a clear blue sky. The modernist theatre building has a broad curved facade with repeated arched window openings, large areas of glazing and prominent black The Rep lettering high above the entrance. Tall white flagpoles rise through the foreground of the square, while pedestrians and visitors sit, stand and walk across the paved public realm, giving scale to the building and showing the cultural venue in everyday city-centre use. The Birmingham Repertory Theatre, commonly known as Birmingham Rep or The Rep, is a major performing arts venue in Birmingham's civic and cultural quarter, beside the Library of Birmingham and close to other Centenary Square landmarks. The photograph is relevant to Birmingham theatre, repertory theatre, performing arts, drama, culture, entertainment, architecture, public buildings, civic space, urban regeneration, tourism and West Midlands city-centre life. Its distinctive frontage, theatre signage and relationship with the open pedestrian square make the image useful for stories about cultural investment, arts funding, live performance, visitor attractions, public realm design and Birmingham's changing cityscape. The scene also records the appearance of Centenary Square and The Rep in summer 2026, creating documentary value for future comparison if signage, entrances, landscaping, neighbouring development or the theatre itself changes. As a clearly identified contemporary view, it is suitable for editorial features on British theatres, regional arts organisations, Birmingham culture, city tourism, architectural design, cultural regeneration and the role of major arts venues in attracting audiences and supporting activity in city centres.
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A9492,Colourful,mural,building,Eagles Meadow,Wrexham,Wales,UK,artwork,floral,lettering,graphics,public,art,retail,regeneration,street,shopping,centre,city,branding,urban,community,commercial,bright
Description: Tony Smith image Alamy 3ETMXTW - . Colourful mural on a building at Eagles Meadow in Wrexham, Wales, UK. Photographed on 17 May 2026. The recorded location is Eagles Meadow, Wrexham, Wales, UK. The artwork combines bright floral shapes, lettering and graphic motifs on the side of a brick commercial building, adding a strong piece of public art to the retail district. Strong sunlight and the vivid painted colours give the image high visual impact. The background to community 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 manufactured object, material culture includes the ordinary products people bought, used, collected or displayed
Small manufactured objects can reveal national identity, advertising, technology and popular taste in ways that formal records do not. Current 2026 context around community art 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 past is visible in public space. Against the 2026 backdrop for manufactured object, sustainability and reuse also give older objects new relevance, encouraging repair, second-hand sales and appreciation of durable material culture. Relevant alternative phrases include street art, urban culture, cultural identity, visual culture, place-making, memorial art, creative industries, public realm, cultural landmark, collectable, souvenir, consumer object, vintage object, memorabilia, branding, design history, and consumer culture. Useful alternative terminology includes retro, household object, collecting, product history, social history, 255A9492, graphics, shopping, and urban.
Eagles Meadow, Wrexham, Wales, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,icon,iconic,in,letters,M1,welcome,to,city,gateway,centre,light-up,sculpture,industrial,steel,riveted,rivets,cast iron,style,public,art,urban,transport,hub,tram stop,heritage,manufacturing,history,symbol,branding,hostile vehicle mitigation,proud,regeneration,cottonopolis,northern powerhouse,landmark,selfie spot,design
Description: Tony Smith image Alamy 3EDKYFJ - Large riveted MCR stock-photo/gotonysmith-Sculpture.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>sculpture outside Manchester Piccadilly railway station, photographed by the south side station entrance and taxi rank area on Fairfield Street, with the glass station frontage reflected behind the heavy industrial-style metal letters. The artwork uses bold black steel lettering, visible rivets and a robust engineering look to spell MCR , the familiar shorthand for Manchester, creating a modern city welcome sign that deliberately echoes the city's railway, manufacturing, engineering, cotton, warehouse and industrial heritage. Network Rail announced the 8-foot light-up sculpture in March 2025, describing it as a new artwork outside the station taxi rank on Fairfield Street to welcome passengers in and out of the city while also forming part of a wider project to protect busy pedestrian areas from vehicles. This photograph is useful for editorial and commercial searches about Manchester Piccadilly, MCR sign, MCR sculpture, Manchester public art, station entrance, Metrolink interchange, city branding, railway travel, tram travel, public realm, station security, hostile vehicle mitigation, protective street furniture, transport infrastructure, urban regeneration, industrial design and arrival in Manchester. The scene can illustrate stories about Piccadilly as Manchester's main railway gateway, city centre tourism, transport hubs, rail passengers, commuter journeys, public safety, civic identity, northern England, modern Manchester and the reuse of industrial visual language in contemporary placemaking. The reflective glass, pedestrians, taxi-rank setting, sunny daylight and oversized letters make the image suitable for travel guides, local news, transport features, architecture blogs, urban design reports, tourism marketing and stock photo buyers needing a recognisable Manchester city centre landmark. The sculpture works as both a photo opportunity and a symbolic threshold between station, street, tram, taxi, city centre and the wider Manchester story
Large riveted MCR sculpture at Manchester Piccadilly, reflecting the city's industrial and railway h
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,IMG_5440,Dundee,Orange,Marmalade,mural,Scotland,Keiller,streetart,heritage,food,jars,fruit,public,art,history,New,Inn,Entry,city,centre
Description: Tony Smith image Alamy 3E5TC1E - Dundee Orange Marmalade heritage mural by New Inn Entry in Dundee city centre, Scotland, UK. The photograph is a contemporary editorial record of the subject and its surroundings at New Inn Entry, 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. This colourful city-centre mural draws on Dundee's long association with Keiller marmalade, using oversized jars, oranges and historic advertising imagery. It provides a contemporary interpretation of an industry that became strongly identified with the city and records the use of public art to celebrate local industrial and food heritage. 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.
New Inn Entry, Dundee, Scotland, UK
Description
Keywords: GoTonySmith,HotpixUK,England,city,centre,British,the,London,UK,WC1B 3DG,WC1B,history,historic,heritage,artefacts,exhibit,exhibits,institution,inside,interior,rooms,room,entrance,hall,mosaic,multiple,empire,ornate,GB,Rome,corner,face,portrait,preserved,art,artistic
Description: Tony Smith image Alamy 2RW3WXY - Art was essential to Roman life. Whether in public spaces or private homes, people were immersed in depictions of mythology, nature, and life every day. As different art forms developed, practitioners honed their craft and evolved with the times to render breathtaking images.
Mosaics are some of the most enduring pieces of Roman art. These images are composed of hundreds or thousands of carefully placed tiles or stones that formed a larger image. Mosaics were primarily placed on the floor and intended to be art pieces that were walked over. Romans were expected to appreciate the art from every angle.
Roman mosaics were largely influenced by the Hellenistic and Greek mosaics, which focused on scenes from mythology and memorializing historic figures. While mosaics had existed since early Mesopotamia, the Romans took this form of art from the Greeks and transitioned it into a more formal practice. The first mosaics created during the Roman Republic are dated to the second century BC. They involved the use of pebbles and other small stones to create basic scenes or silhouetted portraits
Great Russell Street, Bloomsbury, London, England, UK, WC1B 3DG
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Cymru,UK,city,centre,CF10,green,CF10 1EP,art,on,in,English,history,historic,heritage,rail,railways,British,sign,signs,signage,gorsaf,circle,graphic,graphics,public,Cardiff Central mosaic,trades,peopld,figures,workers,passengers,commuters,major,largest
Description: Tony Smith image Alamy 2RFEPWM - . Art in English on Cardiff Central Station entrance, Central Square, Cardiff , Wales, UK, CF10 1EP. Photographed on 1 August 2023. A large mosaic featuring the name of 'Cardiff Central' Railway Station' and a selection of the people and trades who were connected with this major railway station in Cardiff, and the largest station in Wales. Cardiff Central's bilingual public-art mosaics were created by artist Rob Turner in 2003. Cardiff Council's public-art register describes them as depicting the different people who worked at and used the station across the previous century. The Welsh and English versions link railway heritage with the bilingual identity of modern Wales, while the station itself remains the country's busiest and most important main-line hub, connecting South Wales with London, the Midlands and western Britain. Looking at the subject's development, britain's railways reshaped towns, industry and passenger travel from the nineteenth century onwards, creating a dense network of stations, goods yards, signalling infrastructure and long-distance routes
Surviving buildings, signs and operating equipment now document both railway heritage and continuing public transport. In the longer view, town and city centres are continually rewritten by new buildings, transport schemes and changing commercial uses
Photographs preserve the everyday fabric between major landmarks, including underpasses, arcades, back streets and small businesses that may disappear during redevelopment. For the 2026 context, rail policy is especially topical: the Railways Bill is progressing through Parliament and is intended to establish Great British Railways as the publicly owned directing mind for track, stations, timetables and passenger services
Older branded trains and station scenes therefore gain additional documentary value during another major restructuring of the industry. Associated keywords and synonyms include rail transport, passenger railway, and platform.
Central Square, Cardiff , Wales, UK, CF10 1EP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Northern Ireland,UK,23,2023,Dalts23,murals,painting,art,ice,hockey,landmark,street art,icon,team,success,successful,logo,Stena Line Belfast Giants,yellow,crane,in,background,professional,champions,Elite Ice Hockey League,EIHL,Odyssey,arena,mythical warrior,Finn McCool,refreshed,primary,M3,Queens Quay
Description: Tony Smith image Alamy 2R9J0HW - . Belfast Giants graffiti from Dalts 23, riverside, Titanic Quarter, within sight of the H&W Harland & Wolff cranes Samson and Goliath & SSE Arena. Photographed on 24 June 2023. The recorded location is M3 Underpass, Queens Quay, Titanic Quarter, Belfast , Northern Ireland, UK, BT3 9DB. The Belfast Giants (known officially as the Stena Line Belfast Giants due to sponsorship) are a professional ice hockey team based in Belfast, Northern Ireland. They compete in the UK's Elite Ice Hockey League (EIHL) and are the current champions for the 7th time in their history. They play their home games at the SSE Arena (formerly known as the Odyssey Arena). Since their inception in 2000, the Giants have won fourteen major honours, including seven British league championships, three British championships by winning the play-offs, and five Challenge Cups. 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. Within the history of turnstile, cranes and construction access systems are symbols of large-scale building and industrial work
Dockside cranes originally served cargo handling, while building cranes and controlled turnstiles reflect the organisation and safety requirements of modern sites. In relation to passenger ferry, historical context shows that maritime gateways connect island and mainland economies, carrying residents, visitors, freight and vehicles while also supporting fishing, leisure craft and tourism
Older waterfront buildings often survive beside modern ferry infrastructure, making port landscapes unusually layered records of economic change. 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.
M3 Underpass, Queens Quay, Titanic Quarter, Belfast , Northern Ireland, UK, BT3 9DB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,London,England,English,British,UK,city,centre,GB,E1 6QL,E1,popular,attraction,colourful,art,arty,lively,fashion,crowds,street,with,on,a,Sunday,tourist,shoppers,visitors,visit,east,looking,towards,and,Aldgate,colorful,neighbourhood,Tower Hamlets,famous
Description: Tony Smith image Alamy 2R39XXB - Brick Lane (Bengali: ব্রিক লেন) is a famous street in the East End of London, in the borough of Tower Hamlets. It runs from Swanfield Street in Bethnal Green in the north, crosses the Bethnal Green Road before reaching the busiest, most commercially active part which runs through Spitalfields, or along its eastern edge. Brick Lane's southern end is connected to Whitechapel High Street by a short extension called Osborn Street.
Today, it is the heart of the country's Bangladeshi community with the vicinity known to some as Banglatown. It is famous for its many curry houses
The street was formerly known as Whitechapel Lane, and wound through fields. It derives its current name from brick and tile manufacture started in the 15th century, which used the local brick earth deposits
In the 19th century, Irish people and Ashkenazi Jews immigrated to the area. Jewish immigration continued into the early 20th century.
In the 20th century the Brick Lane area was important in the second wave of development of Anglo-Indian cuisine, as families from countries such as Bangladesh (mainly the Greater Sylhet region) migrated to London to look for work. Some curry houses of Brick Lane do not sell alcoholic beverages, for most are owned by Muslims. According to EasyJet Traveller magazine, the top three curry houses on Brick Lane in 2021 are Aladin, Sheba and City Spice.
