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Melbourne’s laneways and alleyways have become a canvas reflecting the city’s creative energy. Once a world-renowned graffiti haven, the city now celebrates street art as an integral part of its cultural identity. In the 1970s and 1980s, Melbourne youth were inspired by New York’s graffiti scene, but over time the city forged its own path. By the 2000s Melbourne was dubbed the “stencil capital of the world” and even hosted the world’s first Stencil Festival in 2004. Visitors today will encounter towering murals, intricate stencils, and colorful paste-ups around every corner. Official Melbourne guides note that laneways like Hosier Lane and AC/DC Lane are now “iconic” destinations. This guide offers a deep dive into why these alleys matter: from the history that made Melbourne a street-art hub to the artists and stories behind the paint.
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Strolling Melbourne’s graffiti lanes feels unlike visiting a conventional gallery. Surfaces here include rough brick, glass walls, corrugated metal and even pavement, so the art’s texture and scale are dramatic. Works range from skyscraping portraits to tiny hidden paste-ups. At any time, you might see a stencil art piece slowly weathering or a new mural being buffed over in minutes. The scene is ephemeral – as an official City of Melbourne note observes, Hosier Lane is a “shifting canvas” where graffiti vanishes and appears overnight.
The laneways are bustling during the day, especially on weekends, though “bustling” in Melbourne means lively rather than overcrowded. Even during peak times the crowd tends to linger by each piece rather than crowd it, thanks to ample alley space. Visitors should wear comfortable shoes – many alleys are cobblestone or brick, which can be slippery when wet – and carry an umbrella or cover since Melbourne’s weather can change rapidly. In the evening the lanes quiet down; some (like Duckboard Place) remain lit enough for long-exposure photography, but in general it’s best to plan daytime visits or guided after-dark walks for safety and ease of viewing.
For first-time visitors, a guided itinerary helps cover the highlights efficiently. Three sample routes will accommodate different time frames and interests. All begin in the central laneway precinct near Flinders Street Station and Federation Square, where some of the densest art can be found.
Below we examine the city’s key street-art laneways, giving historical context and tips for each.
Melbourne’s street art scene extends into other neighborhoods, each with its own flavor. North of the city, Fitzroy (Collins/Brunswick areas) became a battleground for big walls. The Everfresh crew (Phibs, Rone, Meggs, etc.) stamped Fitzroy’s backstreets in the 2000s, so look for their work on Johnston, Brunswick and Rose Streets. One iconic Fitzroy mural (pictured below) spans 22 meters at The Night Cat corner: a riot of color and cartoonish characters by Everfresh from 2009. In recent years, Fitzroy has also embraced Indigenous art (see below).
Collingwood is likewise artistic. Its crown jewel is the Keith Haring mural: painted on a low concrete wall of the Collingwood Technical College (now Collingwood Yards) in June 1984, it is a rare surviving original by the New York artist. This public, sanctioned piece (depicting playful figures) stands on Johnston Street near Smith Street. The city now actively preserves it (even heritage-listing it), so it remains vivid decades later. Nearby, new works sprouted in industrial lanes off Smith and Peel Streets, often as commercial commissions.
Further north, Brunswick’s Stockyards and Lennox Street areas have vibrant throw-ups and posters, and a few large murals funded by council street-art projects. While less concentrated than Fitzroy, Brunswick offers a neighborhood vibe – stops like Dogg Inn Bar and local cafés often have art nearby.
On the waterfront, Docklands/Southbank is not ignored by street artists. In 2021 artist Atong Atem installed a striking neon artwork on a 22-meter glass facade at Hanover House (at Riverside Quay) – a portrait entwined with larger-than-life florals. This 3D light sculpture is visible from across the Yarra River in the evenings. Elsewhere in Docklands, new precincts feature commissioned murals (for instance, at Port Melbourne’s reclaimed railway yards). Though most Docklands art is planned and corporate, it is worth the tram ride for anyone following a full-day or multi-day itinerary.
