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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Rombo graffiti,Pink Panther graffiti,Thelwall street art,graffiti character,concrete wall art,urban art,cartoon graffiti,Rombo,graffiti,art,Pink,Panther,style,Thelwall,Warrington,concrete wall,urban,Cheshire,804img,colourful,panther-style,character,tag,painted,concrete,wall,mural,culture,space,local history
Description: Tony Smith image Alamy 3FE951K - . A colourful cartoon-like pink character with large yellow eyes and the tag Rombo is painted on concrete, an example of informal urban graffiti and street art in Thelwall. The brightly painted pink cartoon figure resembles the Pink Panther but is an unauthorised graffiti interpretation, signed with the tag 'Rombo'. Graffiti often mixes borrowed popular-culture imagery with an individual writer's tag, creating work that is instantly familiar yet locally specific. On concrete infrastructure in Thelwall, the paint also contrasts with a utilitarian surface that was never intended as an art space. Such informal street art is temporary by nature: it may be overpainted, cleaned, weather away or be replaced by later tags. The surviving paint fixes a particular moment in the constantly changing layer of unofficial visual culture found on walls, bridges and service structures around British towns. The tag beside the character is crucial documentary detail because it identifies the local writer or chosen name even though the cartoon source is borrowed from a global entertainment franchise. The Pink Panther was created for the animated title sequence of the 1963 film and became a globally recognised cartoon figure through later shorts and television. Graffiti writers frequently borrow mass-media characters because they are instantly legible, then alter them through colour, placement and tags to claim a local identity. Here the 'Rombo' tag is as important as the pink character: it identifies the intervention as part of an individual writer's visual language rather than authorised commercial illustration. Painted on plain concrete in Thelwall, the work sits outside a formal gallery and may be temporary, overpainted or weathered. That ephemerality gives street-art photographs documentary importance while also raising the familiar distinction between unsanctioned graffiti, public art and cultural appropriation of copyrighted imagery.
Thelwall, Warrington, Cheshire, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A0068,London,Brick,Lane,Earn,graffiti,street,art,lettering,East,EARN graffiti,Brick Lane graffiti,Brick Lane street art,graffiti lettering,urban graffiti,street art London,Brick Lane,East London,wall graffiti,lettering art,spray paint,urban art,street culture,Spitalfields,Tower Hamlets,East End London,graffiti tag,large letters,public wall,contemporary street art,creative quarter,urban expression,illegal graffiti,public realm,city wall,London graffiti,street photography,visual culture,art and vandalism,urban texture,painted wall,graffiti culture,creative London,youth culture,counterculture,temporary art,East End street
Description: Tony Smith image Alamy 3E30281 - . Large graffiti lettering spelling 'EARN' on a wall in Brick Lane, east London, part of the dense and constantly changing street-art environment for which the district is internationally known. The piece relies on scale, outline and bold block letters rather than figurative imagery, demonstrating the central importance of lettering within graffiti culture. Names, words and letterforms have been fundamental to graffiti since the development of modern tagging and spray-can styles, with writers using repetition and visual distinctiveness to establish identity in public space. Brick Lane offers an unusually visible setting for this practice because walls, shutters, yards and temporary surfaces are already covered with murals, tags, stencils, stickers and paste-ups. Some work in the area is commissioned or tolerated, while other graffiti is unauthorised, creating a shifting boundary between public art, property damage, tourism and commercial place-making. The word 'EARN' also carries its own accidental or deliberate associations with money, work and status, which are especially resonant in a neighbourhood undergoing intense economic change and gentrification. Former industrial buildings around the Old Truman Brewery now support markets, offices, nightlife and creative businesses, bringing new investment and high visitor numbers to streets once dominated by manufacturing and local trade. The photograph frames the graffiti close enough for the word to dominate while still showing its rough urban wall context. Street art in Brick Lane is highly ephemeral: new pieces can be painted over within days, damaged by weather or obscured by advertising and building work. That makes photography an important record of individual works and of the broader visual character of the area at a particular moment. The bold word turns an otherwise ordinary wall into a temporary statement, reflecting the speed with which meaning can be added to and erased from the urban landscape.
Brick Lane, London E1, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A0070,Audrey,Hepburn,mural,Zabou,Brick,Lane,London,Spitalfields,streetart,art,portrait,actress,cinema,film,graffiti,urban,building,facade,colourful,EastLondon,England,UK,culture,creative,tourism,heritage,wall,publicart,Best in Brick Lane,Audrey Hepburn mural,Zabou mural,Zabou street artist,Brick Lane mural,street art London,Audrey Hepburn,Brick Lane,East London,portrait mural,public art,urban art,London street art,Tower Hamlets,wall painting,celebrity portrait,British street art,colourful façade
Description: Tony Smith image Alamy 3E3029W - . Audrey Hepburn mural on Brick Lane by street artist Zabou, presented with the phrase 'Best in Brick Lane' on a vividly painted east London façade. Hepburn remains one of twentieth-century cinema's most recognisable faces, and her image is repeatedly reinterpreted in popular art, fashion and advertising decades after films such as Breakfast at Tiffany's and Roman Holiday. Using a familiar celebrity portrait allows a mural to communicate immediately to a wide audience, while the surrounding colour and street setting relocate that polished screen image into the rougher visual language of urban art. Zabou is known for large-scale figurative and portrait murals, and work of this kind fits Brick Lane's international reputation as one of London's principal street-art locations. The district attracts commissioned murals as well as unsanctioned graffiti, stencils, stickers and paste-ups, creating a streetscape that can change quickly as new work replaces old. Brick Lane's artistic identity grew alongside the reuse of warehouses and the Old Truman Brewery for studios, markets, music, fashion and other creative industries. The mural therefore forms part of a broader economic and cultural transformation in which former industrial walls became valuable surfaces for art, tourism and brand imagery. The photograph records the work within its architectural context rather than isolating it as a gallery object. That context matters because street art is inseparable from location: weather, neighbouring signs, passing people and later overpainting all affect how a piece is seen and how long it survives. Celebrity murals can also become informal landmarks, photographed and circulated online in ways that strengthen the visitor identity of a neighbourhood. The phrase 'Best in Brick Lane' adds a playful local claim to a global screen icon, combining place branding with portrait art. The work also reinforces Brick Lane's open-air gallery identity.
Brick Lane, London E1, England, UK
Description
Keywords: Gotonysmith,@HotpixUK,HotpixUK,255A9708,Manchester,Thomas,Street,Charmed,art,shutters,graffiti,urban,Charmd 5 Thomas St Manchester M4 1EU,Charmd 5 Thomas St,Manchester M4 1EU,Charmd,Thomas Street,Greater Manchester,England,English,Thomas Street local history,Thomas Street documentary photography,Thomas Street public realm,Thomas Street urban life,Thomas Street place photography,documentary photography,local history,urban life,British culture,place photography,contemporary Britain,public realm,street scene,local identity,social history,everyday life,regional England,city life,town centre,community,built environment,public space,modern Britain,local landmark,urban detail,retail
Description: Tony Smith image Alamy 3E3P7TY - Street art on shutters at Charmed on Thomas Street, Manchester. Photographed on 28 June 2025. Alternative search wording includes statue, urban culture, cultural identity, visual culture, community art, place-making, memorial art, creative industries, public realm, cultural landmark, 255A9708, graffiti, and urban. The image is centred on Charmd 5 Thomas St, Manchester M4 1EU, with enough of the surrounding setting at Thomas Street retained to establish how Charmd 5 Thomas St, Manchester M4 1EU appears in everyday life. Visible lettering, materials, neighbouring buildings and street furniture around Charmd 5 Thomas St, Manchester M4 1EU add specific physical context rather than reducing the scene to an isolated object. The photograph preserves the appearance of Charmd 5 Thomas St, Manchester M4 1EU and its immediate surroundings at one identifiable moment in the recent history of the location. The surrounding physical details help identify Charmd 5 Thomas St, Manchester M4 1EU precisely and distinguish the location from a generic urban scene. The composition therefore preserves both Charmd 5 Thomas St, Manchester M4 1EU and the immediate environment in which it was encountered. Charmd 5 Thomas St, Manchester M4 1EU is closely tied to Thomas Street
the surrounding street, building or public-space details help explain how the subject functioned or was encountered at the time. The setting around Charmd 5 Thomas St, Manchester M4 1EU records a recognisable part of everyday life in Thomas Street, retaining local context that can be lost when businesses, buildings or public spaces change.
Thomas Street, Manchester, Greater Manchester, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A0078,Brick,Lane,flyposters,London,streetart,posters,EastLondon,graffiti,urban,Spitalfields,culture,music,nightlife,advertising,wall,England,UK,creative,street,art,Brick Lane flyposters,flyposting,street posters,Brick Lane street art,Brick Lane,East London,urban wall,poster layers,street advertising,guerrilla marketing,public notices,paste up art,street culture,London street art,Tower Hamlets,East End London,ephemeral art,urban texture,wall collage,creative quarter,music posters,event posters,independent culture,visual culture,city wall,public realm
Description: Tony Smith image Alamy 3E302AM - . Layers of flyposters, printed notices and street art on a Brick Lane wall in east London, creating a constantly changing collage of commercial promotion, cultural announcements and informal urban graphics. Flyposting has long been associated with music, club nights, political campaigns, small events and businesses that need cheap, immediate access to public attention. Unlike authorised billboard advertising, posters pasted directly onto walls and street furniture occupy a legally and visually contested space, often being removed, covered or replaced within days. That impermanence is particularly characteristic of Brick Lane, where murals, graffiti, stickers, stencils and paste-ups change so frequently that individual walls can become visual records of successive events and subcultures. The street's reputation for independent music, nightlife, fashion, food and art creates a receptive environment for this kind of low-cost promotion. At the same time, widespread flyposting can be treated by councils and property owners as litter, visual clutter or unauthorised advertising, placing it at the boundary between creative expression and environmental enforcement. The photograph focuses on the accumulation rather than on a single poster, showing torn edges, overlapping designs and weathered paper as part of the texture of the street. Such walls reveal how public space is repeatedly claimed by different voices, from professional promoters to artists and local campaigners. Brick Lane's converted warehouses and the Old Truman Brewery have helped make the area a major creative and visitor district, increasing both the audience for posters and the commercial value of its street-art aesthetic. As redevelopment advances, informal surfaces can disappear behind restored façades or controlled advertising spaces, making photographs of flyposted walls useful records of a less regulated visual culture.