Bengalis in the United Kingdom settled in big cities with industrial employment. In London, many settled in the East End. For centuries the East End has been the first port of call for many immigrants working in the docks and shipping from Chittagong port in Bengal
Brick Lane, London, GB, E1 6QL
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,English,British,UK,city,centre,typewriter,shutter,shop,meme,street,artist,art,Street Art,Truth Told,I only put this here,because Im hoping you Instagram It,it,on,E1,E1 6QL,LA,based,WordSmith,stencil,word,words,work,works,Shoreditch,frame,colourful,courier,font
Description: Tony Smith image Alamy 2R39XXX - . Street Art Instagram meme - Truth Told, I only put this here,because I'm hoping you Instagram It, Brick Lane, London, England, GB, E1 6QL. Photographed on 21 May 2023. WRDSMTH is an LA-based street artist who aspires to inspire others on a daily basis with colorful and well-chosen words crafted into indelible thoughts and phrases that he paints/pastes onto walls around the world. Read more at maybe buy some of his merch ! 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 public realm, the longer history is 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. The background to industrial archaeology is that industrial heritage links architecture and machinery with the people who worked in mines, potteries, foundries and factories
As production declined or modernised, many sites were demolished, adapted or preserved as museums and regeneration projects. Within the history of shopfront, local businesses provide 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. In 2026, public realm 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.
Brick Lane, London, England, GB, E1 6QL
Description
Keywords: Manchester,city,centre,Greater,England,UK,Northern Quarter,M1 1JF,M1,Akse_P19,Akse,P19,of,Ste_Wing,project,art,graffiti,street art,streetart,free,tattoo,hand,covering,covers,eye,Crew,paint,painted,painting,wall,gable-end,gable,end,people,figure,figures,portrait,portraits
Description: Tony Smith image Alamy 2JTD2N4 - . An identifiable period record of Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The image documents Stevenson Square / Little Lever St, Akse_P19 portrait of Ste_Wing, , Northern Quarter, Manchester, England, UK, M1 1JF. The wider scene also brings together adaptive reuse, period architecture, civic architecture, public-realm investment, mixed-use redevelopment, public realm, regional identity, local history, social history, architectural character, everyday life, visual archive, built heritage, and period detail. Today's relevance is strengthened by housing pressure, planning and the continuing question of how regeneration tries to create reasons to visit traditional town centres. Small period details of local activity and public use at Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF may become more significant with time, particularly following later reinterpretation. The subject also sits alongside contemporary social history, community identity, changing land use, commercial redevelopment, urban regeneration, urban fabric, place-making, and historic townscape. The recorded references to Quarter, Little, Square, portrait, and Lever preserve clues about how the subject was presented, used or understood at the time. A later view of Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes housing pressure and the tension between preserving local character and creating modern commercial space when considered against later change at Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF. The period view preserves part of the area's social history as a date-specific reference.
Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF
Description
Keywords: city,centre,Greater,England,UK,Northern Quarter,M1 1JF,Good advice,Fred Aldous,M1 postcode,NQ4,Fred Aldous Ltd,yellow,pink,bright,slogan,art,shop,handicrafts,Stevenson Square,Stevenson Sq,work,working,workers,union,action,strike,strikes,be,busy,lazy,working hard,hard work,days,off,pays,inspirational slogan,work ethic,creativity,maker culture
Description: Tony Smith image Alamy 2JTD2N6 - Bold Hard Work Pays Off artwork in Stevenson Square in Manchester's Northern Quarter, stock-photo/gotonysmith-England.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>England. The installation is credited on the upper panel as Fred Aldous x Tara Collette and uses a vivid yellow ground with large hand-painted pink lettering, turning a simple motivational phrase into bright public-facing street art. Fred Aldous is a long-established Manchester art and craft supplies business based nearby at 37 Lever Street, while Tara Collette is a Manchester-based banner maker and artist whose work includes custom signs and eye-catching shop-window display pieces. The image has strong value for editorial use around Manchester's creative economy, independent retail, local artists, public art, typography, murals, creative placemaking and the distinctive visual culture of the Northern Quarter. Stevenson Square has long been associated with street art, independent bars, shops, cafes and the city's alternative design scene, and this piece fits into that wider pattern of colourful urban intervention in a dense city-centre setting. The vertical composition emphasises the scale of the lettering and the block-like structure, with upper floors, street activity and surrounding buildings visible around the edges. It can illustrate stories about positive messaging in public space, artist and retailer collaborations, art-led high street identity, Manchester design culture, city-centre regeneration and the role of independent businesses in shaping neighbourhood character. The wording also makes the image suitable for features about work ethic, ambition, creativity, small business, entrepreneurship, student life and maker culture. For picture buyers, the readable slogan, bright colour palette, named collaboration and clear Manchester location make it a flexible stock image for editorial, cultural, lifestyle, education, business and urban arts usage.
Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,Manchester,city,centre,Union St,art,gable,end,fiction,England,UK,M4 1PE,and,of,street,building,buildings,architecture,telephone exchange,BT,Openreach,arts,urban,decoration,decorated,streets,scene,Manc,Manchester City centre,Mancunian,trendy,funky,tourist,tourism,attraction,attractions
Description: Tony Smith image Alamy 2JYYR7W - . Photographed at Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE 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 defining feature is Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE. Another layer of the photograph includes community identity, heritage worship space, Christian iconography, religious heritage, documentary photography, everyday life, urban regeneration, local history, mixed-use redevelopment, public realm, changing land use, sacred decoration, liturgical art, and sacred architecture. For current editorial use, adaptive reuse and commercial viability provide additional context, especially through the value of reusing existing buildings rather than wholesale demolition. Current relevance extends to visitor tourism and accessibility, particularly through the role of parish churches in local identity and genealogy. Small period details of equipment and working practice at Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE may become more significant with time, particularly following new construction. Other useful contextual ideas include changing streetscape, local character, historic townscape, public-realm investment, period architecture, parish church heritage, historical comparison, and archival record. Elements such as Quarter, junction, Church, Union, and Northern add documentary specificity and may become increasingly useful when compared with later records. By fixing the subject within Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE, the image preserves more than the headline object or building: it records part of the locality's everyday history. Image 2JYYR7W also remains a dated record of Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE.
Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,M4,Manchester,England,UK,M4 3AH,indoor market,city,centre,retail,shop,store,stalls,wall,art,streetart,street,food,eat,eating,bee,youth,cityscape,skyline,markets,small,retailers,community,urban,welcoming,bargain,bargains,welcome,people,cartoon,cartoons,trader,traders
Description: Tony Smith image Alamy 2JYYR80 - . An identifiable period record of 49 High St, Manchester, England, UK, M4 3AH in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The subject captured here is Manchester Arndale centre, indoor market food court wall, 49 High St, Manchester, England, UK, M4 3AH. Another layer of the photograph includes consumer retail, retail property, town-centre economy, archival record, architectural character, street-level business, community identity, built heritage, social history, heritage-led regeneration, commercial frontage, place-making, visual archive, and place identity. Current relevance extends to business rates and commercial rents, particularly through how mixed retail, leisure and residential uses are reshaping high streets. In present-day coverage, the subject reaches into public-realm investment and heritage conservation, not least because of how regeneration tries to create reasons to visit traditional town centres. Small period details of lettering, decoration and surface detail at 49 High St, Manchester, England, UK, M4 3AH may become more significant with time, particularly following new ownership. Other useful contextual ideas include urban regeneration, historic townscape, regional identity, changing land use, commercial streetscape, everyday life, urban fabric, and changing streetscape. References to indoor, Manchester, centre, Arndale, and court give the picture a strong period identity and tie it closely to its named subject. For 49 High St, Manchester, England, UK, M4 3AH, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The image also provides a reference for business rates and how mixed retail, leisure and residential uses are reshaping high streets within the real-world context of 49 High St, Manchester, England, UK, M4 3AH.
49 High St, Manchester, England, UK, M4 3AH
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Herefordshire,cathedral church of the Anglican Diocese of Hereford,HR1,England,UK,5,College Cloisters,HR1 2NG,cathedral,building,city,centre,windows,window,light,the,Ohanness,Stanbury,art,ceiling,roof,crown,gold,golden,decoration,faith,nave,Anglican,history,heritage,traditional,classic,cathedrals
Description: Tony Smith image Alamy 2JPH6WE - . A grounded documentary photograph made at 5 College Cloisters, Cathedral Close,Hereford, Herefordshire, England, UK, HR1 2NG in 2022, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The main point of reference is Stanbury Chapel Window, Stained glass, Interior of Hereford cathedral - 5 College Cloisters, Cathedral Close, HR1 2NG. The subject also carries associations with regional identity, sacred architecture, stained-glass craftsmanship, medieval church setting, religious artwork, period detail, ecclesiastical art, before-and-after reference, community identity, historic glazing, ecclesiastical decoration, changing land use, sacred space, and changing streetscape. The modern context includes continuing discussion of church maintenance, faith communities and how sacred art preserves local patrons, stories and beliefs. The image fixes period objects and surrounding context within 5 College Cloisters, Cathedral Close,Hereford, Herefordshire, England, UK, HR1 2NG at one identifiable point, providing a benchmark against closure or conversion. The wider setting retains connections with visual archive, Christian iconography, heritage worship space, place identity, everyday life, historical comparison, contemporary social history, and social history. Elements such as Interior, Close, College, Chapel, and Window add documentary specificity and may become increasingly useful when compared with later records. A later view of 5 College Cloisters, Cathedral Close,Hereford, Herefordshire, England, UK, HR1 2NG may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. Another useful connection is church maintenance and how sacred art preserves local patrons, stories and beliefs without losing the local specificity of 5 College Cloisters, Cathedral Close,Hereford, Herefordshire, England, UK, HR1 2NG.
5 College Cloisters, Cathedral Close,Hereford, Herefordshire, England, UK, HR1 2NG
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city centre,Merseyside,England,UK,Levelling up,Northern Powerhouse,L2,office,streetart,street,at,city,centre,parking,Tempest,building,Nomad Clan,NomadClan,art,painting,girl,woman,women,offices,buildings,architecture,car park,car parking,sunny,blue sky,blue skies,Eurovision,2022
Description: Tony Smith image Alamy 2JDDRC0 - . Made at Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW in 2022, 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 photograph centres on Nomad Clan Mural artwork at Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW. The surrounding context encompasses local history, traditional structure, period streetscape, local identity, conservation interest, before-and-after reference, conservation architecture, archival record, period detail, community life, place identity, regional identity, historic townscape, and changing streetscape. Current relevance extends to maintenance and embodied carbon, particularly through the value of distinctive buildings and street furniture to local identity. In present-day coverage, the subject reaches into commercial change and regeneration, not least because of how ordinary street scenes become valuable records as businesses and infrastructure change. Future viewers can use this scene from Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW to compare building condition and alterations with whatever follows after closure or conversion. Further associations within the scene are street-level documentary, architectural detailing, changing land use, everyday life, urban fabric, townscape record, visual archive, and documentary photography. Elements such as Hackins, Liverpool, Merseyside, artwork, and Mural add documentary specificity and may become increasingly useful when compared with later records. Around Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The frame retains part of the area's social history before later change alters the scene. The scene captures details of everyday use as a date-specific reference.
Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city centre,Merseyside,England,UK,Levelling up,Northern Powerhouse,L2,office,streetart,street,at,city,centre,parking,Tempest,building,Nomad Clan,NomadClan,art,painting,girl,woman,women,offices,buildings,architecture,car park,car parking,sunny,blue sky,blue skies,Eurovision,2022
Description: Tony Smith image Alamy 2JDDRC4 - . This location-specific image from Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW in 2022 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The image documents Nomad Clan Mural artwork at Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW. The locality and subject together evoke local landmark, local identity, everyday street life, architectural detailing, social landscape, urban change, contemporary social history, everyday life, social history, changing streetscape, period building, community identity, historic townscape, and urban fabric. For current editorial use, maintenance and adaptive reuse provide additional context, especially through keeping older structures useful without erasing their character. Current relevance extends to local identity and footfall, particularly through the documentary importance of recording everyday urban environments. Small period details of building condition and alterations at Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW may become more significant with time, particularly following new construction. The surrounding story also includes townscape record, local character, public realm, local history, historic streetscape, city-centre activity, visual archive, and architectural character. The combination of Mural, Nomad, artwork, Liverpool, and Hackins anchors the frame to a recognisable activity, place or moment. The period setting at Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The wider significance includes maintenance and the value of distinctive buildings and street furniture to local identity when considered against later change at Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW.