The city’s painted alleys owe their vitality to decades of layered history. Melbourne’s association with graffiti began in the late 1970s and 1980s, when subcultures of youth embraced tags and throw-ups inspired by American crews. Through the 1990s, local “writers” practiced their craft around train yards and inner-city neighborhoods. In the 2000s a new generation expanded into street art as a distinct practice. By 2004 Melbourne hosted the world’s first Stencil Festival, cementing its reputation for bold aerosol and stencil work. Officially, laneways were considered illegal for painting, but city authorities gradually shifted to tolerance. A landmark came in 2010 when the City of Melbourne ran its first Laneway Commissions program, inviting artists to paint Hosier Lane with creative neon and light installations.
In 2013 the National Gallery of Victoria and local arts collectives staged All Your Walls, a festival where over 150 artists repainted Hosier and neighbouring lanes in one weekend. These events affirmed street art as part of Melbourne’s cultural fabric. Today, laneway art is an accepted – even official – attraction. The streets have seen international icons (Banksy did stencils here in 2003, and such pieces were once granted preservation) and homegrown legends. Yet the scene remains rooted in dynamism: murals fade or are buffed over as quickly as new ones appear, reflecting the city’s ethos that art should live and change.
Melbourne has produced many street artists who have gained wide acclaim:
Each of the above has global recognition but you’ll find their work in situ across Melbourne’s lanes. Fans often track them via Instagram or their websites, which list upcoming mural projects and merchandise (prints, clothing) for sale. Buying an artist’s print or booking them for a commissioned mural (via studios like Juddy Roller or community arts programs) are direct ways to support these creatives.
Melbourne’s street art scene includes a strong Indigenous presence, reflecting Australia’s First Peoples. Notably, Gumbaynggir artist Aretha Brown (b. 2002) has made an international name painting murals about Aboriginal culture. By 2021, Brown had completed over 50 large public works worldwide. Her well-known Fitzroy mural (on a Converse flagship store wall at Kerr & Smith Streets) features Aboriginal elders and uses an eco-friendly “air-purifying” paint. This piece, commissioned in 2019, is remarkable not just artistically but technologically: the graphen-rich paint used on the wall is said to absorb carbon pollution as it ages. Brown’s art often includes First Nations symbols and portraits, encouraging awareness of language and identity.
Beyond Brown, look for Indigenous-themed murals in Kensington and Collingwood as well, often connected to NAIDOC Week or community projects. Many local Aboriginal artists work in both traditional media and street art. City authorities occasionally commission Indigenous works (sometimes to tell Dreaming stories on public walls). If you seek such pieces, consider guided tours or local Indigenous art festivals like YIRRAMBOI (Melbourne’s Aboriginal arts festival), which sometimes includes street-art projects. Knowing the artist’s name (which is often signed on the mural) is key to understanding the meaning. When photographing or sharing these works, it’s respectful to credit the artist and context, acknowledging the cultural significance inherent in their imagery.
Melbourne’s laneway art is vibrant, but it exists in a grey area of legality and ethics:
Melbourne offers many ways to go beyond wandering solo. Several reputable tour companies provide guided street-art walks:
After any guided experience, do remember to tip your guide if you enjoyed it (many guides are artists themselves supplementing income). Interacting with artists at a studio (like at the end of some tours) can give unique insight into their process, as seen in many tour reviews.
Laneways offer rich subjects for both smartphone and DSLR photographers. Here are some recommendations:
Sample Shot Ideas: (adapt these to your style) 1. Full-lane perspective: From one end of Hosier Lane (e.g. near Fed Square), wide-angle shot capturing the entire alley and crowds.
2. Graphic detail: A close-up of a bold graphic or abstract pattern (e.g. stencil lines, textures of spray paint layers).
3. Human element: A portrait of a friend or passerby standing against a mural (adds scale and narrative).
4. Wheatpaste poster: Mid-shot of overlapping flyers or posters on Rutledge Lane, showing the “aged” collage feel.
5. Reflection: Focus on a rain puddle reflecting a mural (flip the camera upside-down!).
6. Night long exposure: A shot of AC/DC Lane or Hosier Lane at dusk, capturing light trails and illuminated artwork.
7. Framed art: Photograph one of Presgrave Place’s mini-frames straight-on, with the frame filling the shot.
8. Overhead angle: From a stairwell or second floor (if accessible), shoot down onto a mural in a courtyard or patio.
9. Installation art: If visiting a temporary exhibit (e.g., neon piece in Hosier), capture the entire installation with its surroundings.