Brick Lane, London E1, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A0082,Brick,Lane,Shop,London,sign,streetart,EastLondon,retail,art,urban,Spitalfields,souvenir,creative,culture,England,UK,tourism,graffiti,store,Brick Lane Brick Shop,Brick Lane,Brick shop,Brick Lane merchandise,East London retail,independent shop,souvenir shop,graphic branding,streetwear,local merchandise,Brick Lane London,Tower Hamlets,East End London,creative retail,street culture,urban branding,independent business,London shopping,tourist souvenir,local identity,illustrated sign,retail frontage,creative quarter,small retailer,street art style,London tourism,urban culture
Description: Tony Smith image Alamy 3E302D3 - . Brick Lane Brick Shop branding and merchandise in the Old Truman Brewery area of east London, using bold illustrated graphics to turn the street's name and visual culture into a retail identity. Brick Lane has evolved from a working East End street of brewing, workshops, migration and market trade into an internationally recognised destination associated with street art, vintage clothing, independent food, nightlife and creative businesses. That reputation now has commercial value in its own right, allowing shops to sell clothing, prints and souvenirs that reference the neighbourhood as much as any individual product. The image shows how local identity can be packaged through graphic design, with the 'Brick Lane' name functioning almost like a brand while still referring to a real, lived-in part of Tower Hamlets. This creates an interesting tension between authentic local culture and tourism-led merchandising. The wider street remains strongly connected with London's Bangladeshi community and the Banglatown identity developed in the late twentieth century, while successive waves of artists and small businesses have added further layers. Street-art imagery is especially appropriate here because Brick Lane's walls, shutters and yards are internationally known for murals, stencils, paste-ups and graffiti that change constantly. The shop's visual language draws on that environment rather than on the polished look of a conventional chain retailer. Independent retail is an important part of the area's appeal, although high rents, redevelopment and changing visitor patterns create constant pressure on small businesses. The reuse of former brewery and warehouse spaces has helped create clusters of specialist shops and markets that would be difficult to reproduce in a standard shopping centre. The photograph records the commercial side of contemporary street culture: art-inspired imagery used to attract customers, build recognition and sell a sense of place.
Brick Lane, London E1, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,IMG_5450,Dundee,Scotland,waterfront,mural,portrait,streetart,public,art,urban,culture,regeneration,Tay,graffiti,painting,Large,near,the,River
Description: Tony Smith image Alamy 3E5TC5W - Large portrait mural on Dundee Waterfront near the River Tay, Dundee, Scotland, UK. The photograph is a contemporary editorial record of the subject and its surroundings at Dundee Waterfront, Dundee, Scotland, UK. Visible signage, lettering, architecture, street furniture, transport infrastructure, public art, commercial branding or landscape details are retained where present, giving the image value both as a description of the immediate scene and as a reference for how the place looked at the time of photography. The image records contemporary public art within Dundee's regenerated waterfront area. Murals and temporary artworks add another layer to a district transformed by major cultural and infrastructure investment, creating a visual record that may change as sites are redeveloped. The image has wider editorial relevance for local history, heritage, tourism, transport, retail, planning, regeneration, business and social change where those themes apply to the subject. It can support news and feature coverage as well as retrospective comparison if the building, business, artwork, service, route or streetscape is altered, redeveloped, rebranded, closed or otherwise changes in future. The composition also preserves small visual details that are easily lost over time, including materials, signs, logos, road or rail features, shopfront treatment, public-realm design and the relationship of the subject to neighbouring buildings or open space. This makes the photograph useful not only as a straightforward location image but also as a documentary record of everyday urban and cultural life.
Dundee Waterfront, Dundee, Scotland, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0122,DART,train,mural,78 Talbot Street,Dublin,Ireland,Kameleon Turkish Barber,street,art,green,commuter,graffiti,portraits,barber,shop,railway,transport,public,urban,culture,business,regeneration,city-centre,Irish,visual,neighbourhood,identity,irish rail train,Ireland rail train,Leap card
Description: Tony Smith image Alamy 3EM2JFH - DART train mural at 78 Talbot Street in Dublin 1, Ireland, beside Kameleon Turkish Barber. The large street artwork covers the upper wall with a stylised green commuter train, colourful graffiti lettering and painted portraits, while the barber shop occupies the ground floor. The mural combines railway imagery with Dublin street culture and gives the otherwise functional commercial building a striking visual identity. The photograph is suitable for editorial coverage of DART, Dublin railways, street art, murals, graffiti, Talbot Street, public art, urban culture, commuter trains, Irish transport, local businesses, barber shops, regeneration and city-centre streetscapes. The strong green train motif is likely to attract buyers looking for an unusual visual representation of Dublin public transport rather than a conventional railway photograph. It also works for stories about mural art, neighbourhood identity, independent businesses and the way transport imagery becomes part of popular urban culture.
78 Talbot Street, Dublin 1, Ireland
Description
Keywords: Road,painting,graffiti,IRA,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,ave,Female Resistance,Beechmount Avenue,Ni saoirse go saoirse na mban,lady,Republican Lady,Republican Ladies,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Belfast Catholic Community
Description: Tony Smith image Alamy HDWTNN - Large republican mural commemorating Cumann na mBan fills the gable wall of a building at the corner of Beechmount Avenue and the Falls Road in West Belfast. The artwork combines portraits, historical photography, Irish-language text and nationalist symbolism to celebrate the contribution of women to the Irish revolutionary movement. A bilingual street sign reading Beechmount Avenue and Ascaill Ard na bhFeá appears above the painted scene.
The dominant portrait on the left depicts Countess Constance Markievicz wearing a green military-style uniform. Across the centre, a formation of Cumann na mBan members marches forward in period dress, while an armed and partly veiled female figure stands at the right. The group's emblem is represented by the abbreviated lettering C na mB incorporated into the outline of a rifle. A Celtic interlace pattern frames the upper and side edges of the blue composition.
The words Céad Bliain , meaning one hundred years, refer to the centenary of Cumann na mBan, founded in Dublin on 2 April 1914. The organisation worked alongside the Irish Volunteers and its members participated in the 1916 Easter Rising as couriers, nurses, intelligence gatherers and combatants. Markievicz served with the Irish Citizen Army during the Rising and was stationed around St Stephen's Green in Dublin.
Painted in 2014, the mural replaced an earlier Fianna Éireann centenary image that also featured Markievicz. The Irish inscription along the bottom reads Nà saoirse go saoirse na mban , commonly translated as There is no freedom until the freedom of women . It links the republican commemoration with a broader statement about women's liberation and political equality. Photograph records one of the many political murals associated with the Falls Road and West Belfast. Such artwork forms part of the area's visible historical landscape, presenting local interpretations of conflict, resistance, identity and remembrance on prominent public walls.
Beechmount Avenue, off Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,are,art,artwork,arty,streets,at,the,John Rocques,1756,map,old,historic,history,Eye walk,these streets,Big city lover,cool,trendy,retail,retailers,area,district,eyewalk,eye,walk,walking,painted,painting,graffiti,hipster,hipsters,tourist,destination,cultural quarter
Description: Tony Smith image Alamy 2M84KD4 - Temple Bar is an area on the south bank of the River Liffey in central Dublin, Ireland. The area is bounded by the Liffey to the north, Dame Street to the south, Westmoreland Street to the east and Fishamble Street to the west. It is promoted as Dublin's 'cultural quarter' and, as a centre of Dublin's city centre's nightlife, is a tourist destination. Temple Bar is in the Dublin 2 postal district.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: Greater Manchester,centre,England,UK,NW,North West,GoTonySmith,HotpixUK,@HotpixUK,OL16,55 Yorkshire St,Rochdale,OL16 1BT,Seven Sisters,mural,art,streetart,in,the,women,female,females,breast,cancer,treatment,town,casino lounge,44,from,2019,uprising festival,graffiti,tale,tales,personal,odyssey,voyage,Hip-Hop,HipHop,street art
Description: Tony Smith image Alamy 2RC95RN - Tea One “ The Baum / Yorkshire Street
Combining elements of classical painting with inspirations from the world of graffiti Tea One is influenced by the post industrial landscape of Northern Britain. Particularly he draws from those remnants left over from the areas once abundant past. Painting on the alley known as the Baum he has weaved seven stories together from seven different women. Calling the piece the ˜Seven Sisters' he is of course also referencing the famous apartment blocks through placing real life stories into that context.
His stories are those which many of us would have experienced. Each of the women in the mural have their own tale to tell but they are tales that all of us could associate with. From left to right the first woman holds something up to a light. It's unknown what it is but it could be an opportunity or it could be a burden. She doesn't know it yet but her life might be about to change either way. Next to her a woman sits in a boat rowing with her back to her destination. She isn't sure what lies ahead yet she still travels into the unknown, she is on her own personal odyssey.
The third woman is wearing a mask. She is struggling with her own identity. Perhaps living a charade or just not sure what journey she is on or whether it is indeed the right one. The silhouetted figure next to her represents travel. Either leaving or arriving she could be about to go on a journey or may be coming home after a voyage. The fifth woman represents rebirth, pregnant she is about to bring new life into the world. Next to her meanwhile a tear falls down the face of the sixth woman. She is experiencing her own private tragedy. Though we don't know what it is we will have all had similar emotions from time to time.
The mural from ˜Teaone' is called the Seven Sisters
The final woman as part of this mural is deeply personal to the artist. Showing a woman undergoing treatment for breast cancer. He calls this overcoming the monster
55 Yorkshire St, Rochdale, Greater Manchester, England, UK, OL16 1BT
Description
Keywords: Greater Manchester,centre,England,UK,NW,North West,GoTonySmith,HotpixUK,@HotpixUK,OL16,55 Yorkshire St,Rochdale,OL16 1BT,Seven Sisters,mural,art,streetart,in,the,women,female,females,breast,cancer,treatment,town,casino lounge,44,from,2019,uprising festival,graffiti,tale,tales,personal,odyssey,voyage,street art
Description: Tony Smith image Alamy 2RC95RJ - Tea One “ The Baum / Yorkshire Street
Combining elements of classical painting with inspirations from the world of graffiti Tea One is influenced by the post industrial landscape of Northern Britain. Particularly he draws from those remnants left over from the areas once abundant past. Painting on the alley known as the Baum he has weaved seven stories together from seven different women. Calling the piece the ˜Seven Sisters' he is of course also referencing the famous apartment blocks through placing real life stories into that context.
His stories are those which many of us would have experienced. Each of the women in the mural have their own tale to tell but they are tales that all of us could associate with. From left to right the first woman holds something up to a light. It's unknown what it is but it could be an opportunity or it could be a burden. She doesn't know it yet but her life might be about to change either way. Next to her a woman sits in a boat rowing with her back to her destination. She isn't sure what lies ahead yet she still travels into the unknown, she is on her own personal odyssey.
The third woman is wearing a mask. She is struggling with her own identity. Perhaps living a charade or just not sure what journey she is on or whether it is indeed the right one. The silhouetted figure next to her represents travel. Either leaving or arriving she could be about to go on a journey or may be coming home after a voyage. The fifth woman represents rebirth, pregnant she is about to bring new life into the world. Next to her meanwhile a tear falls down the face of the sixth woman. She is experiencing her own private tragedy. Though we don't know what it is we will have all had similar emotions from time to time.