Hackins Hey, Liverpool, Merseyside, England, UK, L2 2AW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,M2,Manchester M2 5PD,Xmas,decorations,history,Christmas,outside,Christmas hat,on a,Santa,hat,cap,MCR,Manchester,city,centre,Central Library,library,St Peters,Peter,square,Sq,seasonal,decorated,golden,sparkle,sparkly,historic,exterior,display,displays,art,arts,artistic
Description: Tony Smith image Alamy 2ADR2B5 - . A grounded documentary photograph made at St Peter's Square, Manchester,England,UK, M2 5PD in 2019, preserving the main subject alongside smaller details that may become more historically useful with time. The view centres on Christmas hat on a MCR,Christmas decorations,outside Manchester Central Library,St Peter's Square, Manchester M2 5PD. A broader reading of the scene brings in social history, archival record, architectural character, visual archive, heritage landmark, before-and-after reference, built heritage, changing streetscape, period detail, place identity, everyday life, historical comparison, historic commercial architecture, and local history. For contemporary context, energy retrofit and planning control are closely related themes, especially where the issue becomes the contrast between preservation and redevelopment. Looking back from the mid-2020s, the photograph anchors small features of identity that written records may overlook in the immediate surroundings of St Peter's Square, Manchester,England,UK, M2 5PD. The surrounding context also covers regional identity, historic townscape, adaptive reuse, period building, traditional masonry, conservation interest, architectural detailing, and cityscape history. References to decorations, Central, outside, Peter's, and Square help fix the photograph to its own subject and period rather than reducing it to a generic view. The surrounding context at St Peter's Square, Manchester,England,UK, M2 5PD matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. A further contemporary connection is energy retrofit and the contrast between preservation and redevelopment when considered against later change at St Peter's Square, Manchester,England,UK, M2 5PD. The image fixes evidence of earlier appearance as part of St Peter's Square, Manchester,England,UK, M2 5PD's history.
St Peter's Square, Manchester,England,UK, M2 5PD
Description
Keywords: Manchester,City Centre,city,North West,England,UK,GoTonySmith,HotpixUK,@HotpixUK,buildings,streets,shopping,faces,art,artist,grafitti,shutter,shutters,graffiti on shutters,closed,derelict,M1 2BA,M1,down,run,rundown,problem,eyesore,centre,City,Centre,problem with,urban,tourism,tourists,Buy Images Of,Stock Images,tour,Britain,Hip-Hop
Description: Tony Smith image Alamy RF7M57 - . A grounded editorial photograph captures the working environment around the recorded location, as recorded during 2019. The location is represented through Derelict shop, The Barrow Boys Shop, Paton Street, Piccadilly, Northern Quarter, Manchester, North West England, UK, M1 2BA. Further features of the subject include urban artwork, city artwork, town-centre trading, consumer spending, illustrated hoarding, community expression, local trading, shopfront economy, visual placemaking, independent retail, urban graphics, and commercial frontage. Seen from a 2025-onward perspective, commercial property also connects with vacant premises, operating costs and efforts aimed at adaptable commercial space. The wider contemporary story of public art now includes graffiti versus commissioned work alongside public-realm investment, while policy and investment increasingly consider community-led design. Because this is a time-specific record of the recorded location, later comparison can reveal changes in signage, ownership, land use, transport, street furniture, building condition and the way the public uses the surrounding space, specifically in relation to Derelict shop. The broader context includes local identity, shopping habits, consumer retail, chain-store economy, contemporary mural, street-level design. Further aspects present in the subject include retail vacancy, graphic intervention, commercial streetscape, creative regeneration, customer footfall, creative streetscape, mural culture, city-centre economy, retail property, and storefront culture. Modern coverage of physical shops frequently reaches beyond the immediate scene to questions of hybrid working, online shopping and mixed-use town centres. That gives this view of the recorded location continuing value for local history, retrospective reporting and visual comparison, specifically in relation to Derelict shop. The location view retains the location's physical context for future editorial context.
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,paste ups,stickers,tags,from,in various colours,artist,Ready to use,Wheatpaste,pop art,street art,Out House project,OutHouse project,street-art,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,graffiti,art,figures,Northern Quarter,NorthernQuarter,colourful,colorful,colours
Description: Tony Smith image Alamy RFF638 - Here's a little insight into the world of D7606
Picking spots is not always easy, a lot of areas like the east end of London are quite saturated with street art, finding a spot without going over other peoples work and tags is always a priority. Being respectful to others work is very important to me. So I like to find new spots and go into areas where no one has been before, I did a series of Bollywood actors and found myself in a busy Southall one night, that was fun. I have been into the urbex spots around Sheffield where the spray can and letters are king, so adding brightly coloured paste ups to those grimy walls is a risk and one I'm glad I have taken, some will approve and others will not but that's the joy of trying new places.
Mostly I am a lover of other peoples work and my photography of that work is how I find different neighbourhoods. Most areas are well know so often I just wander around taking photos, this then gives me that opportunity to do my own work too. I guess my favourite areas right now are Sheffield in the UK and Kreuzberg in Berlin, the back streets are full of grimy walls and doors, a perfect place for paste ups, stickers and tags..
I love those iconic British symbols, ask an American to name an iconic British symbol and a lot will say our red phone box or post box. They featured in my first work and still do in a big way.
Oh yes, I love to take those iconic British symbols abroad, I have travelled a fair bit in the last year- France, Germany and the USA. Hard to say a favourite place really, all have great art and great spots. Overall New York was the most impressive but maybe that was a size thing? It is massive, so much to see and so much good original work around.
Have you ever got in trouble with the police or other people for putting up your work?
Ha oh no, everything I do is within the law !!! I am sure I have annoyed people with my work, some artists are honest enough to say stop !! That's too much !! or that latest work
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Fuzzylogic75 stencil art,stencil,Northern Quarter,figures,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,artist,stickers,street art,graffiti,paste ups,art,NorthernQuarter,colourful,colorful,colours,arm,pipe,tube,tag,tags,paper,pasted
Description: Tony Smith image Alamy RFF64K - . A grounded editorial photograph records the everyday reality of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, as photographed in 2019. The scene is specifically associated with Fuzzylogic75 stencil art, Manchester Northern Quarter, NQ4, Manchester, England, UK. Related ideas embodied by the location include mural culture, urban visual culture, contemporary mural, community expression, creative regeneration, urban graphics, city artwork, public art, graphic intervention, public realm art, street-level design, and creative streetscape. Seen from a 2025-onward perspective, community artwork also connects with local identity, graffiti versus commissioned work and efforts aimed at creative reuse of redevelopment sites. Because this is a time-specific record of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, later comparison can reveal changes in signage, ownership, land use, transport, street furniture, building condition and the way the public uses the surrounding space. The location additionally reflects art-led regeneration, temporary artwork, illustrated hoarding, local identity, visual placemaking, urban artwork. The scene is further associated with street art, stencilling, street, facs. The scene also carries the language of , and street creativity. Modern coverage of temporary urban art frequently reaches beyond the immediate scene to questions of graffiti versus commissioned work, youth culture and recording temporary artwork. Viewed retrospectively, the photograph can reveal the condition of buildings, public-realm details, local business activity, patterns of everyday use, and regional identity within the surrounding area. Taken together, these details make the photograph a useful record of changes of use, local character, public activity, the appearance of the built environment, and period design as part of the area's longer social history.
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Northern Quarter,RIP,NorthernQuarter,SSOSVATIME,art,street art,graffiti,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,artist,stickers,paste ups,figures,colourful,colorful,colours,silver,monochrome,BW,black and white,hat,hatter,mad,time
Description: Tony Smith image Alamy RFF64M - . A grounded editorial photograph captures the physical context of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, as it appeared in 2019. The location is represented through SSOSVA TIME RIP the mad hatter, Northern Quarter, Manchester, England, UK. Related ideas embodied by the location include city artwork, street-level design, mural culture, temporary artwork, public realm art, art-led regeneration, urban graphics, community art, local identity, illustrated hoarding, street creativity, and urban artwork. Seen from a 2025-onward perspective, visual placemaking also connects with temporary installations, public-realm investment and efforts aimed at recording temporary artwork. Documentary value is strengthened by the precise setting at Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, where even ordinary details of frontage, equipment, signs, traffic or public activity may disappear as the area evolves. Beyond the immediate subject, the setting involves graphic intervention, contemporary mural, community expression, urban visual culture, creative regeneration, public art. Other local associations include pls fix me, I am broke, Alice, Alice in Wonderland, stencil. The scene also carries the language of , and creative streetscape. Modern coverage of visual placemaking frequently reaches beyond the immediate scene to questions of temporary installations, graffiti versus commissioned work and creative reuse of redevelopment sites. The combination preserved here provides evidence of signage and branding, commercial identity, physical infrastructure, community life, and local continuity as an authentic period reference. As the location changes, the frame remains a reference for historic fabric, everyday services, planning and redevelopment, movement through the area, and social change at this precise location. The location view retains the area's visual identity for visual before-and-after study.
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: Manchester,City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,M1,North West,art,artist,street art,street artist,mural,Arena Bomb,Arena bombing,arts,street,centre,spray paint,expression,decorated,decoration,M1 1DN,PC,ex,public conveniences,toilet,canvas,outside,square,exterior,pink,cyan
Description: Tony Smith image Alamy RFF66B - . An editorial view documents the setting around Stevenson Square, Northern Quarter, Manchester, North West England, UK, M1 1DN, as photographed in 2019. The supplied image information identifies #OutHouseMcr Bee, Stevenson Square, Northern Quarter, Manchester, North West England, UK, M1 1DN. Further features of the subject include community art, creative regeneration, illustrated hoarding, urban visual culture, art-led regeneration, city artwork, mural culture, graphic intervention, contemporary mural, public realm art, temporary artwork, and local identity. Current debate around street-level design often combines youth culture, graffiti versus commissioned work and the practical challenge of art integrated with regeneration. Because this is a time-specific record of Stevenson Square, Northern Quarter, Manchester, North West 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 resulting scene connects with visual placemaking, public art, creative streetscape, street creativity, community expression, street-level design. Further recorded details include NorthernQuarter, Manchester Bee Symbol, Bee Symbol, open air gallery. The scene also carries the language of urban artwork, and urban graphics. The wider contemporary story of visual placemaking now includes regeneration alongside temporary installations, while policy and investment increasingly consider creative reuse of redevelopment sites. For future comparison, the scene preserves the appearance of the built environment, public activity, period design, local character, and changes of use at this precise location. Viewed retrospectively, the photograph can reveal community life, local continuity, physical infrastructure, signage and branding, and commercial identity within the surrounding area.
Stevenson Square, Northern Quarter, Manchester, North West England, UK, M1 1DN
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,North West England,manchester,city centre,NQ4,brick wall,NQ,bottle art,art,artist,gable,end,Cross Keys St,Manchester NQ4,M4 5ET,M4,Esher,Art,Cross Keys Street,Manchester,North West,history,historic gable,gable-end,of,a,city,centre,MC Esher,graphic,in,the,style,graffiti trail
Description: Tony Smith image Alamy RG98JK - . A contemporary documentary view depicts the working environment around Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET, in an image captured in 2019. The described feature is Esher Art bottle, Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET. The wider setting includes rail transport, transport interchange, rail modernisation, contemporary mural, mural culture, street-level design, commuter transport, passenger railway, community expression, mass transit, heritage streetscape, and historic environment. Current debate around train travel often combines town-centre connectivity, fares and affordability and the practical challenge of more dependable regional connections. In the mid-2020s, creative hoardings is increasingly discussed through regeneration and youth culture, with attention turning to creative reuse of redevelopment sites. For present-day editorial use, older urban fabric can also illustrate debates about redevelopment pressure and adaptive reuse, particularly where these affect lower-carbon reuse rather than demolition. Documentary value is strengthened by the precise setting at Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET, where even ordinary details of frontage, equipment, signs, traffic or public activity may disappear as the area evolves. The view also records themes involving local landmark, period property, passenger connectivity, visual placemaking, station environment, trackside infrastructure. The scene is further associated with gableend, urban artwork, artwork, bottle on a brick wall, bottle brick wall, Northern Quarter. Other relevant facets include art-led regeneration, local identity, city artwork, intercity travel, public realm art, rail mobility, historic fabric, rail corridor, graphic intervention, and temporary artwork. The record also holds the surrounding streetscape as part of the area's social history.
Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET
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: @HotpixUK,HotpixUK,German,Mainz,Rhineland,Rhine,City Centre,Deutschland,city,Landeshauptstadt,55116,Europe,celebration,celebrate,centre,city centre,fools,figures,Meenzer,people,1967,Blasius Spreng,art,artist,kunst,monument,cityscape,tradition,mythology,stories,Father Rhine,the monk,man with the blockhead,blockhead,Till Eulenspiegel,city goddess,Mogontia,purse scrubber,GoTonySmith,fastnacht
Description: Tony Smith image Alamy RGGE73 - The Mainz Carnival (Mainzer Fastnacht) is a months-long citywide carnival celebration in Mainz, Germany that traditionally begins on 11 November but culminates in the days before Ash Wednesday in the spring.
It is one of the largest carnival events in Germany and, along with the Cologne and Düsseldorfer carnivals, Mainz is one of the three cities prominent in the rhenish carnival tradition. Aside from the celebrations, parades, and jollity which are typical of carnival traditions in many countries, the Mainz carnival has an unusual emphasis on political and literary humor and commentary.
The fountain is vitally important to all real Meenzer (people from Mainz): Every year on 11/11, all people celebrating Carnival in Mainz (fools) gather here when the clock on the balcony of the facing Osteiner Hof (Court of Ostein) strikes 11:11 p.m., which marks the fifth season of Carnival. The carnival is traditionally opened with the announcement of the 11 carnival laws.
The 8.50 metre-high carnival fountain, unveiled in 1967, designed by Blasius Spreng, is a comparatively young monument in Mainz. Nevertheless, you can't imagine it not being in the cityscape. With over 200 figures from carnival and mythology, it is a symbol of typical Mainz joie de vivre
Detailaufnahme des Fastnachtsbrunnens von unten
Detailed view of the fountain© Landeshauptstadt Mainz
Look a little closer - which figures do you recognise? Father Rhine, the monk and the man with the blockhead, the cat, Till Eulenspiegel and the city goddess, Mogontia, the purse scrubber and the paragraph rider. They are all examples of the variety of fantasy motifs that populate the Carnival fountain.
During the 19th century celebrants began using the carnival as an opportunity to mock the military forces occupying the city's fortress. The uniforms of the carnival guards are still reminders of the uniforms of the Austrian, Prussian, and French troops which were present in the town between 1792 and 1866.
Fastnachtsbrunnen, Landeshauptstadt , Schillerpl., 55116 Mainz, Germany, Europe
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NYC,St Marks Place,New York St Marks Place,street,New York Street,USA,America,City Centre,city,centre,center,city center,Eastvillage,Astor Place,mosaic,art,street art,hippy,Manhattan,NY,Street,City,Centre,Lafayette Street,plaza,neighborhood,urban,urban art,graffiti,East Village,NOHO NYC,attraction,tourist,tourism
Description: Tony Smith image Alamy RBF07A - Astor Place is a one-block street in NoHo/East Village, in the lower part of the New York City borough of Manhattan. It runs from Broadway in the west, just below East 8th Street
to Lafayette Street, ending at Alamo plaza. Astor Place is also sometimes used for the neighborhood around the street. It encompasses two plazas at the intersection with Cooper Square, Lafayette Street, Fourth Avenue, and Eighth Street Alamo Plaza and Astor Place Station Plaza. It was named for John Jacob Astor (at one time the richest person in the United States), soon after his death in 1848. A $21 million reconstruction to implement a redesign of Astor Place began in 2013
Astor Place, East Village, Manhattan, New York City, NY
Description
Keywords: @HotpixUK,HotpixUK,Real Life,Glasgow,Love,Love Glasgow,love,We Love,neon,sign,shop,office,city,centre,UK,heart,GSofA,School of art,art,2017,Sinclair,Ross,Ross Sinclair artist,GSA,Neon Sculptural Installation,Neon Sculpture,red,yellow,red heart,Glasgow School Of Art,writer,musician,Scottish,Professor of Contemporary Art Practice,School of Fine Art,Real Life project,project,lighting,GoTonysmith,Commonwealth Games
Description: Tony Smith image Alamy 2A4PJJX - Ross Sinclair is an artist, writer and musician who is Professor of Contemporary Art Practice within the School of Fine Art at The Glasgow School of Art. He is best known for his Real Life' research project initiated when he had the words REAL LIFE tattooed in black ink across his back, at Terry's Tattoo parlour in Glasgow, 1994.
Sinclair completed a PhD by Published Work in 2016 where he interrogated and articulated the innovative nature of the Real Life project, unusual in its scale and duration, defining the contribution to contemporary art practice across the fields of sculpture, painting, performance, installation, critical writing and music. Drawing on these multi-disciplinary methodologies Sinclair maps out the forms, materials and processes activated over almost 25 Years of Real Life Projects, that often combine unusual and unorthodox approaches challenging conventional modes of exhibition practice, enabling new means of engagement with the viewer. The multi part thesis submitted claims these routes as an autonomous, artist initiated project, connecting with the public at a dynamic intersection of ideas, context, performance and art-practice.
Sinclair's Real Life Project is set in a critical framework of contested paradigms of Everyday Life and The Real and acknowledges the influence of key critical thinkers over the quarter century of its development from Barthes, Baudrillard and De Certeau, through Bourriaud, Bishop and Kester and more recently in Harman, Mark Fisher and Paul O'Neill amongst many others. The project has been punctuated by the exploration of individual and collective relationships with Real Life particularly viewed through contemporary paradigms constructing society such as: Democracy, Utopia, Justice, Capitalism, Geography and History, the Church, the Bank, the State, while in parallel addressing the role of the tattooed artist himself.
Description
Keywords: Cupar Way,West Belfast,Northern Ireland,UK,International,Peace,Wall,Cupar,Welcome,To,the,Shankill,Road,panorama,Welcome To the Shankill Road,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tourists,urban,six,counties,6,backdrop,county,Antrim,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HDEYW3 - Since the onset of the Troubles in 1971, Nationalist and Loyalist communities throughout Northern Ireland have been divided by Peace Walls. These large stone and steel constructions were designed to protect neighbourhoods from sporadic attacks and retain a sense of peace and protection.
Of the city's 17 walls, West Belfast's sections are the most visited. Once in the area it's easy to determine which side of the divide you're on: red, white and blue kerbstones, Loyalist murals and Union Jacks indicate you're on the Shankill. If the kerbs are green, white and gold, the flag is Irish and the murals are Republican, you're on the Falls.
You can cross from one side to the other via access roads at Lanark Way and Northumberland Street. These roads close in times of heightened tension, which may well be the case during the marching season (see The Twelfth).
Cupar Way,West Belfast, Northern Ireland, UK
Description
Keywords: Cupar Way,West Belfast,Northern Ireland,UK,International,Peace,Wall,Cupar,shankill,Titanic,ship,H&W,White,star,Line,Shankill and the Titanic,IdentityHeritage,the white star,the white star line,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,community,Fight,Justice,West,Beal,feirste,martyrs,social,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army
Description: Tony Smith image Alamy HDEYW7 - Since the onset of the Troubles in 1971, Nationalist and Loyalist communities throughout Northern Ireland have been divided by Peace Walls. These large stone and steel constructions were designed to protect neighbourhoods from sporadic attacks and retain a sense of peace and protection.
Of the city's 17 walls, West Belfast's sections are the most visited. Once in the area it's easy to determine which side of the divide you're on: red, white and blue kerbstones, Loyalist murals and Union Jacks indicate you're on the Shankill. If the kerbs are green, white and gold, the flag is Irish and the murals are Republican, you're on the Falls.
You can cross from one side to the other via access roads at Lanark Way and Northumberland Street. These roads close in times of heightened tension, which may well be the case during the marching season (see The Twelfth).
Cupar Way,West Belfast, Northern Ireland, UK
Description
Keywords: Cupar Way,West Belfast,Northern Ireland,UK,International,Peace,Wall,Cupar,creativity,Belfast,Inventiveness,yellow,orange,metal,steel,iron,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tourists,urban,six,counties,6,backdrop,county,Antrim,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HDEYW8 - Since the onset of the Troubles in 1971, Nationalist and Loyalist communities throughout Northern Ireland have been divided by Peace Walls. These large stone and steel constructions were designed to protect neighbourhoods from sporadic attacks and retain a sense of peace and protection.
Of the city's 17 walls, West Belfast's sections are the most visited. Once in the area it's easy to determine which side of the divide you're on: red, white and blue kerbstones, Loyalist murals and Union Jacks indicate you're on the Shankill. If the kerbs are green, white and gold, the flag is Irish and the murals are Republican, you're on the Falls.
You can cross from one side to the other via access roads at Lanark Way and Northumberland Street. These roads close in times of heightened tension, which may well be the case during the marching season (see The Twelfth).
Cupar Way,West Belfast, Northern Ireland, UK
Description
Keywords: Northern Ireland,Peace,Belfast,Irish,art,artworks,tagged,graffitti,grafitti,No,Days,Off,art,work,artwork,Berlin wall,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,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM00F - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: Northern Ireland,Peace,Wall,West Belfast,Irish,artworks,artwork,May,we,all,Learn,To,Be,Bridge,Berlin wall,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,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM08W - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: Northern Ireland,Peace,Wall,Cupar way,West Belfast,Belfast,Irish,art,artworks,artwork,wide,shot,wideshot,wall,mural,murals,face,faces,fence,high,high,fences,history,Irish,Catholic,Protestant,divided,sectarian,religious,boundary,interface,zone,interzone,Berlin wall,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,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM12B - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: Northern Ireland,Peace,Wall,Cupar way,West Belfast,Belfast,Irish,art,artworks,Hope,Lost,rd,Road,boat,ship,weld,welded,Berlin wall,Shankill ingenuity,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,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM12W - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: Northern Ireland,Peace,Wall,Cupar way,West Belfast,Belfast,Irish,art,artworks,Hope,Lost,rd,Road,boat,ship,weld,welded,Berlin wall,Shankill ingenuity,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,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM137 - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: Northern Ireland,Peace,Wall,Cupar way,West Belfast,Belfast,Irish,art,artworks,artwork,common,than,divides,separates,us,peace,space invaders,space,invaders,wire,barbed,barbed wire,razor wire,invader,PacMan,Pac-man,Pac,man,Berlin wall,Theres more in common,Than what divides us,Irish history,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,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM16Y - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,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,Unionist,Peace Wall,Mural,Climate 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 HDM1FR - 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,famous,world,wide angle,wide,angle,Bobby,Sands,Poet,Revolutionary,IRA Volunteer,IRA,Volunteer,martyr,on,gable end,terrace,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Belfast streets,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Belfast Catholic Community
Description: Tony Smith image Alamy HDM1JX - 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: historic,history,City Centre,Northern Ireland,UK,Belfast,Northern Ireland,UK,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,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HDWRWG - . Photographed at North St, Belfast,City Centre, Northern Ireland, UK in 2016, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The defining feature is North St Belfast buildings,City Centre, Northern Ireland, UK. The subject also carries associations with visual archive, historic inscription, documentary photography, local-story.htm Target=_Blank>history evidence, changing streetscape, public realm, decorative metalwork, place identity, local character, before-and-after reference, commemorative plaque, antique object, period craftsmanship, and material culture. For current editorial use, provenance and public history provide additional context, especially through how museums turn individual objects into wider stories about place and people. Small period details of equipment and working practice at North St, Belfast,City Centre, Northern Ireland, UK may become more significant with time, particularly following redevelopment. A second descriptive layer includes changing land use, contemporary social history, collectable heritage item, everyday life, community identity, museum object, historic material culture, and regional identity. The recorded references to Ireland, Northern, buildings, Belfast, and Centre preserve clues about how the subject was presented, used or understood at the time. The wider setting at North St, Belfast,City Centre, Northern Ireland, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The image also provides a reference for provenance and how museums turn individual objects into wider stories about place and people as part of the longer story of North St, Belfast,City Centre, Northern Ireland, UK. The record includes a point of historical comparison for future local research. The frame retains part of the area's social history before later change alters the scene.