10. Contrast shot: Place a very modern piece next to a weathered tag (or vice versa) to show the visual contrast in one frame.
Check your camera’s manual for exposure bracketing or HDR modes if you find the dynamic range challenging (e.g., bright sky behind a dark alley). And remember: because walls change often, photograph what you see today to preserve this moment of the street’s history.
Street art in Melbourne once operated purely on passion and piracy, but over the last decade it has entangled with commerce and tourism. Major brands now commission murals to market products, turning walls into ads. For example, the Converse City Forests program featured a mural by Aretha Brown that also served as an environmental campaign. Tourism campaigns often highlight laneways – the state government even recreated Melbourne’s art-filled alleys at Disney World (though the idea was later scrapped by politicians).
This infusion of money has sparked debate. The Guardian profiled Melbourne collectors (the “Sandrew” couple, who mount street art shows) and noted the irony: “isn’t there a disconnect between street art… and market-driven private ownership?”. Some artists and fans worry that indoor exhibitions sanitize a form that was once anti-establishment. The collectors argue they are preserving art that would otherwise vanish. As Powell and King say, in curating shows like The Outsiders, they aim to help artists make a living and reach new audiences. In practice, many Melbourne street artists now balance legal and illegal work: they might teach workshops or sell prints on one hand, and paint an unsanctioned piece at night on the other.
Local councils have actively encouraged the legal side. The City of Melbourne and Yarra Council have budgeted for laneway art programs, and private businesses sponsoring murals have turned walls into paid canvases. The effect: more walls are painted legally with maintenance support (sealing, pre-priming), but critics say some work feels like “just a billboard” rather than genuine street art. Ultimately, most agree that commercialization has made street art more sustainable for creators, even if it shifts some of the raw edge out of the work. This field remains fluid – as one insider noted, “the scene went from graffiti to street art to muralism. Things evolve”. As Melbourne’s art market grows, the streets themselves continue to serve as the truest gallery.
Melbourne’s calendar includes several street-art milestones:
Watch the news for upcoming dates: All Your Walls inspired spin-offs, new stencil festivals, and international muralists (AREBA, Everfresh returning, etc.) continue to arrive. Even if no festival is running, Melbourne’s laneways host dozens of pop-up painting sessions every month.
Melbourne’s laneways are generally safe during the day, but a few practicalities will make your visit smoother. All the major street-art lanes are open 24/7 (they’re public rights-of-way), though visiting at night warrants caution. Most have basic lighting after dark (especially Hosier and Duckboard), but don’t wander alone too late in narrow alleys. Foot traffic is usually high in laneways around midday, so keep personal items secure in crowds. Pickpocket incidents are rare but can happen in any tourist spot.
Accessibility: Cobbled lanes like Hosier, AC/DC and Duckboard are wheelchair-accessible in theory, since they are flat between tram stops, but the stones are uneven and can be challenging. Duckboard Place is level and wide enough for wheelchairs; however, many small alleys (Presgrave, Croft) have tight access or steps. Tram lines on Bourke and Flinders Lanes are wide; easily-accessible alternatives like Drewery Lane can be used. Advice: enter laneways from the main streets (all have curb ramps at corners). Public toilets are sparse – plan to use facilities at Federation Square, a station, or a cafe before you start.
Weather: Melbourne is known for “four seasons in one day,” so dress in layers. Rain can make graffiti slick and fluorescent at night; a light drizzle might actually enhance colors and reflections. Meanwhile, direct sun in summer (Dec–Feb) is harsh, so early morning or late afternoon visits are preferable then. In winter (June–August) laneways can be chilly and damp; use a tripod for longer exposures. Check the forecast: if heavy rain is predicted, outdoor plans may be limited, but most laneways are rain-sheltered by nearby awnings and doorways, so short showers are tolerable.