The mural from ˜Teaone' is called the Seven Sisters
The final woman as part of this mural is deeply personal to the artist. Showing a woman undergoing treatment for breast cancer. He calls this overcoming the monster
55 Yorkshire St, Rochdale, Greater Manchester, England, UK, OL16 1BT
Description
Keywords: 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,urban,graffiti
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: GoTonySmith,HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,shop,store,retail,flags,Shankill,style,union jack,union,flag,BT4,354,Belfast,Northern Ireland,BT4 1HG,royalist,nw CD,sale,unionJackShop,drums,Born in Ulster,UVF,Covenants Without Swords are only words,NI troubles,The Trouble Northern Ireland,The Troubles Northern Ireland
Description: Tony Smith image Alamy 2PM63J0 - . The Union Jack Souvenier Shop, World Flag supplies, British By Birthright, 354 Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1HG. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 354 Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1HG, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, shop, store, retail, providing natural SEO coverage without losing the specific documentary identity of the photograph. The retail context supports editorial themes around high streets, shopping centres, consumer behaviour, independent and chain businesses, store branding, commercial property, hospitality and the changing economics of town and city centres. Shopfronts, promotional material, prices, signage and surrounding public space can become valuable historical evidence as businesses close, rebrand, relocate or adapt to online competition and changing consumer demand. The political or campaigning content is suitable for neutral editorial coverage of protest, organised labour, elections, public debate, campaigning, civil society and the way political messages are presented in public. Placards, posters, leaflets, slogans and demonstrations are valuable documentary evidence of a particular moment and can support later historical comparison without implying endorsement of the views displayed. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. The composition retains practical contextual detail for news, feature, documentary, educational and historical use.
354 Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1HG
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the past,future,peace,gable,end,211,Newtownards Rd,Belfast,Northern Ireland,BT4 1EA,mural,traditional,history,historic,end-terrace,gable-end,understanding,futures,Belfast peace,Newtownards Road,East Belfast,peace and reconciliation,peace process,Newtownards Road Belfast
Description: Tony Smith image Alamy 2PM64K4 - Community peace mural on Newtownards Road in East Belfast, Northern Ireland, contrasting memories of the Troubles with an explicitly optimistic vision of a more peaceful and inclusive city. Across the top, the mural carries the message Peace cannot be kept by force, it can only be achieved by understanding , set among remembrance poppies and Belfast civic imagery. Below, the large Looking to a Better Future panel divides the composition into The Past and The Future . The monochrome past section depicts imprisonment, security infrastructure, street conflict, vehicles, political tension and references to terrorism and violence, evoking the atmosphere of Belfast during decades of sectarian conflict. The future section is deliberately brighter and more colourful, showing raised hands around a globe, Belfast City Hall, children, sport, education and computer technology. Words such as culture, empowerment, equality, diversity, multiculturalism and human rights identify the values being promoted. The lower mural dates from around 2013 and was associated with a community regeneration project involving organisations including Belfast City Council, Charter NI and the Northern Ireland Housing Executive. Its design reflects a wider post-conflict movement in Belfast in which some traditional political mural sites were repainted to emphasise reconciliation, community development and shared aspirations while still acknowledging the city's difficult recent history. The work is especially notable for placing the legacy of violence and division directly beside images of opportunity, participation and civic life. It also records the continuing importance of large-scale gable-end murals to Belfast's visual identity, where walls have long been used to communicate political allegiance, historical memory, social change and changing community priorities. The contrast turns the wall into statement about moving from division towards coexistence, opportunity and confidence.
211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,UYM,HW,Newtownards,road,rd,shipbuilding,company,yellow,crane,Harland and Wolff,BT4 1AB,BT4,1974,flag,flags,union,paramilitary,group,groups,Harland Wolff
Description: Tony Smith image Alamy 2PM64TF - . Ulster Young Militants Freedom Corner,Tomorrow Belongs To Us,HW, Harland & Wolff Shipbuilding company yellow crane in background, Belfast, NI, BT4 1AB. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1AB, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, UYM, Newtownards, shipbuilding, providing natural SEO coverage without losing the specific documentary identity of the photograph. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. For search and editorial use, the image is relevant to the named location, local identity, contemporary Britain, regional tourism, urban life, community activity and the changing appearance of towns and cities. Additional relevant search concepts include company, yellow, crane, Harland and Wolff, BT4 1AB, BT4, broadening discoverability while remaining tied to the supplied subject information.
Newtownards Rd, Belfast, Northern Ireland, UK, BT4 1AB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,England,rule,she would rule you through her bankers,landlords and Stormont,BT11,533,Falls Rd,Andersonstown,Belfast,Northern Ireland,BT11 9AA,IRSP,English,Free Marian Price,Marian Price,poster,wall,lettering,stencil
Description: Tony Smith image Alamy 2PM62D2 - . IRSP graffiti - England will still rule you, she would rule you through her bankers, landlords and Stormont, Irish Republican Socialist Party. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, rule, she would rule you through her bankers, landlords and Stormont, providing natural SEO coverage without losing the specific documentary identity of the photograph. The housing context makes the image suitable for coverage of homes, neighbourhoods, residential estates, social and affordable housing, landlord investment, repairs, regeneration, planning and the lived environment. It can support reporting on housing condition, estate renewal, energy efficiency, building safety, development, tenure and the long-term transformation of residential areas. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison.
533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,25/11/1992,murdered,police,force,murder,memorial,to,man,533,Falls Rd,Andersonstown,Belfast,Northern Ireland,BT11 9AA,death,died,innocent,casualty,casualties,hotpix.org.uk,NI troubles,PSNI,The Trouble Northern Ireland
Description: Tony Smith image Alamy 2PM62GW - . Justice Sinn Fein - Pearse Jordan, murdered by the RUC, 25 November 1992. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, 25/11/1992, murdered, police, providing natural SEO coverage without losing the specific documentary identity of the photograph. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. For search and editorial use, the image is relevant to the named location, local identity, contemporary Britain, regional tourism, urban life, community activity and the changing appearance of towns and cities. Additional relevant search concepts include force, murder, memorial, man, Falls Rd, Andersonstown, broadening discoverability while remaining tied to the supplied subject information. The scene contributes a specific, place-based record rather than a generic illustration.
533, Falls Rd, Andersonstown, Belfast , Northern Ireland, UK, BT11 9AA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Paint Festival,Gloucestershire,England,UK,GL51,GL51 8NJ,237,bin,red,recycling,art,graffiti,spray,stencil,paint festival,and,bins,mixed,general waste,street,streetart,roller,rollers,African,Biffa,contrast,contrasts,recycle,female,woman,lady,portrait,face,profile,Hip-Hop,HipHop,recycling bin
Description: Tony Smith image Alamy 2M6YFF5 - . Photographed at 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ in 2022, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The photograph centres on Koeone, Cheltenham paint festival and Biffa waste bins street art, at 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ. The frame also records themes of street creativity, traditional materials, community art, creative placemaking, adaptive reuse, changing streetscape, contemporary social history, local history, mural culture, temporary artwork, street-level design, visual archive, period detail, and conservation architecture. For current editorial use, public art and gentrification provide additional context, especially through how regeneration can both support and displace urban art. Current relevance extends to energy retrofit and adaptive reuse, particularly through keeping older buildings useful without erasing their character. The archival value lies partly in recording building condition and alterations around 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ before new ownership alters the character of the place. The surrounding story also includes everyday life, visual street culture, architectural character, heritage landmark, regional identity, archival record, period architecture, and historic townscape. The combination of Koeone, Cheltenham, Gloucestershire, festival, and paint anchors the frame to a recognisable activity, place or moment. The wider setting at 237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The record includes a trace of local identity before later change alters the scene. The frame retains a local visual benchmark as a date-specific reference.
237 Gloucester Road, Cheltenham, Gloucestershire, England, UK, GL51 8NJ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Lancs,Lancashire,England,UK,door,entrance,outside,paint,art,artwork,streetart,street,graffiti,handle,and,&,locked,Deansgate,FY1 1BN,subversion,street art,pasted,Blackpools,community,derelict,repurposed,canvas,creativity,expression,buildings,brick,walls,characters,fantasy
Description: Tony Smith image Alamy 2JRFF5D - . An identifiable period record of Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The frame specifically shows Old Rock Factory, doorway graffiti and street art, handle & letterbox, Deansgate, Blackpool , Lancs, England, FY1 1BN. The surrounding context encompasses architectural character, place-making, local history, urban fabric, community identity, built heritage, urban regeneration, changing streetscape, contemporary social history, period detail, period architecture, place identity, heritage-led regeneration, and documentary photography. The modern context includes continuing discussion of commercial viability, heritage conservation and how public investment can reshape pedestrian movement and evening activity. For later comparison, the photograph preserves lettering, decoration and surface detail at Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN, details that may look very different after replacement signage. A second descriptive layer includes historical comparison, town-centre renewal, public-realm investment, public realm, historic townscape, commercial redevelopment, before-and-after reference, and civic architecture. References to Lancs, Deansgate, Factory, Blackpool, and handle give the picture a strong period identity and tie it closely to its named subject. For Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Another strand within the photograph is commercial viability and how public investment can reshape pedestrian movement and evening activity without losing the local specificity of Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN. The photograph keeps a trace of local identity as part of Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN's history.
Deansgate, Blackpool, Lancashire, England, UK, FY1 1BN
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,graffiti,art,street,stairs,M4,52 Church St,NQ4,Manchester,England,UK,M4 1PW,established 1982,established,est,1982,Hip-Hop,HipHop,Manc,Manchester City centre,Mancunian,trendy,funky,tourist,tourism,attraction,attractions,Affleck,market,vintage,unit,units,history,historic,heritage
Description: Tony Smith image Alamy 2JYYR7T - . An identifiable period record of 52 Church St, NQ4, Manchester, England, UK, M4 1PW in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The frame specifically shows Afflecks Palace, established 1982, 52 Church St, NQ4, Manchester, England, UK, M4 1PW. The subject also carries associations with changing streetscape, regional identity, place-making, community identity, ecclesiastical art, liturgical art, period architecture, architectural character, local history, historical comparison, parish church heritage, documentary photography, town-centre renewal, and place identity. The modern context includes continuing discussion of visitor tourism, heritage conservation and the role of parish churches in local identity and genealogy. For current editorial use, housing pressure and heritage conservation provide additional context, especially through how regeneration tries to create reasons to visit traditional town centres. As a dated visual record of 52 Church St, NQ4, Manchester, England, UK, M4 1PW, the frame retains landscape treatment and surrounding development, making it especially useful if closure or conversion subsequently changes the scene. A second descriptive layer includes ecclesiastical craftsmanship, urban regeneration, sacred decoration, changing land use, visual archive, everyday life, before-and-after reference, and devotional artwork. Details involving established, Afflecks, Palace, Manchester, and Church make the image more specific than a generic view and strengthen its local or historical value. A later view of 52 Church St, NQ4, Manchester, England, UK, M4 1PW may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The photograph keeps period character for future local research. The record includes a trace of local identity before later change alters the scene.