North St, Belfast,City Centre, Northern Ireland, UK
Description
Keywords: history,City Centre,Northern Ireland,UK,Belfast,Belfast City Centre,Northern Ireland,UK,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,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HDWRWP - . This authentic period view of North St, Belfast,City Centre, Northern Ireland, UK in 2016 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. The image documents North St Belfast buildings,City Centre, Northern Ireland, UK. The wider scene also brings together historic inscription, public realm, commemorative plaque, documentary photography, regional identity, community identity, heritage interpretation, collectable heritage item, antique object, period craftsmanship, archival record, changing land use, local-history evidence, and place identity. In present-day coverage, the subject reaches into museum conservation and object conservation, not least because of the value of craftsmanship and material evidence in a digital age. The image fixes signage and branding within North St, Belfast,City Centre, Northern Ireland, UK at one identifiable point, providing a benchmark against changing commercial priorities. Other useful contextual ideas include material culture, local history, changing streetscape, contemporary social history, before-and-after reference, historic artefact, period detail, and decorative metalwork. The combination of Northern, Ireland, Centre, Belfast, and buildings anchors the frame to a recognisable activity, place or moment. The period setting at North St, Belfast,City Centre, Northern Ireland, UK helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The location additionally provides evidence of museum conservation and how everyday objects can survive as evidence of earlier work and domestic life as part of the longer story of North St, Belfast,City Centre, Northern Ireland, UK. The scene captures a local visual benchmark within the wider story of North St, Belfast,City Centre, Northern Ireland, UK. That local specificity strengthens the long-term documentary value of image HDWRWP.
North St, Belfast,City Centre, Northern Ireland, UK
Description
Keywords: art,bowie,face,faces,David,paint,arts,media,paint,painting,Manchester,city,centre,Wall,Graffiti,August2016,August,2016,OUTHOUSEMCR,culture,historic,history,industry,industrial,tourist,tourism,travel,David Bowie,Wall Graffiti,Northern Quarter,Stevenson,Square,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,JayEegoArtist,Jay_Eego_Artist,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain
Description: Tony Smith image Alamy GJ791C - . This location-specific image from Stevenson Square, Manchester, England, UK in 2016 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 Northern Quarter Art in Stevenson Square Manchester, UK - Wall Graffiti August2016 OUTHOUSEMCR. The frame also records themes of street-level design, public-realm art, graffiti heritage, visual archive, before-and-after reference, community identity, period detail, contemporary mural, visual street culture, local history, temporary artwork, changing streetscape, urban artwork, and urban graphics. For current editorial use, public art and local identity provide additional context, especially through how temporary street art becomes an important visual archive. The image fixes landscape treatment and surrounding development within Stevenson Square, Manchester, England, UK at one identifiable point, providing a benchmark against closure or conversion. The surrounding story also includes creative district, local character, everyday life, changing land use, public realm, mural culture, contemporary social history, and regional identity. Elements such as August2016, Stevenson, Graffiti, OUTHOUSEMCR, and Manchester add documentary specificity and may become increasingly useful when compared with later records. The period setting at Stevenson Square, Manchester, England, 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 public art and the blurred line between commissioned public art and unsanctioned graffiti as part of the longer story of Stevenson Square, Manchester, England, UK. The wider significance includes graffiti policy and the blurred line between commissioned public art and unsanctioned graffiti when considered against later change at Stevenson Square, Manchester, England, UK.
Stevenson Square, Manchester, England, UK
Description
Keywords: art,bowie,face,faces,David,paint,arts,media,paint,painting,Manchester,city,centre,Wall,Graffiti,August2016,August,2016,OUTHOUSEMCR,culture,historic,history,industry,industrial,tourist,tourism,travel,David Bowie,Wall Graffiti,Northern Quarter,Stevenson,Square,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,JayEegoArtist,Jay_Eego_Artist,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain
Description: Tony Smith image Alamy GJ791D - . A grounded documentary photograph made at Stevenson Square, Manchester, England, UK in 2016, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The frame specifically shows Northern Quarter Art in Stevenson Square Manchester, UK - Wall Graffiti August2016 OUTHOUSEMCR. A broader reading of the photograph includes period detail, urban artwork, social history, urban graphics, community identity, changing land use, place identity, public realm, everyday life, local history, archival record, public-realm art, mural culture, and creative district. The wider contemporary story combines gentrification, tourism and how regeneration can support and displace informal culture at the same time. Future viewers can use this scene from Stevenson Square, Manchester, England, UK to compare public access and movement with whatever follows after redevelopment. Other useful contextual ideas include historical comparison, changing streetscape, visual archive, creative placemaking, before-and-after reference, contemporary mural, public art, and street-level design. Elements such as Quarter, Stevenson, Manchester, August2016, and Graffiti add documentary specificity and may become increasingly useful when compared with later records. The period setting at Stevenson Square, Manchester, England, UK helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The location additionally provides evidence of gentrification and how regeneration can support and displace informal culture at the same time without losing the local specificity of Stevenson Square, Manchester, England, UK. A further contemporary connection is creative industries and the role of murals in defining creative neighbourhoods in a form that can be compared with future views of Stevenson Square, Manchester, England, UK.
Stevenson Square, Manchester, England, UK
Description
Keywords: art,bowie,face,faces,David,paint,arts,media,paint,painting,Manchester,city,centre,Wall,Graffiti,August2016,August,2016,OUTHOUSEMCR,culture,historic,history,industry,industrial,tourist,tourism,travel,#outhousemcr,Jay,eego,artist,David Bowie,Wall Graffiti,Northern Quarter,Stevenson,Square,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,JayEegoArtist,Jay_Eego_Artist,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain
Description: Tony Smith image Alamy GJ791E - . Photographed at Stevenson Square, Manchester, England, UK in 2016, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The subject captured here is Northern Quarter Art in Stevenson Square Manchester, UK - Wall Graffiti August2016 OUTHOUSEMCR. Further facets of the scene include public art, changing streetscape, public realm, archival record, community identity, creative district, creative placemaking, before-and-after reference, visual street culture, graffiti heritage, urban artwork, place identity, documentary photography, and street-level design. In present-day coverage, the subject reaches into local identity and public art, not least because of the blurred line between commissioned public art and unsanctioned graffiti. For later comparison, the photograph preserves equipment and working practice at Stevenson Square, Manchester, England, UK, details that may look very different after replacement signage. The photograph additionally reflects period detail, street creativity, contemporary social history, historical comparison, visual archive, local character, public-realm art, and regional identity. Details involving Manchester, Square, Stevenson, August2016, and Graffiti make the image more specific than a generic view and strengthen its local or historical value. Around Stevenson Square, Manchester, England, UK, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The scene further reflects local identity and how regeneration can support and displace informal culture at the same time when considered against later change at Stevenson Square, Manchester, England, UK. Its period value extends to local identity and the blurred line between commissioned public art and unsanctioned graffiti without losing the local specificity of Stevenson Square, Manchester, England, UK.
Stevenson Square, Manchester, England, UK
Description
Keywords: art,bowie,face,faces,David,paint,arts,media,paint,painting,Manchester,city,centre,Wall,Graffiti,August2016,August,2016,OUTHOUSEMCR,culture,historic,history,industry,industrial,tourist,tourism,travel,David Bowie,Wall Graffiti,Northern Quarter,Stevenson,Square,Art World,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,ArtWorld,Artist,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain
Description: Tony Smith image Alamy GJ791F - . This location-specific image from Stevenson Square, Manchester, England, UK in 2016 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The photograph centres on Northern Quarter Art in Stevenson Square Manchester, UK - Wall Graffiti August2016 OUTHOUSEMCR. Further facets of the scene include creative placemaking, everyday life, changing streetscape, historical comparison, visual street culture, contemporary mural, temporary artwork, local character, urban graphics, social history, local history, public-realm art, visual archive, and street creativity. Viewed from the mid-2020s, the subject also connects with tourism, creative industries and the blurred line between commissioned public art and unsanctioned graffiti. The archival value lies partly in recording commercial use and occupation around Stevenson Square, Manchester, England, UK before new construction alters the character of the place. Other useful contextual ideas include archival record, public realm, urban artwork, changing land use, period detail, regional identity, community identity, and place identity. References to Stevenson, Manchester, August2016, Quarter, and Northern give the picture a strong period identity and tie it closely to its named subject. For Stevenson Square, Manchester, England, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The scene further reflects tourism and the blurred line between commissioned public art and unsanctioned graffiti without losing the local specificity of Stevenson Square, Manchester, England, UK. Its period value extends to creative industries and the blurred line between commissioned public art and unsanctioned graffiti in a form that can be compared with future views of Stevenson Square, Manchester, England, UK.
Stevenson Square, Manchester, England, UK
Description
Keywords: art,bowie,face,faces,David,paint,arts,media,paint,painting,Manchester,city,centre,Wall,Graffiti,August2016,August,2016,OUTHOUSEMCR,culture,historic,history,industry,industrial,tourist,tourism,travel,#outhousemcr,smile,face,David Bowie,Wall Graffiti,Northern Quarter,Stevenson,Square,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,laugh,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain
Description: Tony Smith image Alamy GJ791G - . An on-location photograph from Stevenson Square, Manchester, England, UK in 2016, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The defining feature is Northern Quarter Art in Stevenson Square Manchester, UK - Wall Graffiti August2016 OUTHOUSEMCR. The broader subject matter reaches into local character, social history, historical comparison, contemporary mural, documentary photography, creative district, street-level design, mural culture, regional identity, temporary artwork, contemporary social history, community identity, everyday life, and changing streetscape. For current editorial use, regeneration and temporary works provide additional context, especially through how regeneration can support and displace informal culture at the same time. Future viewers can use this scene from Stevenson Square, Manchester, England, UK to compare signage and branding with whatever follows after new construction. The photograph additionally reflects visual archive, archival record, public art, before-and-after reference, street creativity, changing land use, place identity, and urban graphics. The recorded references to Manchester, Square, Graffiti, August2016, and Northern preserve clues about how the subject was presented, used or understood at the time. For Stevenson Square, Manchester, England, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Another useful connection is regeneration and how regeneration can support and displace informal culture at the same time as part of the longer story of Stevenson Square, Manchester, England, UK. The scene further reflects public art and the role of murals in defining creative neighbourhoods when considered against later change at Stevenson Square, Manchester, England, UK.
Stevenson Square, Manchester, England, UK
Description
Keywords: art,bowie,face,faces,David,paint,arts,media,paint,painting,Manchester,city,centre,Wall,Graffiti,August2016,August,2016,OUTHOUSEMCR,culture,historic,history,industry,industrial,tourist,tourism,travel,smoking,smoker,#outhousemcr,David Bowie,Wall Graffiti,Northern Quarter,Stevenson,Square,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain
Description: Tony Smith image Alamy GJ791K - . A grounded documentary photograph made at Stevenson Square, Manchester, England, UK in 2016, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The frame specifically shows Northern Quarter Art in Stevenson Square Manchester, UK - Wall Graffiti August2016 OUTHOUSEMCR. The frame also records themes of contemporary social history, before-and-after reference, graffiti heritage, historical comparison, street creativity, documentary photography, local character, public art, contemporary mural, place identity, local history, public-realm art, mural culture, and creative placemaking. Today's relevance is strengthened by graffiti policy, temporary works and the continuing question of how regeneration can support and displace informal culture at the same time. For later comparison, the photograph preserves public access and movement at Stevenson Square, Manchester, England, UK, details that may look very different after new ownership. Other useful contextual ideas include regional identity, urban artwork, archival record, visual street culture, changing land use, street-level design, urban graphics, and everyday life. Details involving Quarter, August2016, Square, Graffiti, and Northern make the image more specific than a generic view and strengthen its local or historical value. The wider setting at Stevenson Square, Manchester, England, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. A further contemporary connection is graffiti policy and how regeneration can support and displace informal culture at the same time within the specific setting of Stevenson Square, Manchester, England, UK. The wider significance includes public art and the role of murals in defining creative neighbourhoods as part of the longer story of Stevenson Square, Manchester, England, UK.