Crowds: If you want Hosier Lane to yourself, aim for very early (before 8 AM) or late at night. On average days, tourists cluster around key pieces; try to shoot from side angles or edges of the lane to avoid standing on busy walking lines. If a mural is busy, look for the next wall around the corner – often equally impressive works are one block away. Cafés line Degraves and Centre Place for coffee or lunch breaks – recommend Market Lane Coffee in Centre Place for a caffeine boost between shoots.
Transport and Hours: All streets and laneways in the CBD are free-tram-zone accessible. The main hubs are Flinders Street Station (for Flinders and Duckboard Lane) and Parliament Station/Swanston Street (for Hosier via Federation). Laneways run between main streets but have no posted “hours,” so you can visit anytime. Nearby shops and cafes have normal trading hours (roughly 7 AM–5 PM on weekdays, later on weekends) if you need refreshment or a restroom.
Hosier Lane sits in central Melbourne, between Flinders Street and Flinders Lane, immediately behind the Nicholas Building. The main entrance faces Federation Square (Flinders & Russell Streets) right across from Flinders Street Station. It is very easy to reach: any tram heading along the free-tram zone (e.g. routes on Flinders St or Swanston St) will drop you within one block. Once at the corner of Flinders & Russell, you’ll see the lane’s wide opening. Alternate access is via Rutledge Lane (off Flinders Street) or through Rutledge Centre Place (off Swanston). If driving, note that the CBD has paid parking; however, public transit is recommended. Hosier is accessible on foot at all hours, but it’s busiest 10 AM–5 PM. There are security staff who occasionally supervise crowds at peak times.
Melbourne’s famous laneways each offer a unique vibe. The must-see ones are Hosier Lane, AC/DC Lane, Duckboard Place, Blender Lane (with Tattersalls Lane above it) and Union Lane/Croft Alley. These are the core laneways mentioned in most guides. For broader coverage, Centre Place, Flinders Lane, and Brisbane Lane (near Town Hall) also have great murals. Beyond the CBD, head to Fitzroy’s Brunswick/Lygon area and Collingwood’s industrial alleyways – both are bursting with art. Many sources like TimeOut and What’s On Melbourne list these hotspots, but in practice Hosier, AC/DC, and Duckboard form the classic trifecta for first-timers. Once those are done, branching out north (to Everfresh pieces) or into side lanes (like Centre Place for urban jazz) is recommended.
Officially, no street art is truly “legal” unless it has property-owner permission. Melbourne does not have open graffiti walls by law. Hosier Lane’s art survives only because the City has informally designated it a graffiti tolerance zone. In practical terms, this means small unsanctioned pieces are rarely removed by police. But Melbourne’s council guidelines stress that street art requires the building owner’s written consent (and sometimes a permit for heritage sites). In other words, painting Hosier without permission is technically vandalism, even though authorities largely turn a blind eye. Council’s stance is that with permission, street art is legal – so many murals you see were either commissioned or done with owner approval. The takeaway: enjoy photographing laneway art, but do not attempt to add new pieces unless you have clearance.
Time of day: Early morning is ideal for photography – “the quietest and cleanest time to shoot” – according to local photo guides. If you arrive around sunrise (6–7 AM in summer, 7–8 AM in winter), the lanes are nearly empty and the indirect light is soft. Late afternoon (one hour before sunset) also provides warm, flattering light on the brick walls and fewer shadows. Midday is busiest with tourists, though on overcast days it can work since the light is even (but be prepared for brighter exposure due to grey sky).
Season: Melbourne’s weather is changeable. Spring and autumn (Sept–Nov, Mar–May) offer comfortable light and good weather, though rains can occur. Summer (Dec–Feb) has long days – you can shoot into the evening without flash – but beware of midday glare. Winter (Jun–Aug) has shorter daylight, so plan for low-light scenes (or artificial street lights). After rains, the darkened pavement and puddles can make creative reflection shots. No matter the season, always check weather and be flexible – a short rain shower might force a café break but could make the walls more saturated once it clears.