52 Church St, NQ4, Manchester, England, UK, M4 1PW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Irish,skeleton,Australia,take it easy,Skull,graffiti,in,Dublin,near,no,worries,informal,saying,expression,you are welcome,Oz,down under,No problem,do not worry about that,thats all right,forget about it,sure thing,talk,talking,stencil,art,street art,streetart,speech,optimism,national motto,of
Description: Tony Smith image Alamy 2M8BNNE - . Made at Temple Bar, Dublin, Eire, Ireland in 2019, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. The scene records Skull graffiti, in Dublin, near Temple Bar - No Worries. The subject also carries associations with public-realm art, temporary artwork, social history, medical consumer history, contemporary social history, contemporary mural, public-health intervention, health-service prevention, creative placemaking, healthcare access, healthcare communication, everyday life, street creativity, and local character. The wider contemporary story combines local identity, gentrification and the blurred boundary between commissioned public art and graffiti. Viewed from the mid-2020s, the subject also connects with NHS capacity, preventive care and how home testing can widen access to preventive healthcare. The archival value lies partly in recording materials and architectural details around Temple Bar, Dublin, Eire, Ireland before new construction alters the character of the place. Further associations within the scene are patient self-testing, period detail, mural culture, public-health screening, urban artwork, before-and-after reference, historical comparison, and visual archive. The recorded references to graffiti, Skull, Dublin, Temple, and Worries preserve clues about how the subject was presented, used or understood at the time. The wider setting at Temple Bar, Dublin, Eire, Ireland matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Another strand within the photograph is local identity and the blurred boundary between commissioned public art and graffiti in a form that can be compared with future views of Temple Bar, Dublin, Eire, Ireland. The image fixes evidence of earlier appearance for future local research.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Irish,art,artwork,painting,graffiti,Big City Lover,positive,shop,store,vibrant,interesting,cultural,area,quarter,Dublins,bars,pubs,ornate,watering holes,boozer,boozers,attraction,attractions,tourism,problem,problems,ASB,antisocial behaviour,trouble,Bloom,Blooms,hotel,St Patricks Day,St Patrick
Description: Tony Smith image Alamy 2M8BNNW - . Made at rown Alley Temple Bar, Dublin, Eire, Ireland in 2019, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. At the centre of the view is Crown Alley Temple Bar, Dublin, Eire, Ireland, graffiti, Eye Walk These Streets, Big City Lover. The broader subject matter reaches into visual archive, before-and-after reference, mural culture, street creativity, temporary artwork, licensed hospitality, changing streetscape, urban artwork, night-time economy, traditional ale house, creative placemaking, public realm, beer-led hospitality, and community identity. The modern context includes continuing discussion of local identity, temporary works and the role of murals in giving neighbourhoods a distinctive identity. For current editorial use, hospitality costs and food inflation provide additional context, especially through the survival of local pubs as social meeting places. As a dated visual record of rown Alley Temple Bar, Dublin, Eire, Ireland, the frame retains equipment and working practice, making it especially useful if later reinterpretation subsequently changes the scene. The subject also sits alongside social history, community art, local history, food-and-drink business, documentary photography, traditional pub, contemporary mural, and visual street culture. The recorded references to Alley, graffiti, Crown, Lover, and Temple preserve clues about how the subject was presented, used or understood at the time. For rown Alley Temple Bar, Dublin, Eire, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Its period value extends to local identity and the blurred boundary between commissioned public art and graffiti within the real-world context of rown Alley Temple Bar, Dublin, Eire, Ireland.
rown Alley Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Gloucestershire,England,UK,GL50,painting,art,art work,street,street art,Cotswolds,streetart,artworks,Girl,with,female,women,girl,girls,graffiti,arts,festivals,annual,artists,artis,event,events,colourful,bright,brightens,up,Cheltenhams,town centre,ideas,celebration,celebrating,street arts
Description: Tony Smith image Alamy 2M7JH6F - Cheltenham's paint festival is the latest addition to the Cheltenham festivals calendar which brings high-quality artwork from leading national and international street artists to the town centre.
‹Read more at https://www.cheltenhampaintfestival.co.uk/
Sherborne Place Car Park, Cheltenham, Gloucestershire, England, UK, GL50
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Gloucestershire,England,UK,GL50,painting,art,art work,street,street art,Cotswolds,streetart,artworks,Car Park,parking,The99,The 99,woman,with,earring,women,girl,girls,graffiti,arts,festivals,annual,artists,artis,event,events,colourful,bright,brightens,up,Cheltenhams,town centre
Description: Tony Smith image Alamy 2M7JH75 - Cheltenham's paint festival is the latest addition to the Cheltenham festivals calendar which brings high-quality artwork from leading national and international street artists to the town centre.
‹Read more at https://www.cheltenhampaintfestival.co.uk/
Sherborne Place Car Park, Cheltenham, Gloucestershire, England, UK, GL50
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,Widewalls,project,Is Inviolable,man,disabled,on a,gable end,in,art,German,graffiti,artist,MaClaim,charity,backontrackmanchester,holistic support,community learning,Ancoats,Cities of Hope festival,Swan Buildings,Cable Street,5 Cable St,Manchester,England,UK,M4 5EQ,wide walls,artworks,mind,pain,mental,health,mental health
Description: Tony Smith image Alamy 2JYYR48 - The streets of Manchester have recently gotten richer by a number of gorgeous street art pieces because of the Cities of Hope festival. Case Ma'Claim was one of the invited artists, and he created a stunning piece entitled Human Dignity is Inviolable. He worked with the charity Back on Track and decided to depict one of the people they support. The German graffiti artist employed his signature life-like imagery to create this amazingly realistic piece that sends a positive message that anyone can make their life better. Just like a man depicted in the mural, we all need to recollect for a moment, and reflect on our decisions and think about are plans before venturing onto a wonderful journey called life. And sometimes, in this world full of negativity and death, it is nice to be reminded that not everything is lost and that we can always get back on track when we fail.
Swan Buildings, 5 Cable St, Manchester , England, UK, M4 5EQ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,firing,guns,uniform,white,armour,rose,artist,art,artwork,Runcorn old town,town,WA7 1LR,storm trooper,fires,flower,flowers,peace,StarWars,blaster,gun,Halton,Cheshire,England,UK,black,graffiti,Star Wars,starwars,Banksy Style,stencilled,streetart,on,white wall
Description: Tony Smith image Alamy 2K14187 - . An identifiable period record of Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The frame specifically shows Stormtrooper fires a gun and a red rose comes out, stencil art in Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR. Another layer of the photograph includes local history, devotional artwork, sacred architecture, Christian iconography, historical comparison, everyday life, liturgical art, documentary photography, regional identity, historic church fabric, archival record, religious heritage, period detail, and parish church heritage. The modern context includes continuing discussion of historic fabric, church maintenance and how sacred art preserves religious, artistic and community history. The image fixes equipment and working practice within Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR at one identifiable point, providing a benchmark against closure or conversion. The photograph additionally reflects ecclesiastical craftsmanship, church interior, faith heritage, changing streetscape, community identity, contemporary social history, changing land use, and sacred decoration. Details involving comes, Stormtrooper, fires, Church, and Halton make the image more specific than a generic view and strengthen its local or historical value. The wider setting at Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Another strand within the photograph is historic fabric and the conservation challenge of historic interiors and artwork within the real-world context of Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR. The photograph keeps a local visual benchmark before later change alters the scene.
Church Street, Runcorn, Halton, Cheshire, England, UK, WA7 1LR
Description
Keywords: GoTonySmith,HotpixUK,wall,in,Faulkoner street,UK,M1,boxer,boxing,world,champion,art,artwork,punch,punching,Cassius Marcellus Clay Jr,Cassius Clay,the Greatest,activist,fist,Parkinsons,syndrome,streetart,street,stencil,graffiti,fighter,fighting,floats,like,a,butterfly,sting,stings,bee,anti-racism symbol,cultural icon,urban
Description: Tony Smith image Alamy 2K3XNAA - Editorial street art image shows a Muhammad Ali stencil mural on a wall in Manchester Chinatown, in the M1 postcode district of Manchester city centre. The artwork depicts Ali in a boxing stance, with a large clenched fist pushed forward and a butterfly motif painted nearby, connecting visually with his famous sporting persona and cultural legacy. To the right of the black stencil figure is a tribute text panel bearing Ali's name, life dates and an inspirational quote about knowing his own truth and being free to live on his own terms.
The image has strong editorial value because it combines sport, politics, identity, street art and urban memory in a compact Manchester city centre scene. Ali was far more than a heavyweight boxing champion. He became a global symbol of confidence, resistance, anti-war conviction, civil rights, Black pride, religious identity, sporting brilliance and personal freedom. The mural's direct visual language, using a bold black silhouette against a pale wall, suits the subject well. It gives the image a graphic, poster-like quality, while the weathered render, barred window, pipework and side-street setting place it firmly in a real urban environment rather than a gallery or formal memorial.
This photograph is useful for editorial themes around Muhammad Ali, boxing history, sporting icons, Manchester street art, Chinatown, public murals, civil rights, inspirational quotes, urban culture, stencil art, graffiti, social justice, Black history, celebrity tributes, local walking routes, city centre back streets, cultural memory and the use of public walls as informal memorial spaces. It also works for wider stories about how global figures are remembered in British cities, the relationship between sport and politics, and the continued visual power of Ali's image decades after his greatest fights. The butterfly detail, boxing stance and freedom quote make the image instantly recognisable while also giving it strong keyword value for art, sport
Faulkoner street, Chinatown, England, UK, M1
Description
Keywords: black,wall,gable,end,of,building,GoTonySmith,HotpixUK,@HotpixUK,painted,over,destroyed,art,street,port street,NQ4,Northern Quarter,mental,health,frontman,with,by,Rapper,local hero,outcry,music,icon,album,new,P19,billboard,punk,MC,graffiti,artist,World Mental Health Day,M1,street art
Description: Tony Smith image Alamy 2JTD2MX - Mural of Joy Division frontman Ian Curtis painted over with advert
Rapper Aitch has vowed to remove advert for his new album and restore the painting of ˜local hero' in Manchester
A mural of former Joy Division frontman Ian Curtis on Port Street, Manchester, has been painted over with an advert for local rapper Aitch, prompting such an outcry that the rapper has promised to restore the original painting.
Aitch, an MC from Moston in north Manchester, said he had no control over which billboards were used to advertise his new album and would never have sanctioned such an act of disrespect against a local hero .
It's come to light that the iconic Ian Curtis mural on Port Street has been painted over with my album artwork. This is the first time I've heard of this, me and my team are getting this fixed pronto. No way on earth would I want to disrespect a local hero like Ian, he tweeted. I don't just choose locations for billboards, he added.
The monochrome mural by graffiti artist Akse P19 was created in October 2020 to commemorate World Mental Health Day. It depicts Curtis performing in Brussels in 1979, a year before he killed himself.