Stevenson Square, Manchester, England, UK
Description
Keywords: Afflecks,Palace,Manchester,Northern,Quarter,Oldham,St,Street,Market,Dept,Mark,Kennedy,art,hero,heroes,Unknown Pleasures,Joy Division,cover,Mark Kennedy,Manchester Hero,Manchester Heroes,Mosaic,album,JD,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,Palace,store,on,Oldham,Street,market,stalls,Tib,Dale,department,tourist,attraction,retail,cool,Madchester,Church,boutiques,building,victorian,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain,Afflecks Palace,Affleck & Browns,Tib St,Church St,independent stalls,small shops
Description: Tony Smith image Alamy GJ799A - From the Ben Robinson interview,Afflecks Palace In Pieces Once More
SELF-made Manchester mosaicist Mark Kennedy has had seven mosaic art pieces installed on Tib Street along the wall of Affleck's Palace. The colourful and cracked pieces feature the likes of Eric Cantona, Colin Bell, Karl Marx, Morrissey, Ian Brown, Emmeline Pankhurst, Bet Lynch and many other 'legends' associated with Manchester.
In total Kennedy has spent almost 20 years crafting the two sets of mosaics amongst other on-going work. The theme on Affleck's is Manchester heroes, with a nod given the shopping bazaar's rock'n'roll past. Thus among the great figures of Manchester depicted there are musicians, actors, media and radical politicians.
He also couldn't help including something from his own Manchester memories of Tib Street.
When I was a little kid I used to go to Tib Street all the time to get my ferrets and buy mice from a little pet shop and that's where we all used to go. Next door was Tib Street Joke Shop that used to sell masks and stink bombs so there's one piece that represents all that.
You have to have a closer look at some of the new mosaics to fully appreciate them with some of them holding a few hidden surprises. Kennedy's take on Joy Division's classic Unknown Pleasures album cover features several tiny coloured tile fragments to set it apart from the now iconic original.
52 Church St, Manchester, England, UK M4 1PW
Description
Keywords: Afflecks,Palace,Manchester,Northern,Quarter,Oldham,St,Street,Market,Dept,Mark,Kennedy,art,hero,heroes,Abert,Tatlock,Hilda,Ogden,Ken,Barlow,Mosaic,Afflecks Palace Manchester,Northern Quarter,Mark Kennedy,Manchester Hero,Manchester Heroes,Coronation St,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,Afflecks,Palace,store,on,Oldham,Street,market,shops,stalls,Tib,Dale,department,tourist,attraction,retail,cool,Madchester,Church,boutiques,building,victorian,Mosaics,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain,Afflecks Palace,Affleck & Browns,Tib St,Church St,independent stalls,small shops
Description: Tony Smith image Alamy GJ799C - From the Ben Robinson interview,Afflecks Palace In Pieces Once More
SELF-made Manchester mosaicist Mark Kennedy has had seven mosaic art pieces installed on Tib Street along the wall of Affleck's Palace. The colourful and cracked pieces feature the likes of Eric Cantona, Colin Bell, Karl Marx, Morrissey, Ian Brown, Emmeline Pankhurst, Bet Lynch and many other 'legends' associated with Manchester.
In total Kennedy has spent almost 20 years crafting the two sets of mosaics amongst other on-going work. The theme on Affleck's is Manchester heroes, with a nod given the shopping bazaar's rock'n'roll past. Thus among the great figures of Manchester depicted there are musicians, actors, media and radical politicians.
He also couldn't help including something from his own Manchester memories of Tib Street.
When I was a little kid I used to go to Tib Street all the time to get my ferrets and buy mice from a little pet shop and that's where we all used to go. Next door was Tib Street Joke Shop that used to sell masks and stink bombs so there's one piece that represents all that.
You have to have a closer look at some of the new mosaics to fully appreciate them with some of them holding a few hidden surprises. Kennedy's take on Joy Division's classic Unknown Pleasures album cover features several tiny coloured tile fragments to set it apart from the now iconic original.
52 Church St, Manchester, England, UK M4 1PW
Description
Keywords: Afflecks,Palace,Manchester,Northern,Quarter,Oldham,St,Street,Market,Dept,Mark,Kennedy,art,hero,heroes,soccer,Cantona,Mosaic,Mosaics,art,Afflecks Palace Manchester,Northern Quarter,Manchester Hero,Manchester Heroes,Football heroes,Colin Bell,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,Afflecks,Palace,store,on,Street,market,shops,stalls,Tib,Dale,department,tourist,attraction,retail,cool,Church,boutiques,building,victorian,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain,Afflecks Palace,Affleck & Browns,Tib St,Church St,independent stalls,small shops
Description: Tony Smith image Alamy GJ799X - From the Ben Robinson interview,Afflecks Palace In Pieces Once More
SELF-made Manchester mosaicist Mark Kennedy has had seven mosaic art pieces installed on Tib Street along the wall of Affleck's Palace. The colourful and cracked pieces feature the likes of Eric Cantona, Colin Bell, Karl Marx, Morrissey, Ian Brown, Emmeline Pankhurst, Bet Lynch and many other 'legends' associated with Manchester.
In total Kennedy has spent almost 20 years crafting the two sets of mosaics amongst other on-going work. The theme on Affleck's is Manchester heroes, with a nod given the shopping bazaar's rock'n'roll past. Thus among the great figures of Manchester depicted there are musicians, actors, media and radical politicians.
He also couldn't help including something from his own Manchester memories of Tib Street.
When I was a little kid I used to go to Tib Street all the time to get my ferrets and buy mice from a little pet shop and that's where we all used to go. Next door was Tib Street Joke Shop that used to sell masks and stink bombs so there's one piece that represents all that.
You have to have a closer look at some of the new mosaics to fully appreciate them with some of them holding a few hidden surprises. Kennedy's take on Joy Division's classic Unknown Pleasures album cover features several tiny coloured tile fragments to set it apart from the now iconic original.
52 Church St, Manchester, England, UK M4 1PW
Description
Keywords: Tiller,Tassels,Canalside,canal,side,Canal,Cheshire,England,UK,GB,united,Kingdom,color,colour,colourful,art,craft,crafts,barge,narrowboat,narrow,boat,City Centre,City,Centre,@hotpixUK,gotonysmith,culture,more,inside,tourist,tourists,city,centre,CH1
Description: Tony Smith image Alamy ECW4GF - . Tiller Tassels, Canalside jewellery, Chester Canal, Cheshire, England, UK, CH1. Photographed at Canalside,Chester,England,UK, CH1. The photograph was taken on 13 December 2014. This editorial stock image documents the subject as it appeared at that time, preserving a clear record of the place, its appearance and the everyday details surrounding it. The interior viewpoint records fittings, surfaces, decoration and spatial details that help show how the premises or public space was arranged when photographed. The scene is closely associated with Tiller Tassels, Canalside jewellery, Chester Canal, shop, store, canals, tassels, weatherproof, jewelery and Chester, adding specific subject detail and useful search context without losing the documentary focus on the main subject. The scene is relevant to retail, shopping, consumer behaviour, town and city centres, independent businesses and the changing appearance of the British high street. It can support editorial stories about shops, shopping centres, retail architecture, store branding, local commerce, vacancies, regeneration, consumer spending, tourism and the pressure on traditional bricks-and-mortar businesses. Shopfronts, signs, windows, displays, arcades and surrounding public realm provide useful visual context for how retail space is designed and experienced by pedestrians. The photograph also acts as a dated record of a business or shopping location, valuable when premises later change hands, rebrand, close or are redeveloped. Search themes include retail, shopping, shopfronts, consumer behaviour, high streets, town centres, commercial property, independent business, branding and changing local economies. A dated view of a shop or shopping environment gains extra archive value when businesses rebrand, close, move or when premises are redeveloped. This particular view is catalogued under Alamy image reference ECW4GF, distinguishing it from other photographs of the same or related subject.
Canalside,Chester,England,UK, CH1
Description
Keywords: newspaper,headlines,tabloid,paper,press,media,evening,news,#edinburghartfestival,#eaf,#kennywatson,art,installation,exhibition,Scotland,UK,GoTonySmith,@HotpixUK,Buy Pictures of,Buy Images Of,Images of,Stock Images,papers,headline,2013,Edinburgh,city,centre,print,printing,sex,sells,knife,crime
Description: Tony Smith image Alamy DDXKPD - . Kenny Watson exhibition 169 Rose St Edinburgh The Days and Fascia exhibition,Scotland,UK - 2013. Photographed on 31 August 2013. The recorded location is 169 Rose St,Edinburgh,UK. The Days and Fascia - Kenny Watson. Watson presents two works for the festival that combine techniques and materials from street art and fine art, creating overwhelming visual effects from found texts. Historically, heritage collections preserve material that might otherwise be dispersed or destroyed
Museums use objects, labels, reconstructed settings and historic structures to explain both exceptional events and ordinary life, making photographs of exhibits useful records of interpretation as well as the object itself. From a heritage perspective, travel photography documents the visitor economy as well as scenery, showing how historic places, coastlines and resort facilities are packaged, experienced and adapted for tourists over time. In 2026, museums and heritage sites continue to balance conservation with accessibility, education, digital interpretation and the cost of maintaining structures and collections
Older exhibition photographs can therefore record displays that have since been changed or reinterpreted. As of 2026, contemporary tourism is shaped by strong demand for city breaks and leisure travel alongside concerns about sustainability, crowding and the environmental cost of transport
Older destination photographs provide useful comparison with today's visitor economy. The historical context is that visitor attractions based on historic houses, industrial sites and specialist collections combine conservation with education
Exhibits can change over time, so photographs also document how institutions presented their collections at a particular date. Additional high-relevance terminology includes heritage attraction, historic object, public history, museum display, artefact, heritage education, cultural tourism, preservation, and historic collection.
169 Rose St,Edinburgh,UK
Description
Keywords: newspaper,headlines,tabloid,paper,press,media,evening,news,#edinburghartfestival,#eaf,#kennywatson,art,installation,exhibition,Scotland,UK,GoTonySmith,@HotpixUK,Buy Pictures of,Buy Images Of,Images of,Stock Images,papers,headline,2013,Edinburgh,city,centre,print,printing,sex,sells,knife,crime
Description: Tony Smith image Alamy DDXKPG - . Kenny Watson exhibition 169 Rose St Edinburgh The Days and Fascia exhibition,Scotland,UK - 2013. Photographed on 31 August 2013. The recorded location is 169 Rose St,Edinburgh,UK. The Days and Fascia - Kenny Watson. Watson presents two works for the festival that combine techniques and materials from street art and fine art, creating overwhelming visual effects from found texts. The wider historical story is that museums and heritage attractions turn surviving objects and places into interpreted public history
Displays, reconstructed rooms and preserved machinery can place everyday artefacts within broader stories of work, domestic life, conflict, design and technological change. In historical terms, popular destinations are shaped by repeated waves of visitors, transport investment and changing ideas of leisure
Beaches, resorts, historic streets and attractions can therefore be read as both travel imagery and social history. In the present 2026 context, heritage attractions increasingly combine physical collections with digital interpretation and events, but the authenticity of original objects and settings remains central to their appeal. During 2026, tourism remains a major part of the UK and European service economy, but destinations continue to balance visitor numbers with resident needs, transport capacity, climate pressures and the maintenance of historic places. Looking at the subject's development, heritage collections preserve material that might otherwise be dispersed or destroyed
Museums use objects, labels, reconstructed settings and historic buildings to explain both exceptional events and ordinary life, making photographs of exhibits useful records of interpretation as well as the object itself. The subject remains topical in 2026 because heritage attractions increasingly combine physical collections with digital interpretation and events, but the authenticity of original objects and settings remains central to their appeal.