Yes. Several companies offer guided street-art tours, ranging from budget group walks to private artist-led experiences. A typical tour lasts 2–3 hours and covers key city lanes. For example, Melbourne Street Art Tours (mentioned above) spans about 2.5 hours, visiting Federation Square, Hosier Lane and CBD laneways then ending at an art studio. Other providers include SandCulture, Hoddle Street Tours, and GetYourGuide/Viator listings – you can compare them online. Prices vary: group tours usually charge A$50–100 per person (often including a drink), while private or extended tours may cost more. Many tour operators combine history, artist stories and even a studio visit, so look for “street art + local guide” on booking sites. In peak season (spring/summer) it’s wise to book in advance, as spots can sell out. Many guides say that Melbourne’s passion shines through these tours – you’ll learn anecdotes that self-guiding won’t reveal.
A self-guided tour can follow the “Essential Map” routes above. In general, start at Hosier Lane (Federation Square), then spiral through adjacent lanes. For a short tour, complete a loop from Hosier to Duckboard Place and AC/DC Lane (as described in Route A). For more time, add Blender Lane, Union Lane and Croft Alley by walking north along Flinders or Swanston (Route B). Use City trains and trams to travel between clusters of art. Many visitors also extend to Fitzroy by catching a tram up Brunswick or Nicholson Street and visiting the Everfresh murals near Russell/Napier Streets.
Key tip: download a map or app beforehand. Google Maps lets you pin custom walking routes (our Routes A–C above can be plotted in MyMaps). There are also free PDF itineraries from tourism websites and art blogs. Print or save one for navigation, since phone reception in narrow lanes can be spotty. All Melbourne CBD laneways are a grid – as you move “zig-zag” from Hosier north, then east/west – so it’s easy to cover them systematically. And remember: street art is everywhere here. If you stumble into a little alley off the main path, take a peek – Melbourne’s artists delight in hiding gems around corners.
Melbourne’s own heavy hitters include Adnate, Rone, Smug, Meggs, Lushsux, Reka, and the members of Everfresh Studios (Phibs, Facter, etc.). Adnate, for example, created the 23m Hosier portrait; Rone is famous for photoreal portraits in Fitzroy; Smug and Meggs for colourful graphic imagery; Lushsux for his provocative pop-culture stencils; and Everfresh collectively defined the city’s look in the 2000s. Fitzroy-born Aretha Brown has also become a household name through large public murals.
International names with a footprint here include the British graffiti icon Banksy (his small stencil rats can still be found) and the late Keith Haring from New York – his 1984 Collingwood mural survives as one of very few original Haring works worldwide. Other overseas street artists have passed through: for instance, the Spanish group Fanakapan did a translucent-winged angel on Collingwood Yards. Wikipedia notes that artists like ABOVE, D*FACE, Logan Hicks, Shepard Fairey and Invader have all contributed work to Melbourne at some point. In short, Melbourne showcases a mix of homegrown talent and celebrated internationals. If you see a mural you love, chances are the artist’s name is nearby, and many maintain an online portfolio where you can follow their latest projects.
Melbourne’s street art grew organically from the 1970s graffiti scene. From the 1980s onward, inner-city lanes were canvases for tags and throw-ups, influenced by New York writers. By the turn of the century, Melbourne developed a distinctive stencil and paste-up culture, eventually earning the nickname “stencil capital”. The first formal festival of stencil art in the world was held in Melbourne in 2004. Through the 2000s, laneways like Hosier and AC/DC Lane gained fame with vibrant murals. Key moments include Melbourne hosting the inaugural street-art festivals (Stencil Fest, All Your Walls, etc.) and the city setting up legal frames for public art. Today’s street art reflects a 40-year evolution: from illicit tagging to widely celebrated public murals.
The terms are often used interchangeably, but many experts make a subtle distinction. Graffiti traditionally refers to lettering-based tags or throw-ups — artists writing their own name or symbol on walls. It began as a form of territory marking and evolved into stylized lettering. In contrast, street art usually means image-based public art: murals, stencils, wheatpastes, installations, etc. The dictionary notes that street art is generally image-heavy (murals, pictures), whereas graffiti tends to be text (tags). In intent, graffiti writing was often about insider language and reputation, while street art is often created to be seen by the wider public (sometimes even commissioned). In Melbourne practice, the line blurs – a muralist may have started as a graffiti writer. But a quick rule-of-thumb is: if it’s an elaborate picture or planned mural, it’s usually called street art; if it’s a hand-painted name or throw-up, it’s usually called graffiti. Many Melbourne artists do both.