Port Street, NQ4, Northern Quarter,Manchester, England, UK, M1 2EQ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,2022,GrandPrix,Formula1,GP F1,flag,Union,art,Mural,murals,Sir,Lewis,Hamilton,fanzone,fan zone,cars,automobiles,racing,JimmyC,Jimmy,Jimmy C,street art,The Art of James Cochran AKA JimmyC,The Art of,James Cochran,AKA JimmyC,akajimmyc,Jimmy. C,Jimmy.C,Silverstone Circuit,England,UK,NN12 8TN,Towcester,graffiti,portrait,2026,2027
Description: Tony Smith image Alamy 2JFTMNX - 03/12/2019 - A mural has been unveiled at Silverstone, the home of the British Grand Prix
A portrait of the British Formula One champion Lewis Hamilton at Silverstone 2019. Project supported by Sky Sport F1
To celebrate his stunning achievements, a mural has been unveiled at Silverstone, the home of the British Grand Prix.
Sky Sports F1 - the home of live and exclusive F1 - hired artist James Cochran , who also created the famous David Bowie mural in Brixton - to design the piece to celebrate Hamilton's latest title crown.
The impressive-looking painting displays Hamilton in his Mercedes gear, with the Union Jack acting as a stunning backdrop.
The mural has been emblazoned on a section of a wall at the world famous Silverstone circuit, a track which has seen Sir Lewis Hamilton triumph a record six times.
More at https://www.mirror.co.uk/sport/formula-1/lewis-hamilton-mural-unveiled-silverstone-21019129
Silverstone Circuit, Silverstone Village, Towcester, Northamptonshire, England, UK, NN12 8TN
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,2022,GrandPrix,Formula1,GP F1,flag,Union,art,painting,Lewis Hamilton,Mural,murals,Sir,Lewis,Hamilton,fanzone,fan zone,fan,fans,people posing,beside,cars,automobiles,racing,JimmyC,Jimmy,Jimmy C,street art,street,The Art of James Cochran AKA JimmyC,The Art of,James Cochran,AKA JimmyC,akajimmyc,Jimmy. C,Jimmy.C,graffiti
Description: Tony Smith image Alamy 2JFTMP7 - 03/12/2019 - A mural has been unveiled at Silverstone, the home of the British Grand Prix
A portrait of the British Formula One champion Lewis Hamilton at Silverstone 2019. Project supported by Sky Sport F1
To celebrate his stunning achievements, a mural has been unveiled at Silverstone, the home of the British Grand Prix.
Sky Sports F1 - the home of live and exclusive F1 - hired artist James Cochran , who also created the famous David Bowie mural in Brixton - to design the piece to celebrate Hamilton's latest title crown.
The impressive-looking painting displays Hamilton in his Mercedes gear, with the Union Jack acting as a stunning backdrop.
The mural has been emblazoned on a section of a wall at the world famous Silverstone circuit, a track which has seen Sir Lewis Hamilton triumph a record six times.
More at https://www.mirror.co.uk/sport/formula-1/lewis-hamilton-mural-unveiled-silverstone-21019129
Silverstone Circuit, Silverstone Village, Towcester, Northamptonshire, England, UK, NN12 8TN
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,painting,graffiti,spraying,art,girl,girl painting,pigtail,pigtails,pasted,paste up,various,artworks,street,lane,themes,tolerated,E1 6QL,face,faces,image,images,points,pointing,write,writes,is,life,corner,wall,walls,Victorian,East End
Description: Tony Smith image Alamy 2AE024F - . Photographed at Brick Lane, London, England, GB, E1 6QL in 2019, this is a specific real-world record of the subject, its setting and the period details surrounding it. The scene shows Art is Life,painting,graffiti,Brick Lane,eastend,London,England,UK, E1. Further facets of the subject include conservation interest, urban fabric, historic frontage, period streetscape, industrial supply chain, heritage asset, changing streetscape, regional identity, traditional building materials, historical comparison, public realm, visual archive, factory history, and industrial artefact. For contemporary context, adaptive reuse and factory closures are closely related themes, especially where the issue becomes the historical importance of everyday manufactured objects and materials. Viewed from the mid-2020s, the subject sits within continuing debate about heritage conservation, planning control and the contrast between preservation and redevelopment. As the area changes, the photograph preserves the way the place functioned before later physical or commercial change within Brick Lane, London, England, GB, E1 6QL. The wider local story also touches on changing land use, local character, historic townscape, period building, production technology, contemporary social history, heritage landmark, and building-material production. References to Brick, graffiti, painting, London, and eastend help fix the photograph to its own subject and period rather than reducing it to a generic view. A later view of Brick Lane, London, England, GB, E1 6QL may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. A further contemporary connection is adaptive reuse and the historical importance of everyday manufactured objects and materials as part of the longer story of Brick Lane, London, England, GB, E1 6QL. The image fixes a local visual benchmark as a date-specific reference.
Brick Lane, London, England, GB, E1 6QL
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,art,graffiti,junction,create or die,urban,decay,east end,eastend,street,lane,street art,streetart,painted,paintings,spay,can,old,derelict dereliction,abandoned,plastered,covered,completely,paste up,pasteup,pasteups,Victorian,buildings,building,culture,cobbled,flats,apartments,Create or Die,high streets,hollowed out
Description: Tony Smith image Alamy 2AE02EE - . A grounded stock-photo/gotonysmith-Documentary.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>documentary photograph made at Junction of Grimsby Street and Brick Lane,East London, England,UK in 2019, preserving the main subject alongside smaller details that may become more historically useful with time. The subject recorded here is Street art at the Junction of Grimsby Street and Brick Lane,East London, England,UK. Further facets of the subject include building-material production, local history, housing affordability, community housing, production works, public realm, affordable homes, industrial supply chain, historic manufacturing, community identity, social history, place identity, visual archive, and changing streetscape. From a 2025-onward perspective, the scene also connects with industrial conservation, labour history and the reuse or loss of former production sites. In the mid-2020s, planning and repairs keep the subject current, particularly through the balance between new supply and local infrastructure. For local-history research, the photograph preserves small features of identity that written records may overlook in the immediate surroundings of Junction of Grimsby Street and Brick Lane,East London, England,UK. A second layer of the scene includes archival record, residential environment, period detail, housing stock, local character, housing provision, industrial archaeology, and historical comparison. The combination of London, Brick, Junction, and Grimsby anchors the image to a recognisable activity, place or moment. By fixing the subject within Junction of Grimsby Street and Brick Lane,East London, England,UK, the image preserves more than the headline object or building: it records part of the locality's everyday history. Another useful connection is industrial conservation and the reuse or loss of former production sites as part of the longer story of Junction of Grimsby Street and Brick Lane,East London, England,UK. That local specificity strengthens the long-term documentary value of image 2AE02EE.
Junction of Grimsby Street and Brick Lane,East London, England,UK
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,Brick Lane,East London,No Place,For Hate,Bozo,London,racist,racism,British,GB,great Britain,Brexit,Tories,Bozzer,liars,Johnocchio,artists,liar,Conservatives,Conservative,Johnson,clown,clowns,Boris,E1,E1 6QL,graffiti,hard Brexit,soft brexit,art,artist,no-deal,UK Election Dec 2019
Description: Tony Smith image Alamy 2AE02K0 - . An on-location image from Brick Lane, East London, England, UK in 2019, useful both for the specific subject shown and for the evidence it retains about local identity, design, use and everyday life. At the centre of the frame is Brick Lane graffiti,No Place For Hate,Bojo The Bozo,East London,England. Other connected aspects include period detail, contemporary social history, historical comparison, place identity, electoral messaging, engineering heritage, government priorities, industrial archaeology, building-material production, community identity, historic context, social history, constituency representation, and before-and-after reference. The present-day relevance extends to local services and electoral accountability, while a wider concern is tracking how priorities change after elections. Current discussion around this subject increasingly includes manufacturing history alongside adaptive reuse, with particular attention to recording industries that shaped northern towns. From an archival perspective, the photograph anchors small features of identity that written records may overlook around Brick Lane, East London, England, UK. A second layer of the scene includes historic manufacturing, industrial artefact, traditional building materials, public policy, changing streetscape, local character, working-industry history, and civic debate. Details involving graffiti, Place, Brick, and London give the scene useful specificity and strengthen its local, cultural or historical identity. The surrounding context at Brick Lane, East London, England, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Its period value extends to local services and preserving campaign language that can quickly date when considered against later change at Brick Lane, East London, England, UK. The photograph keeps period character for later comparison.
Brick Lane, East London, England, UK
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,December,UK Election Dec 2019,Liars,The Withdrawal Method Never Works,Tory,Never Works,deal,no-deal,hard Brexit,soft brexit,art,artist,graffiti,Bozzer,Brick Lane,London,GB,E1 6QL,E1,Boris,Johnson,clown,clowns,Tories,Conservative,Conservatives,Brexit,liar,liars,Johnocchio,artists,withdrawal,method,racism
Description: Tony Smith image Alamy 2AE02N0 - . An on-location image from Brick Lane, London, England, GB, E1 6QL in 2019, useful both for the specific subject shown and for the evidence it retains about local identity, design, use and everyday life. The location is represented through Bojo The Bozo,UK Election Dec 2019,Brexit,Liars,The Withdrawal Method Never Works. The frame also contains themes of engineering heritage, production works, manufacturing heritage, party-political communication, factory history, contemporary social history, documentary photography, production technology, industrial material culture, social history, constituency representation, changing streetscape, local character, and historic manufacturing. The present-day relevance extends to housing and electoral accountability, while a wider concern is showing how national debate reaches local places. Current discussion around this subject increasingly includes embodied carbon alongside factory closures, with particular attention to recording industries that shaped northern towns. For retrospective editorial use, the photograph anchors a particular stage in the life of the location at Brick Lane, London, England, GB, E1 6QL. A second layer of the scene includes government priorities, local history, industrial archaeology, community identity, public realm, place identity, before-and-after reference, and industrial artefact. The combination of Liars, Works, Withdrawal, Election, and Method anchors the image to a recognisable activity, place or moment. Around Brick Lane, London, England, GB, E1 6QL, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Its period value extends to housing and preserving campaign language that can quickly date when considered against later change at Brick Lane, London, England, GB, E1 6QL. The photograph keeps a point of historical comparison for future local research.
Brick Lane, London, England, GB, E1 6QL
Description
Keywords: GoTonySmith,Hotpixuk,@Hotpixuk,Ireland,Dublin City,Leopold Bloom,James Joyce,Irish graffiti movement,art,public artwork,Temple Bar,Eire,Irish,graffiti,movement,Ulysses,side,of,hotel,colourful,Blooms of Dublin,colour,wall,mural,murals,decorated,outside,exterior,outdoors,rooms,bedrooms,street art,streetart,color,colorful,building,buildings
Description: Tony Smith image Alamy 2AYHHNJ - Every year on June 16th many James Joyce enthusiasts, some dressed in Edwardian costume, re-enact this epic pub crawl, and though it's referred to as a ˜literary event' it's basically an excuse for lots of drinking broken up by a bit of walking and the reading of various excerpts from the book. The event is known as Bloomsday and the first mention of such a thing was found in a letter from James Joyce to a Miss Weaver, dated June 27th 1924 and referring to a group of people who observe what they call ˜Bloom's Day' “ June 16th . The book itself must have made a big impression on someone back in the 1970s as the hotel was named after one of the story's main characters.