169 Rose St,Edinburgh,UK
Description
Keywords: City,cities,grafitti,cartoon,mixed,media,artist,colour,faces,district,ghetto,bilderkombinat,Ihavetogotoparis,poster,el Bocho,GoTonySmith,Deutsche,Deutschland,Buy Pictures of,Buy Images Of,yellow,lips,colors,posters,elBocho,have,the,wash,off,colours,city,centre,hat,hats,street,art,streetart,paste,up,pasted
Description: Tony Smith image Alamy F0G6A5 - This documentary stock photograph shows Girl Grafitti on a Berlin wall,street,art,Germany. The image records Berlin Mitte street art and graffiti, making it useful for editorial features on urban art, alternative tourism, wall culture, counterculture, gentrification, visual satire and layered public space. Berlin is a city where ordinary street details often carry heavy layers of history, from Prussian and imperial architecture to the Weimar period, Nazi rule, wartime destruction, division, the DDR, reunification, tourism, gentrification and contemporary creative culture. The caption and visible subject detail provide a specific point of entry into that wider story rather than a generic German city view. Buyers could use the photograph for articles about Berlin travel, Cold War memory, street art, museum interpretation, urban nightlife, river sightseeing, architecture, souvenir culture, public transport, pedestrian design or the way history is repackaged in modern tourism. Search-friendly composite terms include Berlin Mitte street art, DDR surveillance display, Berlin Fernsehturm skyline, River Spree pleasure boat, Ampelmann crossing light, Berliner Dom interior, Berlin urban culture and German capital tourism. If the subject is graffiti, it can illustrate the city as a living wall of political humour, youth culture, commercial branding and layered paste-ups. If it is heritage or church architecture, it can support more formal travel, culture, history and education uses. If it is a boat, toy or street sign, it gives editors an accessible human-scale route into a large city story. The documentary style keeps the image credible for web, magazine, guidebook, education, museum, travel, urban policy, politics, design, consumer and social commentary use. Its strength for Alamy search is the mix of precise caption wording and broader Berlin themes, allowing it to be found for both narrow subject searches and wider editorial needs.
Mitte,DircksenStr,Berlin,Germany
Description
Keywords: City,cities,grafitti,cartoon,mixed,media,artist,colour,faces,district,ghetto,bilderkombinat,Ihavetogotoparis,el Bocho,GoTonySmith,Buy Pictures of,Buy Images Of,Deutsche,poster,yellow,lips,Deutschland,colors,posters,elBocho,have,the,wash,off,colours,city,centre,hat,hats,street,art,streetart,paste,up,pasted
Description: Tony Smith image Alamy F0G6A6 - This documentary stock photograph shows Girl Grafitti on a Berlin wall,street,art,Germany - I have to go to Paris in pink. The image records Berlin Mitte street art and graffiti, making it useful for editorial features on urban art, alternative tourism, wall culture, counterculture, gentrification, visual satire and layered public space. Berlin is a city where ordinary street details often carry heavy layers of history, from Prussian and imperial architecture to the Weimar period, Nazi rule, wartime destruction, division, the DDR, reunification, tourism, gentrification and contemporary creative culture. The caption and visible subject detail provide a specific point of entry into that wider story rather than a generic German city view. Buyers could use the photograph for articles about Berlin travel, Cold War memory, street art, museum interpretation, urban nightlife, river sightseeing, architecture, souvenir culture, public transport, pedestrian design or the way history is repackaged in modern tourism. Search-friendly composite terms include Berlin Mitte street art, DDR surveillance display, Berlin Fernsehturm skyline, River Spree pleasure boat, Ampelmann crossing light, Berliner Dom interior, Berlin urban culture and German capital tourism. If the subject is graffiti, it can illustrate the city as a living wall of political humour, youth culture, commercial branding and layered paste-ups. If it is heritage or church architecture, it can support more formal travel, culture, history and education uses. If it is a boat, toy or street sign, it gives editors an accessible human-scale route into a large city story. The documentary style keeps the image credible for web, magazine, guidebook, education, museum, travel, urban policy, politics, design, consumer and social commentary use. Its strength for Alamy search is the mix of precise caption wording and broader Berlin themes, allowing it to be found for both narrow subject searches and wider.
Mitte,DircksenStr,Berlin,Germany
Description
Keywords: BT1,bars,alley,off,street,drinks,drinking,classic,ale,beer,bers,ales,half,bap,area,craic,murals,art,painting,painting,artwork,artworks,Patrick,Moore,Cathedral Quarter,Half Bap,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,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7M2Y - Nestled along a narrow cobbled alleyway in the historic Half Bap area, the Duke offers a traditional Belfast welcome of craic, music and humour in contrast to the modern fashionable establishments currently blowing into the surrounding streets. Hosting regular traditional sessions there is no better place to sample the real taste of our city simply step in and drink an Irish whiskey washed down with a pint of creamy stout.
Imagine Belfast with only five streets. Protected by earth ramparts and the city walls, the area where the Dark Horse now stands was convenient to the old iron foundry, the pottery, the whiskey merchants and the brown linen hall. Appreciate the superb décor and special atmosphere with beautiful antique mirrors, Belfast furniture and artefacts from some of the city's most famous hotels and buildings from bygone times providing a rather rare and unique glimpse of Belfast's historical past. Just call in and you will enjoy a huge warm welcome from a truly Belfast institution with a huge heart.
Duke of York, 7-11 Commercial Court, Belfast, Northern Ireland, BT1 2NB Duke of York 02890 241062
7-11 Commercial Ct, Belfast, Northern Ireland,UK BT1 2NB
Description
Keywords: pano,House,Northern Ireland Office panorama,rain,UK,building,architecture,NIO,Speakers,headquarters,estate,Edwin Lutyens,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,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7MBT - A wet, overcast view of Parliament Buildings at Stormont, Belfast, the formal home of the Northern Ireland Assembly and one of the most recognisable political landmarks in Northern Ireland. The photograph looks straight along the broad approach road through Stormont Estate towards the imposing neoclassical façade, with its long symmetrical wings, central portico, columns, pediment and elevated position giving the building a strong sense of civic authority. Rain on the tarmac creates reflective surfaces, while the grey sky, damp lawns, clipped trees, benches and lamp standards add atmosphere and a documentary sense of government business on a bleak day. The scene is useful for editorial coverage of devolved government, Northern Ireland politics, Stormont debates, power sharing, public administration, constitutional issues, public sector policy, elections, legislation, political accountability, civil service decision making, Belfast landmarks, tourism, heritage, architecture and UK political institutions. Parliament Buildings opened in 1932 and is widely known simply as Stormont because of its location in Stormont Estate. The building is associated with the Northern Ireland Assembly, the devolved legislature for Northern Ireland, and is a key visual shorthand for political stories about the region, including executive formation, assembly sittings, budget pressures, public services, housing policy, health policy, education, infrastructure, community relations and post Brexit governance. Its restrained classical design, pale stone exterior and ceremonial avenue make it a strong establishing image for news features, analysis pieces, travel guides, education material and historical context about Northern Ireland. The rainy conditions, empty roadway and muted colours give the image a sober, serious mood suitable for articles about public policy, institutional debate, democratic scrutiny, political stalemate, reform, governance risk and civic life in Belfast.
Stormont Estate,Belfast,Northern Ireland,UK
Description
Keywords: Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,inside,interior,glass,barrel,old,high,class,whiskies,spirits,Irish Pub,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,boozer,Real Ale,Real,Ale,CAMRA,beer,beers,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7MBD - Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Fanigan. Fanigan's son Patrick renamed and renovated the pub in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Fanigan persuaded to work on the pub after hours. These craftsmen were brought to Ireland to work on the many new churches being built in Belfast at the time. It was this high standard of work that gave the Crown the reputation of being one of the finest Victorian Gin Palaces of its time.
In 1978, the National Trust, following persuasion by people including Sir John Betjeman, purchased the property and three years later completed a £400,000 renovation to restore the bar to its original Victorian state. Further restoration by the National Trust was done in 2007 at a cost of £500,000. This work is the subject of a BBC Northern Ireland documentary, The Crown Jewel, screened in 2008.
A recognisable landmark of Belfast, the pub has featured as a location in numerous film and television productions, such as David Caffrey's Divorcing Jack (1998) and Carol Reed's classic 1947 film Odd Man Out.
The Crown has been given a Grade A Listed Building status by the Environment and Heritage Service.
46 Great Victoria Street,Belfast,County Antrim, Northern Ireland, UK BT2 7BA
Description
Keywords: Belfast Garfield Street,Garfield Street,streets,City Centre,city,centre,Northern Ireland,UK,Tonic Wine Drink,eye,sore,dilapidation,decrepitude,shabby,run,down,rundown,decay,collapse,building,boarded,up,boarded,Belfast Street Art,Rick,104,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 HE7MDA - . Photographed at Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The principal subject is Tonic Wine Drunk, Graffiti art, Belfast city Garfield St, City Centre, Northern Ireland, UK. The locality and subject together evoke street creativity, stencil art, contemporary social history, urban artwork, mural culture, documentary photography, urban graphics, public art, local history, changing streetscape, social history, public realm, public-realm art, and before-and-after reference. In present-day coverage, the subject reaches into gentrification and tourism, not least because of how regeneration can both promote and displace informal urban art. The archival value lies partly in recording local activity and public use around Garfield street,Belfast,County Antrim,Northern Ireland,UK before altered transport patterns alters the character of the place. Further associations within the scene are changing land use, visual street culture, community art, regional identity, local character, contemporary mural, street-level design, and creative placemaking. The combination of Garfield, Tonic, Belfast, Drunk, and Centre anchors the frame to a recognisable activity, place or moment. By fixing the subject within Garfield street,Belfast,County Antrim,Northern Ireland,UK, the image preserves more than the headline object or building: it records part of the locality's everyday history. The setting also helps illustrate gentrification and how regeneration can both promote and displace informal urban art within the real-world context of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The scene captures details of everyday use as part of Garfield street,Belfast,County Antrim,Northern Ireland,UK's history. The period view preserves evidence of changing use for future local research.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: Belfast Garfield Street,Garfield Street,streets,City Centre,city,centre,Northern Ireland,UK,streetArt,Street,Art,TMNFC,eye,sore,shabby,ruin,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,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7MDD - . An on-location photograph from Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The location is represented through Belfast Street Art, Garfield St City Centre, Northern Ireland, UK. A broader reading of the photograph includes regional identity, everyday life, visual archive, historical comparison, public-realm art, graffiti heritage, archival record, period detail, local history, contemporary social history, local character, public realm, public art, and documentary photography. From a 2025-onward perspective, tourism and regeneration are closely linked to this subject, alongside the role of murals and stencils in giving creative districts a distinctive identity. For later comparison, the photograph preserves landscape treatment and surrounding development at Garfield street,Belfast,County Antrim,Northern Ireland,UK, details that may look very different after changing commercial priorities. The wider setting retains connections with mural culture, before-and-after reference, creative placemaking, temporary artwork, street creativity, street-level design, changing land use, and changing streetscape. References to Ireland, Centre, Garfield, Northern, and Belfast give the picture a strong period identity and tie it closely to its named subject. 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 image also provides a reference for tourism and how temporary street art can become an important record of neighbourhood culture when considered against later change at Garfield street,Belfast,County Antrim,Northern Ireland,UK. The view records evidence of changing use before later change alters the scene.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: Belfast Garfield Street,Garfield Street,streets,City Centre,city,centre,Northern Ireland,UK,colour,colourful,eyesore,eye,sore,dilapidation,decrepitude,shabby,ruin,decayed,run,down,rundown,decay,collapse,building,boarded,up,boarded,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,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 HE7MDG - . Photographed at Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The frame specifically shows Graffiti Belfast Garfield St, City Centre, Northern Ireland, UK. The setting additionally reflects visual street culture, local history, graffiti heritage, social history, public realm, mural culture, before-and-after reference, temporary artwork, period detail, local character, stencil art, contemporary mural, archival record, and creative placemaking. In present-day coverage, the subject reaches into temporary works and regeneration, not least because of the blurred boundary between commissioned public art and unsanctioned graffiti. Future viewers can use this scene from Garfield street,Belfast,County Antrim,Northern Ireland,UK to compare building condition and alterations with whatever follows after altered transport patterns. A second descriptive layer includes public-realm art, changing land use, street creativity, documentary photography, changing streetscape, place identity, everyday life, and community art. Elements such as Garfield, Centre, Northern, Graffiti, and Belfast add documentary specificity and may become increasingly useful when compared with later records. By fixing the subject within Garfield street,Belfast,County Antrim,Northern Ireland,UK, the image preserves more than the headline object or building: it records part of the locality's everyday history. The image also provides a reference for temporary works and how temporary street art can become an important record of neighbourhood culture within the real-world context of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The scene captures details of everyday use for future local research. The period view preserves evidence of changing use before later change alters the scene.