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Kaynaklar
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K1 Brighenti, A. M. (2016). Graffiti, Street Art and the Divergent Synthesis of Place Valorisation. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 158-167). New York: Routledge.
K2 Coffey, M. K. (2012). How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State. London: Duke University Press.
K3 Evans, G. (2016). Graffiti art and the city: from piece-making to place-making. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 168-182). London: Routledge.
K4Ferrell, J. (1996). Crimes of Style: Urban Graffiti and the Politics of Criminality. Boston: Northeastern University Press .
K5 Keegan, P. (2014). Graffiti in Antiquity. Oxon: Routledge.
K6 Lewisohn, C. (2008). Street Art. London: Tate Publlishing.
K7 Macdonald, N. (2001). The Graffiti Subculture: Youth, Masculinity and Identity in London and New York. New York: Palgrave Macmillan.
K8 Olberg, S. T. (2013). Political Graffiti on the West Bank Wall in Israel/Palestine. New York: The Edwin Mellen Press.
K9 Phillips, S. A. (2016). Deconstructing gang graffiti. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 48-60). London: Routledge.
K10 Rahn, J. (2002). Painting Without Permission. Westport, CT: Bergin & Garvey.
K11 Schacter, R. (2013). The World Atlas of Street Art and Graffiti. London: NewSouth Publishing.
K12 Schacter, R. (2014). Ornament and Order: Graffiti, Street Art and the Parergon. Surrey: Ashgate Publishing Limited.
K13 Theisen, O. J. (2010). Walls That Speak: The Murals of John Thomas Biggers. Denton, Texas: University of North Texas Press.
K14 Wells, M. M. (2016). Graffiti, street art, and the evolution of the art market. In J. I. Ross, Routledge Handbook of Graffiti and Street Art (pp. 464-474). New York: Routledge.
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