Fast forward to the present day and we find James Earley, a Dublin artist whose works are based on his family's artistic past within Irish stained glass art. James has been producing artworks in public spaces since 1997, playing an active role in the Irish graffiti movement, and from 2010 has developed abstract figurative works based on the principles and beauty of stained glass. He has travelled widely with his art throughout Europe, Asia and America and has worked on a variety of large-scale projects with various art-based organisations and multi-nationals which support the arts.
In 2014 James was commissioned to paint the exterior of Blooms Hotel
the project took a full year to complete and to date is the largest public artwork in Ireland. When I first saw it I was quite surprised that this street art wasn't just part of one wall, it was the whole exterior of the building. With my liking for bright colours and abstract, psychedelic designs I just had to take a few photos although the names on the pictures meant nothing to me at the time until I did a bit of later research and found the connection to James Joyce's Ulysses
3-6 Anglesea St, Temple Bar, Dublin 2, D02 FK84, Ireland
Description
Keywords: HotpixUK,@HotpixUk,GoTonySmith,NYC,NY,New York,Manhattan,USA,city,city centre,US,punk,new wave,music,icon,vocalist,ticket,wall,Lower Manhattan,club,venue,CBGB,CBGB band,1970s,rock band,American,punk band,Chris Stein,Blondie mural,art,graffiti,Deborah Harry,RIP Debbie Harry,Deborah Ann Harry,Playboy Bunny,OMFUG,Country BlueGrass Blues,27,Parallel Lines,rap
Description: Tony Smith image Alamy 2AFK65H - Large graphic mural depicting Debbie Harry, singer and co-founder of the American rock band Blondie, covers a wall at 2 Bleecker Street near its junction with the Bowery in Lower Manhattan, New York City. Created in 2017 by artist Shepard Fairey in association with the LISA Project NYC, the artwork presents Harry with platinum-blonde hair, red lips, angular earrings and leopard-print clothing. Its bold black, cream, orange and red palette combines portraiture with concert posters, typography and imagery linked to Blondie's career.
The central portrait was based on a photograph by New York music photographer Bobby Grossman. Surrounding details include Blondie graphics, stylised band figures and a ticket advertising a Central Park performance on Wednesday 27 June. The collage-like composition reflects Fairey's poster, screen-printing and street-art aesthetic while celebrating Harry as an influential female figure in punk, new wave and popular music.
The mural stood close to the former CBGB nightclub at 315 Bowery. Founded by Hilly Kristal in 1973, CBGB initially took its name from Country, Bluegrass and Blues, although it became internationally associated with original underground rock. During the 1970s, its small stage helped establish a distinctive New York scene that included Blondie, Television, the Ramones, Talking Heads, Patti Smith Group, Richard Hell and the Voidoids, and other emerging performers.
Blondie developed within this downtown artistic community before achieving international commercial success with songs blending punk, pop, disco, reggae and new wave. Harry's distinctive appearance, commanding stage presence and songwriting partnership with Chris Stein made her one of the period's most recognisable performers.
The photograph records the mural beneath a partly cloudy sky before it was replaced in 2022 by Fairey's tribute to the New York hardcore band Bad Brains. It therefore preserves a temporary work of public art and a changing Bowery streetsca
Blecker Street, Lower Manhatten, New York City, NY, USA, North America
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Fuzzylogic75 stencil art,stencil,Northern Quarter,figures,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,artist,stickers,street art,graffiti,paste ups,art,NorthernQuarter,colourful,colorful,colours,arm,pipe,tube,tag,tags,paper,pasted
Description: Tony Smith image Alamy RFF64K - . A grounded editorial photograph records the everyday reality of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, as photographed in 2019. The scene is specifically associated with Fuzzylogic75 stencil art, Manchester Northern Quarter, NQ4, Manchester, England, UK. Related ideas embodied by the location include mural culture, urban visual culture, contemporary mural, community expression, creative regeneration, urban graphics, city artwork, public art, graphic intervention, public realm art, street-level design, and creative streetscape. Seen from a 2025-onward perspective, community artwork also connects with local identity, graffiti versus commissioned work and efforts aimed at creative reuse of redevelopment sites. Because this is a time-specific record of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, later comparison can reveal changes in signage, ownership, land use, transport, street furniture, building condition and the way the public uses the surrounding space. The location additionally reflects art-led regeneration, temporary artwork, illustrated hoarding, local identity, visual placemaking, urban artwork. The scene is further associated with street art, stencilling, street, facs. The scene also carries the language of , and street creativity. Modern coverage of temporary urban art frequently reaches beyond the immediate scene to questions of graffiti versus commissioned work, youth culture and recording temporary artwork. Viewed retrospectively, the photograph can reveal the condition of buildings, public-realm details, local business activity, patterns of everyday use, and regional identity within the surrounding area. Taken together, these details make the photograph a useful record of changes of use, local character, public activity, the appearance of the built environment, and period design as part of the area's longer social history.
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Northern Quarter,RIP,NorthernQuarter,SSOSVATIME,art,street art,graffiti,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,artist,stickers,paste ups,figures,colourful,colorful,colours,silver,monochrome,BW,black and white,hat,hatter,mad,time
Description: Tony Smith image Alamy RFF64M - . A grounded editorial photograph captures the physical context of Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, as it appeared in 2019. The location is represented through SSOSVA TIME RIP the mad hatter, Northern Quarter, Manchester, England, UK. Related ideas embodied by the location include city artwork, street-level design, mural culture, temporary artwork, public realm art, art-led regeneration, urban graphics, community art, local identity, illustrated hoarding, street creativity, and urban artwork. Seen from a 2025-onward perspective, visual placemaking also connects with temporary installations, public-realm investment and efforts aimed at recording temporary artwork. Documentary value is strengthened by the precise setting at Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN, where even ordinary details of frontage, equipment, signs, traffic or public activity may disappear as the area evolves. Beyond the immediate subject, the setting involves graphic intervention, contemporary mural, community expression, urban visual culture, creative regeneration, public art. Other local associations include pls fix me, I am broke, Alice, Alice in Wonderland, stencil. The scene also carries the language of , and creative streetscape. Modern coverage of visual placemaking frequently reaches beyond the immediate scene to questions of temporary installations, graffiti versus commissioned work and creative reuse of redevelopment sites. The combination preserved here provides evidence of signage and branding, commercial identity, physical infrastructure, community life, and local continuity as an authentic period reference. As the location changes, the frame remains a reference for historic fabric, everyday services, planning and redevelopment, movement through the area, and social change at this precise location. The location view retains the area's visual identity for visual before-and-after study.
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: Manchester,City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,art,streetart,street art,M1 1DF,North West,M1,artist,artwork,urban,native,red,background,paint,painting,graffiti,Spear St,Aboriginal,faces,Aboriginals,face,on,of,looking,out,fence,site,building,Hip-Hop,HipHop
Description: Tony Smith image Alamy RFF67R - . A carefully observed scene preserves the social and built context of Spear Street, Manchester, England, UK, in documentary coverage dating from 2019. The frame is associated with Aboriginal face on red background of graffiti, Spear St, Northern Quarter, Manchester, England, UK. Related ideas embodied by the location include period property, urban fabric, creative regeneration, urban graphics, visual placemaking, community expression, public art, historic environment, urban visual culture, adaptive reuse, architectural heritage, and illustrated hoarding. Seen from a 2025-onward perspective, visual placemaking also connects with regeneration, local identity and efforts aimed at recording temporary artwork. The wider contemporary story of historic buildings now includes conservation of original fabric alongside maintenance cost, while policy and investment increasingly consider keeping older buildings useful. Small period details preserved at Spear Street, Manchester, England, UK may become historically important as commercial occupants, public services, infrastructure and the built environment change, making the image useful for retrospective editorial coverage. The location additionally reflects mural culture, local landmark, historic townscape, city artwork, traditional building, conservation interest. Other local associations include Urban art in Spear Street, Spear Street, urban art, vibrant, NQ4. The location further reflects street-level design, built heritage, graphic intervention, townscape identity, urban conservation, historic built environment, heritage asset, architectural character, street creativity, and period architecture. Modern coverage of urban murals frequently reaches beyond the immediate scene to questions of community participation, temporary installations and recording temporary artwork. This image retains local character before further change occurs.
Spear Street, Manchester, England, UK
Description
Keywords: Manchester,City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,art,streetart,street art,M1 1DF,North West,M1,artist,artwork,urban,native,red,background,paint,painting,graffiti,Spear St,Aboriginal,faces,Aboriginals,face,on,of,looking,out,fence,site,building
Description: Tony Smith image Alamy RFF67W - . This descriptive scene records a moment within Spear Street, Manchester, England, UK, in a view made during 2019. The location is represented through Aboriginal face on red background of graffiti, Spear St, Northern Quarter, Manchester, England, UK. The photograph carries associations with street creativity, period architecture, heritage asset, architectural heritage, heritage streetscape, urban visual culture, urban fabric, illustrated hoarding, visual placemaking, historic environment, public realm art, and community expression. For present-day editorial use, street-level design can also illustrate debates about community participation and regeneration, particularly where these affect stronger place identity. Modern coverage of historic buildings frequently reaches beyond the immediate scene to questions of planning control, vacancy and heritage-led regeneration. The date and location give the photograph archival strength: future views of Spear Street, Manchester, England, UK may show different businesses, branding, services, architecture, traffic patterns or redevelopment, allowing clear before-and-after comparison. The surrounding context also touches on conservation architecture, community art, urban graphics, historic townscape, conservation interest, historic fabric. Further recorded details include Urban art in Spear Street, Spear Street, urban art, vibrant, NQ4. Its context additionally embraces townscape identity, architectural detail, local identity, creative streetscape, built heritage, traditional building, city artwork, historic built environment, period property, and mural culture. In the mid-2020s, community artwork is increasingly discussed through regeneration and temporary installations, with attention turning to community-led design. That gives this view of Spear Street, Manchester, England, UK continuing value for local history, retrospective reporting and visual comparison.
Spear Street, Manchester, England, UK
Description
Keywords: city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,graffiti,art,artist,paint,painting,urban,graf,hiphop,northernquarter,Dog,man,dogface,cloth cap,Houldsworth St,NQ4,north west England,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,Manchester Northern Quarter,M1 1JW,M1,face,dog,head
Description: Tony Smith image Alamy RFF688 - . A close documentary record captures the character of Manchester Northern Quarter, England, UK, M1 1JW, in this period view from 2019. The principal point of reference is Dog man, dogface in cloth cap, Houldsworth Street, Northern Quarter, Manchester, England, UK. The wider setting includes creative regeneration, community expression, illustrated hoarding, urban visual culture, street creativity, public art, visual placemaking, community art, urban graphics, urban artwork, creative streetscape, and mural culture. In the mid-2020s, community artwork is increasingly discussed through temporary installations and community participation, with attention turning to stronger place identity. Over time, this view of Manchester Northern Quarter, England, UK, M1 1JW can support local-history and planning research by preserving details of appearance, occupation, signage, public access and everyday use that written records may omit. The scene also relates to temporary artwork, public realm art, street-level design, art-led regeneration, contemporary mural, graphic intervention. Associated details include Dogman, dog face, sinister, hands, City centre. A second layer of description includes local identity, and city artwork. Current debate around street-level design often combines graffiti versus commissioned work, local identity and the practical challenge of community-led design. For future comparison, the scene preserves planning and redevelopment, everyday services, movement through the area, historic fabric, and social change as an authentic period reference. Viewed retrospectively, the photograph can reveal transport patterns, public access, architecture and streetscape, ownership or occupation, and neighbourhood identity at this precise location. That gives this view of Manchester Northern Quarter, England, UK, M1 1JW continuing value for local history, retrospective reporting and visual comparison.