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: Belfast Garfield Street,Garfield Street,streets,City Centre,city,centre,Northern Ireland,UK,shutter,shuttered,up,shuttered up,boarded,boarded up,closed,eye,eyes,hels,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 HE7MDH - . Photographed at Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The scene records Belfast Garfield St Graffiti City Centre, Northern Ireland, UK. Further facets of the scene include community identity, changing land use, public realm, visual street culture, social history, creative placemaking, local character, public-realm art, contemporary social history, temporary artwork, community art, place identity, archival record, and stencil art. Viewed from the mid-2020s, the subject also connects with regeneration, graffiti policy and the role of murals and stencils in giving creative districts a distinctive identity. Small period details of local activity and public use at Garfield street,Belfast,County Antrim,Northern Ireland,UK may become more significant with time, particularly following new ownership. The location also brings in everyday life, changing streetscape, urban graphics, public art, mural culture, before-and-after reference, urban artwork, and visual archive. Details involving Graffiti, Northern, Garfield, Ireland, and Belfast make the image more specific than a generic view and strengthen its local or historical value. By fixing the subject within Garfield street,Belfast,County Antrim,Northern Ireland,UK, the image preserves more than the headline object or building: it records part of the locality's everyday history. A further contemporary connection is regeneration and how temporary street art can become an important record of neighbourhood culture in a form that can be compared with future views of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The wider significance includes temporary works and how regeneration can both promote and displace informal urban art within the real-world context of Garfield street,Belfast,County Antrim,Northern Ireland,UK.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: Belfast Garfield Street,streets,city,centre,Northern Ireland,UK,eye,sore,dilapidation,decrepitude,ruin,decayed,run,down,rundown,decay,collapse,building,boarded,up,boarded up,building,The,Clearing,Centre,Menswear,mens,wear,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 HE7MDN - . 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 photograph centres on Belfast Garfield St graffiti,panorama,City Centre, Northern Ireland, UK. Other connected aspects include urban graphics, urban artwork, archival record, community art, public realm, visual street culture, changing land use, public art, mural culture, street-level design, place identity, community identity, historical comparison, and regional identity. Current relevance extends to local identity and graffiti policy, particularly through how regeneration can both promote and displace informal urban art. The image fixes landscape treatment and surrounding development within Garfield street,Belfast,County Antrim,Northern Ireland,UK at one identifiable point, providing a benchmark against new construction. The wider setting retains connections with local character, social history, period detail, before-and-after reference, stencil art, contemporary mural, temporary artwork, and changing streetscape. The recorded references to Ireland, graffiti, Garfield, Centre, and Belfast preserve clues about how the subject was presented, used or understood at the time. 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 local identity and how regeneration can both promote and displace informal urban art without losing the local specificity of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The wider significance includes temporary works and the blurred boundary between commissioned public art and unsanctioned graffiti in a form that can be compared with future views of Garfield street,Belfast,County Antrim,Northern Ireland,UK.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: Belfast Garfield Street,streets,city,centre,Northern Ireland,UK,bar,bars,pub,pubs,eye,sore,dilapidation,decrepitude,ruin,decayed,run,down,rundown,decay,collapse,building,boarded,up,boarded up,building,The,Clearing,Centre,Menswear,mens,wear,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,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 HE7MDR - . 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 Belfast Garfield St The Clearing Centre Menswear, City Centre, Northern Ireland, UK. Further facets of the scene include contemporary social history, contemporary mural, local history, temporary artwork, changing streetscape, street creativity, stencil art, mural culture, archival record, everyday life, regional identity, period detail, changing land use, and public-realm art. The wider contemporary story combines local identity, public art and the blurred boundary between commissioned public art and unsanctioned graffiti. For later comparison, the photograph preserves equipment and working practice at Garfield street,Belfast,County Antrim,Northern Ireland,UK, details that may look very different after redevelopment. The photograph additionally reflects public realm, historical comparison, documentary photography, community identity, urban artwork, street-level design, visual street culture, and community art. The recorded references to Belfast, Ireland, Menswear, Garfield, and Centre preserve clues about how the subject was presented, used or understood at the time. 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. Another strand within the photograph is local identity and the role of murals and stencils in giving creative districts a distinctive identity in a form that can be compared with future views of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The image fixes evidence of earlier appearance as a date-specific reference. It also preserves period character for later comparison.
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: art,bowie,face,faces,David,paint,arts,media,paint,painting,Manchester,city,centre,Wall,Graffiti,August2016,August,2016,OUTHOUSEMCR,culture,historic,history,industry,industrial,tourist,tourism,travel,finger,#outhousemcr,David Bowie,Wall Graffiti,Northern Quarter,Stevenson,Square,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,shh,city,centre,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain
Description: Tony Smith image Alamy GJ791M - . This location-specific image from Stevenson Square, Manchester, England, UK in 2016 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The location is represented through Northern Quarter Art in Stevenson Square Manchester, UK - Wall Graffiti August 2016 by AKSE OUTHOUSEMCR. The wider scene also brings together community identity, contemporary mural, place identity, everyday life, temporary artwork, documentary photography, creative placemaking, visual archive, public-realm art, graffiti heritage, mural culture, changing land use, historical comparison, and period detail. From a 2025-onward perspective, regeneration and local identity are closely linked to this subject, alongside how temporary street art becomes an important visual archive. The archival value lies partly in recording local activity and public use around Stevenson Square, Manchester, England, UK before later reinterpretation alters the character of the place. The surrounding story also includes changing streetscape, before-and-after reference, urban artwork, creative district, street creativity, local history, street-level design, and local character. The combination of Stevenson, Square, Northern, Manchester, and Quarter anchors the frame to a recognisable activity, place or moment. For Stevenson Square, Manchester, England, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. A further contemporary connection is regeneration and the blurred line between commissioned public art and unsanctioned graffiti when considered against later change at Stevenson Square, Manchester, England, UK. The wider significance includes temporary works and how temporary street art becomes an important visual archive without losing the local specificity of Stevenson Square, Manchester, England, UK.
Stevenson Square, Manchester, England, UK
Description
Keywords: @HotpixUK,HotpixUK,Real Life,Glasgow,Love,Love Glasgow,love,We Love,neon,sign,shop,office,city,centre,UK,heart,GSofA,School of art,art,2017,Sinclair,Ross,Ross Sinclair artist,GSA,Neon Sculptural Installation,Neon Sculpture,red,yellow,red heart,Glasgow School Of Art,writer,musician,Scottish,Professor of Contemporary Art Practice,School of Fine Art,Real Life project,project,lighting,GoTonysmith
Description: Tony Smith image Alamy 2A4PJJP - Ross Sinclair is an artist, writer and musician who is Professor of Contemporary Art Practice within the School of Fine Art at The Glasgow School of Art. He is best known for his Real Life' research project initiated when he had the words REAL LIFE tattooed in black ink across his back, at Terry's Tattoo parlour in Glasgow, 1994.
Sinclair completed a PhD by Published Work in 2016 where he interrogated and articulated the innovative nature of the Real Life project, unusual in its scale and duration, defining the contribution to contemporary art practice across the fields of sculpture, painting, performance, installation, critical writing and music. Drawing on these multi-disciplinary methodologies Sinclair maps out the forms, materials and processes activated over almost 25 Years of Real Life Projects, that often combine unusual and unorthodox approaches challenging conventional modes of exhibition practice, enabling new means of engagement with the viewer. The multi part thesis submitted claims these routes as an autonomous, artist initiated project, connecting with the public at a dynamic intersection of ideas, context, performance and art-practice.
Sinclair's Real Life Project is set in a critical framework of contested paradigms of Everyday Life and The Real and acknowledges the influence of key critical thinkers over the quarter century of its development from Barthes, Baudrillard and De Certeau, through Bourriaud, Bishop and Kester and more recently in Harman, Mark Fisher and Paul O'Neill amongst many others. The project has been punctuated by the exploration of individual and collective relationships with Real Life particularly viewed through contemporary paradigms constructing society such as: Democracy, Utopia, Justice, Capitalism, Geography and History, the Church, the Bank, the State, while in parallel addressing the role of the tattooed artist himself.
Description
Keywords: Afflecks,Palace,Manchester,Oldham,St,Street,Market,Dept,Mark,Kennedy,art,hero,heroes,Mosaic,Mosaics,art,Cantona,city,soccer,Manc,Afflecks Palace Manchester,Northern Quarter,Mark Kennedy,Manchester Hero,Manchester City,GoTonySmith,@HotpixUK,HotpixUK,United,Kingdom,GB,English,British,Afflecks,Palace,store,on,Oldham,Street,market,shops,stalls,Tib,Dale,department,tourist,attraction,retail,cool,Madchester,Church,boutiques,building,victorian,no,loading,sign,city,centre,Buy Pictures of,Buy Images Of,Images of,Stock Images,United Kingdom,Great Britain,Afflecks Palace,Affleck & Browns,Tib St,Church St,independent stalls,small shops
Description: Tony Smith image Alamy GJ799J - From the Ben Robinson interview,Afflecks Palace In Pieces Once More
SELF-made Manchester mosaicist Mark Kennedy has had seven mosaic art pieces installed on Tib Street along the wall of Affleck's Palace. The colourful and cracked pieces feature the likes of Eric Cantona, Colin Bell, Karl Marx, Morrissey, Ian Brown, Emmeline Pankhurst, Bet Lynch and many other 'legends' associated with Manchester.
In total Kennedy has spent almost 20 years crafting the two sets of mosaics amongst other on-going work. The theme on Affleck's is Manchester heroes, with a nod given the shopping bazaar's rock'n'roll past. Thus among the great figures of Manchester depicted there are musicians, actors, media and radical politicians.
He also couldn't help including something from his own Manchester memories of Tib Street.
When I was a little kid I used to go to Tib Street all the time to get my ferrets and buy mice from a little pet shop and that's where we all used to go. Next door was Tib Street Joke Shop that used to sell masks and stink bombs so there's one piece that represents all that.
You have to have a closer look at some of the new mosaics to fully appreciate them with some of them holding a few hidden surprises. Kennedy's take on Joy Division's classic Unknown Pleasures album cover features several tiny coloured tile fragments to set it apart from the now iconic original.
52 Church St, Manchester, England, UK M4 1PW
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NOHO NYC,NYC,New York City,St Marks Place,St Marks Place NYC,street,New York Street,USA,America,City Centre,city,centre,center,city center,East Village,Eastvillage,Cash Machine,AutoTeller,street cash machine,Manhattan,New York,NY,Harlem,cash,neighborhood,graffiti,art,attraction,tourist,tourism,streets,24 hrs,24 hours,on,rough,money,bank card
Description: Tony Smith image Alamy RBF07B - Money and Art, ATM at East 7th Street, East Village, Manhattan, New York, NY, USA gives a direct editorial record of a recognisable subject, with location, signage, architecture or everyday behaviour carrying much of the meaning. An ATM in Manhattan's East Village turned into or surrounded by art links money, street culture and neighbourhood identity in a city where cash machines are part of the visual clutter of commerce. The subject can illustrate urban art, financial access, gentrification, consumer culture, New York street life, cash use and the way everyday infrastructure becomes part of a creative streetscape. The location detail, New York, Manhattan, strengthens searches for regional features, travel pages, local-history pieces and news use where a named place matters. For buyers, the strength lies in the combination of a named subject, a lived-in setting and enough visual specificity to carry stories about how places are used, remembered, funded, visited or contested.
East 7th Street, East Village, Manhattan, New York, NY, USA
Description
Keywords: Northern Ireland,Peace,Wall,Cupar way,Belfast,Irish,art,artworks,artwork,Hope,Lost,ingenuity,rd,Road,boat,ship,weld,Berlin wall,Shankill ingenuity,RMS Titanic,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,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM12J - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: religion,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,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 HDM1C8 - 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