The only authentic Keith Haring mural in Melbourne stands in Collingwood (then an inner suburb), not downtown. Painted by Haring in 1984, it covers a wall of the former Collingwood Technical School (now Collingwood Yards arts precinct) at 521–525 Smith Street, Collingwood (corner of Johnston Street). The bright, lively figures are easily visible from the street. This mural is one of only three original Haring public murals still standing in the world. It has heritage protection: Victorian authorities restored it in 2013 to repair weather damage. Visitors can walk or tram to Collingwood (e.g. via Smith Street tram route 112) and follow signs to Collingwood Yards. Unlike CBD lanes, this work is owned/maintained by the local council and is intended to be preserved – so feel free to admire it without fear of it being whitewashed soon.
The Upper West Side Street Art Precinct is an official outdoor art space launched by the City of Melbourne in December 2017. Located west of Spencer Street (near the old Flinders Street power station), it was created with the help of the street-art collective Juddy Roller. The area is a 100m-long wall where large murals were commissioned in one go. Artists like Rone, Smug and Reka painted 22-meter works on its corrugated iron surface. You can visit the precinct at the corner of Flinders Street and Cook’s Parade West; it’s fully open and intended to be a long-term legal art area. Juddy Roller (which originated the city’s stencil festival) now offers tours and studio visits as well. In practice, think of the Upper West Side as a curated extension of Hosier Lane, designed to permanently showcase top street artists in a single precinct.
Beyond the headline laneways, the city is dotted with lesser-known works. Here are some strategies: wander unfamiliar side streets, especially in neighborhoods like Fitzroy, North Melbourne and Footscray – these often have community murals that don’t make tourist lists. Check social media hashtags (e.g. #melbournestreetart) and location tags on Instagram; users often post “hidden gems” they’ve found. Blogs like The Sweet Wanderlust and Vandalog have revealed secret pieces (for instance, a subterranean project in Centre Place or rotating hoardings downtown). To systematically explore, use a GPS mapping app (some street-art apps allow you to search within a radius). If available, try city programs like Street Art Tours that highlight off-the-track spots.
Also, pay attention to temporary canvases: building sites with plywood hoardings often feature short-term murals. Follow local street-art news (e.g. Invurt.com, Melbourne Art Critic) – they often announce new projects in industrial areas and suburbs. If you have time, take a look behind the Yarra at Southbank backstreets, or drive to suburban laneways (e.g. New Street in Brighton has legal murals). The key is to keep eyes open – even a quiet parking garage wall or cafe alley can harbor a fresh stencil.
Yes, individuals, businesses, and community groups often commission murals. The basic process is: find an artist or mural studio and coordinate with the wall owner. Many street artists now take commissions, so you can contact them through their website or agent. If the wall is public or in a historical area, you’ll likely need City approval first: the artist or property owner should apply for a permit through the City of Melbourne (following the steps noted above). Permit fees are modest, but plan at least 4–8 weeks for council processing.
Costs vary widely. For a mid-size laneway mural (say 3–4m by 6–8m), expect something on the order of A$5,000–$20,000 depending on complexity and artist fame. Very large walls (10m+ tall) can be $50,000 or more because of scaffold/lift rental. The budget should also cover proper surface preparation (cleaning, priming) and post-paint anti-graffiti coating if desired. Government and arts grants can subsidize projects; for instance, some local councils offer art grants or youth-funding for community murals. A good first step: contact City of Melbourne’s Public Art Program to learn about guidelines and any potential funding.