Manchester Northern Quarter, England, UK, M1 1JW
Description
Keywords: Manchester,City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,Bee,Mcr,Bees,Busy Bee,symbol,art,artist,mural,tribute,The Koffee Pot cafe,Tib Street,22 worker bees,representing,22 people killed,Manchester Arena bombing,graffiti artist Russell Meeham,Qubek,Tib St,worker bees,bomb,graffiti,tragic,Mancunian,The North Will Rise Again,Oldham St,M4 1LE,M4,Madchester
Description: Tony Smith image Alamy RFF68B - This new mural is our Manc tribute to those killed in the Manchester Arena attack.
The huge image of 22 Manchester worker bees has been emblazoned on a wall on the side of the Koffee Pot building in the heart of the Northern Quarter.
Each bee, pictured swarming around a honey heart, represents one of the innocent people killed in the horrific attack.
It has been completed over last weekend by graffiti artist Russell Meeham , also know as ˜Qubek'. As word spread about the work of art taking shape people came past to see what he was doing. When the last bee was competed it drew a round of applause.
Manchester bees mural: Amazing Mancunian tribute to the 22 victims of the terror attack
MEN Bee mural being painted on the side of the Koffee Pot on Oldham Street, Manchester by artist Qubek
View gallery
Two days after the attack, Russ painted the old toilet block in Stevenson Square with bees and two hands joined together in a heart.
It prompted the M.E.N to commission him to create the mural.
Working from atop a cherry picker armed with dozens of cans of spray paint and some music, Russ spent two days creating his masterpiece.
Cafe bosses have previously turned down all requests for it to be used for a mural but kindly agreed to this one.
Speaking as he worked on his mammoth tribute Russ said: It's simple but effective, without being too morbid. Everyone will know why we've painted it and it's nice to have been involved in the project.
MEN Bee mural being painted on the side of the Koffee Pot on Oldham Street, Machester by artist Quebek
MEN Bee mural being painted on the side of the Koffee Pot on Oldham Street, Machester by artist Quebek (Image: Manchester Evening News)
I did a piece following the bombing to put a positive message out there to represent the community in Manchester and a tribute to those who lost their lives that wasn't too morbid.
It got people talking and, from what I saw, brightened a lot of people's days.
84-86 Oldham St, Manchester, North West England, UK, M4 1LE
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,German,Rhine,City Centre,ancient Mogontiacum,ancient,Mogontiacum,historic,town,mogontiacum,steps,Graffiti,Kleine Weigasse 12,art,12,55116,city,centre,street,streets,alley,looking,down,downhill,step,tag,tags,writing,vandals,vandalism,high,higher,part,area,of,history
Description: Tony Smith image Alamy RGGE33 - . This location-led image sets out the social and built context of Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany, in this period view from 2018. The location is represented through Graffiti, Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany, Europe. The location also connects creative streetscape, period property, creative regeneration, conservation architecture, adaptive reuse, community art, visual placemaking, temporary artwork, traditional building, architectural detail, community expression, and conservation interest. The wider contemporary story of visual placemaking now includes public-realm investment alongside regeneration, while policy and investment increasingly consider stronger place identity. Current debate around older urban fabric often combines energy retrofit, vacancy and the practical challenge of heritage-led regeneration. Small period details preserved at Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany may become historically important as commercial occupants, public services, infrastructure and the built environment change, making the image useful for retrospective editorial coverage. The resulting scene connects with art-led regeneration, heritage streetscape, local identity, public realm art, city artwork, local landmark. Associated details include Rhineland Palatinate, Deutschland, street, city. A second layer of description includes contemporary mural, urban visual culture, architectural heritage, historic built environment, mural culture, urban conservation, street-level design, public art, historic environment, and architectural character. Seen from a 2025-onward perspective, temporary urban art also connects with youth culture, graffiti versus commissioned work and efforts aimed at community-led design. This period image preserves the location's physical context within the evolving townscape. This period image preserves the location's physical context within the evolving townscape.
Kleine Weigasse 12, 55116 Mainz, Rhineland-Palatinate, Germany
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,NOHO NYC,NYC,New York City,St Marks Place,St Marks Place NYC,street,New York Street,USA,America,City Centre,city,centre,center,city center,New York Travel Tourism,shop,cafe,poster,front,shopfront,inner city,downtown,streetart,spray,spraycan,expression,neighborhood,graffiti,art,Manhattan,East Village,attraction,tourist,tourism
Description: Tony Smith image Alamy RBF065 - . A place-specific photograph preserves the physical context of the recorded location, in a documentary image made in 2018. Within that setting the photograph concentrates on Physical Graffiti Tea Shop, St Marks, Graffitea, East Village, Manhattan, NYC,NY, USA. Other closely connected aspects of the subject are bricks-and-mortar retail, retail decline and renewal, chain-store economy, creative regeneration, tourism economy, consumer retail, food-and-drink business, urban commerce, hospitality premises, destination economy, public art, and shopping district. The wider contemporary story of retail streets now includes changing footfall alongside brand consolidation, while policy and investment increasingly consider mixed-use town centres. Current debate around community artwork often combines regeneration, public-realm investment and the practical challenge of recording temporary artwork. In the mid-2020s, local dining is increasingly discussed through changing visitor patterns and staffing, with attention turning to sustainable tourism. The photograph fixes the recorded location at one identifiable stage in its history, providing a reference against which later refurbishment, closure, demolition, conversion, new ownership or altered public use can be assessed, specifically in relation to Physical Graffiti Tea Shop. The view also records themes involving visitor economy, temporary artwork, illustrated hoarding, visitor destination, high-street commerce, art-led regeneration. Associated details include New York St Marks Place, Eastvillage. A second layer of description includes customer service, commercial frontage, restaurant sector, shopping habits, food culture, city-centre economy, commercial streetscape, hospitality trade, catering trade, and local trading. Seen from a 2025-onward perspective, high-street retail also connects with hybrid working, changing footfall and efforts aimed at bringing empty units back into use.
Description
Keywords: style,Glasgow Queen St,Scotland,gotonysmith,grafitti,art,vandelism,UK,walking,walks,a,dog street art,Banksy,G1,Queen Street,Glasgow,G1 3DD,yard,alley,alleyway,back entry,boy,dog,stencil,stencils,walk,pasteup,paste up,hoodie,youth,young,adolescent,adolescents,threat,threatening,stencilled,Hip-Hop,HipHop,urban,graffiti
Description: Tony Smith image Alamy HKHW64 - . Made at Queen Street, Glasgow, Scotland, UK, G1 3DD in 2017, 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 image documents Boy walking his dog stencil, Queen Street, Glasgow, Scotland, UK, G1 3DD. Another layer of the photograph includes local history, visual archive, everyday life, temporary artwork, street creativity, visual street culture, changing land use, local character, public art, period detail, mural culture, street-level design, documentary photography, and community art. The wider contemporary story combines local identity, temporary works and the role of murals and stencils in giving creative districts a distinctive identity. For later comparison, the photograph preserves equipment and working practice at Queen Street, Glasgow, Scotland, UK, G1 3DD, details that may look very different after replacement signage. Further associations within the scene are community identity, archival record, public realm, social history, before-and-after reference, graffiti heritage, regional identity, and historical comparison. The combination of Scotland, walking, stencil, Queen, and Glasgow anchors the frame to a recognisable activity, place or moment. Around Queen Street, Glasgow, Scotland, UK, G1 3DD, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Another strand within the photograph is local identity and the blurred boundary between commissioned public art and unsanctioned graffiti as part of the longer story of Queen Street, Glasgow, Scotland, UK, G1 3DD. The setting also helps illustrate regeneration and the role of murals and stencils in giving creative districts a distinctive identity when considered against later change at Queen Street, Glasgow, Scotland, UK, G1 3DD.
Queen Street, Glasgow, Scotland, UK, G1 3DD
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Dedicated,to,Bobby McCrudden,Mundo O-Rawe,Pearse Jordan,Mundo ORawe,flag,rifle,gun,guns,people,family,gable end,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Irish volunteers,Irish,volunteers,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Irish History,Ireland History,Northern Ireland History
Description: Tony Smith image Alamy HEW1BA - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,street,Amcomri St,resistance,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HEW1G8 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,800 years of Crime,800,years,of,Crime,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0AB - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,IRA Volunteer,Joe McDonnell,Joe,McDonnell,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B4 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B5 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Our Revenge will be the laughter of our children,Our,Revenge,will,be,the,laughter,of,our,children,Bobby,Sands,MP,Bobby Sands MP,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B7 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,MP,Bobby Sands,hero,martyr,soldier,terrorist,hunger striker,hunger,striker,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B8 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Library,book,books,learning,catholic,community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0B9 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,RPG Avenue,IRA Beechmount Cafe,Eiri Amach 1916 na casca,1916,Ave,Avenue,Roll Of Honour,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDPM1E - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,RPG Avenue,IRA Beechmount Cafe,Eiri Amach 1916 na casca,1916,Ave,Avenue,Roll Of Honour,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDPM1P - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,People should Not Inform,Police Service Northern Ireland,Not Welcome In This area,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDPM5Y - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Easter Rising,James Connolly,Seamus Ó Conghaile,outside,society,HQ,office,Erected,March,2016,James Connolly statue,bronze,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Irish History,Ireland History,Northern Ireland History,Belfast Catholic Community
Description: Tony Smith image Alamy HDWTJJ - James Connolly (Irish: Séamas Ó Conghaile
5 June 1868 “ 12 May 1916) was an Irish republican and socialist leader, aligned to syndicalism and the Industrial Workers of the World.
He was born in the Cowgate area of Edinburgh, Scotland, to Irish-born parents. He left school for working life at the age of 11, but became one of the leading Marxist theorists of his day. He also took a role in Scottish and American politics. He was executed by a British firing squad because of his leadership role in the Easter Rising of 1916.
in 1910 he was right-hand man to fellow-syndicalist James Larkin in the Irish Transport and General Workers Union. He stood twice for the Wood Quay ward of Dublin Corporation but was unsuccessful. His name, and those of his family, appears in the 1911 Census of Ireland - his occupation is listed as National Organiser Socialist Party
In 1913, in response to the Lockout, he, along with an ex-British officer, Jack White, founded the Irish Citizen Army (ICA), an armed and well-trained body of labour men whose aim was to defend workers and strikers, particularly from the frequent brutality of the Dublin Metropolitan Police. Though they only numbered about 250 at most, their goal soon became the establishment of an independent and socialist Irish nation. He also founded the Irish Labour Party as the political wing of the Irish Trade Union Congress in 1912 and was a member of its National Executive. Around this time he met Winifred Carney in Belfast, who became his secretary and would later accompany him during the Easter Rising.
Connolly was sentenced to death by firing squad for his part in the rising. On 12 May 1916 he was taken by military ambulance to Royal Hospital Kilmainham, across the road from Kilmainham Gaol, and from there taken to the gaol, where he was to be executed. Visited by his wife, and asking about public opinion, he commented, They will all forget that I am an Irishman
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Clowney,Street,Hunger Strikers,Maggie Thatche,think again,Hunger Strike,Striker,catholic,community,catholic,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDWTNH - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,You Will Never Walk Alone,You,Will,Never,Walk,Alone,Never Walk Alone,help,line,helpline,Help Line,smartphone,headphones,gable,end,Gable End,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,street,Ballymurphy,St,Ballymurphy St,Belfast streets,Belfast streets,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 HDWTNT - 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
Ballymurphy St, off Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,HBlock,Smash,H-Block,Brendan Hughes,Irish Prisoners,Irish,Prisoners,face,faces,posters,poster,corner,Sinn Fein,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HEEF8N - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Peace,Wall,international,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 HEEFC0 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Belfast Garfield Street,Garfield Street,streets,City Centre,city,centre,Northern Ireland,UK,Venus tattoo Studio,shop,award,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,graffiti,grafitti,honour,painting,wall,walls,tribute,grafiti,paint,painting,tag,tagging,tagged,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast Garfield St,2b Gresham St,Gresham,St,street,1967,2b Gresham street,Street Art,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7MCF - . This location-specific image from Garfield street,Belfast,County Antrim,Northern Ireland,UK in 2011 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The main point of reference is Venus tattoo Studio Skulls, Belfast 2b Gresham St, City Centre, Northern Ireland, UK. Other connected aspects include visual street culture, place identity, everyday life, public realm, graffiti heritage, changing land use, mural culture, local character, documentary photography, street creativity, social history, archival record, community art, and public art. In present-day coverage, the subject reaches into temporary works and local identity, not least because of how regeneration can both promote and displace informal urban art. For later comparison, the photograph preserves lettering, decoration and surface detail at Garfield street,Belfast,County Antrim,Northern Ireland,UK, details that may look very different after altered transport patterns. Further associations within the scene are regional identity, temporary artwork, urban graphics, street-level design, before-and-after reference, changing streetscape, community identity, and public-realm art. References to Ireland, Northern, Studio, Skulls, and Gresham give the picture a strong period identity and tie it closely to its named subject. The wider setting at Garfield street,Belfast,County Antrim,Northern Ireland,UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The setting also helps illustrate temporary works and how regeneration can both promote and displace informal urban art within the specific setting of Garfield street,Belfast,County Antrim,Northern Ireland,UK. The scene captures evidence of changing use within the wider story of Garfield street,Belfast,County Antrim,Northern Ireland,UK.
Garfield street,Belfast,County Antrim,Northern Ireland,UK
Description
Keywords: 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,andy warhol campbell soup
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: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Volunteer,Sean McCaughey,Sean,catholic,community,catholics,Belfast Catholic Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDF0AN - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: HousingITguy,Project365,2nd 365,HotpixUK365,Tone Smith,GoTonySmith,365,2365,one a day,Tony Smith,Hotpix,Wood street,Wood St,Taunton,Somerset,art,Graffiti
Description: Tony Smith image Flickr 4625530145 - 'If you are on Twitter, do add a follow there and I will follow back in return mobile.twitter.com/HotpixUK
Have a look at my archived photography, from ten years back at www.flickr.com/photos/hotpixuk/
All images (c) Tony Smith - @HotpixUK - No images to be used without express permission',
Description
Keywords: grafiti,graffiti,graffitti,grafitti,stencil,street,streat,art,ar grafiti,artist,spray,can,strictly,no,authorised,revenge,nd,co,company,tonysmith,lomo,holga,hotpicks,hotpix!,#tonysmithhotpix,hotpix.rocketmail.com,hotpixuk.rocketmail.com,contact.tony.smith.gmail.com,tony.smith.gmail.com,tonys@miscs.com,tony.smith@mis-ams.com,@hotpixuk
Description: Tony Smith image Flickr 4738089885 - 'Far from a modern stream of art or general annoyance, graffiti has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire. Graffiti and graffito are from the Italian word graffiato ('scratched').
The first known example of 'modern style' graffiti survives in the ancient Greek city of Ephesus (in modern-day Turkey). Local guides say it is an advertisement for prostitution. Located near a mosaic and stone walkway, the graffiti shows a handprint that vaguely resembles a heart, along with a footprint and a number. This is believed to indicate that a brothel was nearby, with the handprint symbolizing payment.
In modern times, spray paint, normal paint and markers have become the most commonly used materials. In most countries, defacing property with graffiti without the property owner's consent is considered vandalism, which is punishable by law. Sometimes graffiti is employed to communicate social and political messages or just to be comic or witty.
To some, it is an art form worthy of display in galleries and exhibitions
to others it is merely vandalism. Graffiti has since evolved into a pop culture existence often related to underground hip hop music and b-boying creating a lifestyle that remains hidden from the general public.
Banksy is one of the world's most notorious and popular street artist who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England but his work can be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest.
Much of Banksy's artwork can be seen around the streets of London and surrounding suburbs, though he has painted pictures around the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions have also taken place since 2000, and recent works of art have fetched vast sums of money.
Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art while city officials and law enforcement have deemed all work by Banksy to be vandalism and property destruction. Many members of Bristol's communities feel that Banksy's graffiti reduces property value and encourages rogue behavior.
Before anyone comments, this one is not likely to be a 'Banksy'. If it were I may have taken it into pieces and loaded it into the boot of my car for my retirement fund 8-)
NB: Like all the images on this stream, full size prints up to 30x20inches are available, Check my profile for how to contact me.
Checkout more images away from home from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 so I can follow all your new uploads.
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC',
Description
Keywords: george,osbourne,chancellor,shadow,opposition,manchester,UK,tatton,knutsford,tory,candidate,conservative,sign,general,election,2010,may,6th,true,blue,majority,cheshire,electorial,parliament,westminster,government,britain,british,politition,politicion,politic,politics,taton,graffitti,grafitti,graffiti,graffittied,street,art,Labour,Liberal,Democrats,Green,Party,libdems,lib,dems,Hotpicks,hotpics,hot,pics,pix,picks,politician,hotpix!
Description: Tony Smith image Flickr 4526888778 - 'For goodness sake someone sort the economy (!)
I spotted this on the way to work (and stopping to snap it nearly made me late!).
Check Gideon out at en.wikipedia.org/wiki/George_Osborne . At least his eyebrows are co-ordinated with the hair on his head :-)
I did not notice this yesterday, mabe it has been added after last nights TV debate, who knows. I did also see similar decorations on election posters in Northamptonshire earlier in the week. So we might see more of this across the UK, keep your eyes peeled.
Checkout more of green and pleasant Cheshire from my photostream w=33062170@N08&
m=tags\'>www.flickr.com/search/?q=cheshire&
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...
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(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC 07092182899',
Description
Keywords: lothian,still,fucking,skint,graffitti,grafitti,graffiti,grafitto,street still,street,art,edinburgh,scotland,city,UK,united,kingdom,spray,paint,arty,artistic,arts,purple,blue,silver,disturbia,tourist,destination,scottish,escotia,NRSP,edinbrugh,hotpix!,Edinburg,edimburgh
Description: Tony Smith image Flickr 4523624815 - 'Theft = Still f**king skint
When you cast your eyes upon the skylines
Of this once proud nation
Can you sense the fear and the hatred
Grwoing in the hearts of its population
And our youth, oh youth, are being seduced
by the greedy hands of politics and half truths
The beaten generation, the beaten generation
Reared on a diet of prejudice and mis-information
The beaten generation, the beaten generation
Open your eyes, open your imagination
We're being sedated by the gasoline fumes
and hypnotised by the satellites
Into believing what is good and what is right
You may be worshipping the temples of mammon
Or lost in the prisons of religion
But can you still walk back to happiness
When you've nowhere left to run?
And if they send in the special police
To deliver us from liberty and keep us from peace
Then won't the words sit ill upon their tongues
when they tell us justice is being done
and that freedom lives in the barrels of a .....warm gun
Lyrics somewhat still true over 20 years after they were penned.
Checkout more mixed disturbia from my photostream w=33062170@N08\'>www.flickr.com/search/?q=disturbia&
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(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC 07092182899',
Description
Keywords: urban,art,grafitti,graffiti,graffitti,poole,town,district,england,english,sea,side,seaside,ipod,music,hotpix!,#tony,#smith,#tonysmith,#tonysmithhotpix,#tonysmithotpix
Description: Tony Smith image Flickr 4819024362 - 'Play a track from this album here.
?Whats this iPod Shuffle set all about? Read about it here
Physical Graffiti is the 6th album by Led Zeppelin. I find it difficult to pick just one track from this spectacular double album.
It was released on 24 February 1975. Recording sessions for the album were initially disrupted when John Paul Jones considered leaving the band. After reuniting at Headley Grange, the band wrote and recorded eight songs, the combined length of which stretched the album beyond the typical length of an LP. This prompted the band to make Physical Graffiti a double album by including previously unreleased tracks from earlier recording sessions.
Physical Graffiti was commercially and critically successful
the album is 16 times platinum (though this signifies sales of 8 million copies, as it is a double album) in the United States alone, and has come to be regarded as one of Led Zeppelin's defining works. The album is ranked highly on several prominent best album or best rock album lists of all time.
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Fleetsbridge Underpass Grafitti, Poole, Dorset UK
This brilliant piece of colourfull grafitti and tagging stretches ten slabs of concrete in an underpass adjacent to a skatepark. It is a joiner of five wide images.
This was a youth arts project to design a new mural for the Fleetsbridge Skate Park, Creekmoor. west of Poole, under the A35
The final design was painted at the skate park around Easter 2007, followed by a celebration event on the final day to launch the new mural. The Mayor of Poole, Cllr Mrs Judy Butt turned out with other supporters of this project to see the finished mural and congratulate everyone involved for their hard work.
This great project was funded by the Community Foundation , Borough of Poole and Wave Arts Education Agency, and in partnership with the Creekmoor Community Association and Millennium Volunteers. The project brought in professional artist Felix Braun to conduct workshops for 120 young people from various schools and youth clubs across Poole.
Three young people gained a Youth Arts Award qualification whilst working on their project, which they can use towards future youth arts careers. Good for them !
Amazingly on the end of the bypass wall is a council sign stating 'No Grafitti'.
NB: Like all the images on this stream, full size prints up to 30x20inches are available, Check my profile for how to contact me.
Checkout more w=33062170@N08\' target=\'_blank\'>urban images from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 target='_blank' so I can follow all your new uploads.
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC',