Not really. Most street art in Melbourne is temporary. City cleaners and property owners frequently whitewash old pieces to make way for new ones. Even popular murals may last only a few months or years. For example, the walls of Hosier Lane rarely wear a piece longer than a year before being overwritten. That said, some commissioned artworks endure longer due to maintenance. The heritage-listed Keith Haring mural has been preserved for decades. Likewise, if a wall is in active use (a bar or shop might keep a commission up), a mural can last many years until the business decides to change it. In general, expect each visit to yield different art. This constant turnover is part of Melbourne’s street-art culture – plan your photo and viewing schedule knowing that some pieces might vanish quickly. If you fall in love with a mural, try to capture it photographically, because it likely won’t stay exactly the same forever.
Artists often tag their work in small letters somewhere on the piece (e.g. “Rone,” “Adnate,” “Smug One,” etc.). If visible, that is your best clue. Many murals also have a QR code sticker or a plaque (especially in official laneway projects). If no signature is obvious, a quick method is a reverse-image search: take a photo of the mural and use Google Images or TinEye, which can sometimes find the artist’s site or social posts. Another way: check art databases and blogs. Sites like StreetArtBio and Invurt catalog known Melbourne works with artist names.
On social media, search the hashtag #MelbourneStreetArt together with the suburb or lane name. Tagging “Melbourne, Australia” and street-art keywords on Instagram often reveals posts by fans (some mention the artist). Also, many artists announce new pieces on their own Instagram or Facebook pages – you might find them by searching “Melbourne mural” and location. In short, Google and social media are usually your allies. Once identified, it’s polite to credit the artist whenever you share the photo.
Yes. As noted, Indigenous artists have become prominent in Melbourne’s street-art scene. Aretha Brown’s works are the most notable example: her Fitzroy mural (2021) highlights Aboriginal elders and was done with eco-friendly paint. Other Blak artists have done pieces too. Keep an eye on Fitzroy, Collingwood and even Footscray for Aboriginal motifs. For instance, in 2019 artist Tony Albert collaborated with residents to paint a Richmond housing tower (though not exactly street art). In 2020, a large mural by Aboriginal artist Vika Matarakere (Kulin designer) appeared in Collingwood’s Langridge Lane. Checking current street-art tours or news often yields info on recent Indigenous murals. Additionally, organisations like Koorie Heritage Trust occasionally sponsor public murals by First Nations artists. When you see an Aboriginal-themed piece, there’s often signage or an Instagram tag acknowledging the cultural source. For respectful engagement, remember that these works often tell community stories, so it’s best to learn their meaning through any provided descriptions or by looking up the artist.
Yes. We mentioned many above, but here’s a quick recap:
For precise dates and current events, check local listings (TimeOut Melbourne Street Art calendar, or the City’s laneway art page). New festivals can emerge; as of 2025, keep an eye on social media for pop-ups by art collectives.
This was addressed above in the “Photographing” section. In short: use a wide-angle lens for full-wall shots; carry a tripod for low light; shoot at dawn or dusk for soft light; look for reflections after rain; include people or city context for scale; and pay attention to composition (leading lines of the alley, symmetry, framing within doorways). If you plan professional (commercial) photography, Melbourne’s open-air art has no special photography restrictions – as long as it’s for personal or editorial use, no permit is needed. But for any profit-making or high-end shoots, check with City rules and potentially get a permit to avoid legal issues.
Flying drones in Melbourne’s city center is highly restricted. Under national regulations by CASA, all drone flights must stay under 120 m altitude and away (30 m) from people, buildings and roads. In practice, that means no casual drone flights over Hosier Lane or anywhere in the CBD – you’d be breaching both aviation rules and local laws. The City of Melbourne explicitly requires a permit for any drone (remotely piloted aircraft) activity over public open space. Getting permission involves applying to the city and potentially to Airservices Australia (for flight paths) if near the airport. For hobbyists: if you’re outside the city (say, at Docklands or a park), you still must keep line-of-sight and not endanger the public. For murals, it’s safer to use ground-based photography. If aerial video is essential (for a film, say), plan months ahead to obtain a special aerial permit, hire an accredited drone operator, and notify the City so you don’t interfere with traffic or neighbors. In summary: for typical visits, do not use a drone in the CBD.
Laneways can be quiet and atmospheric at night, but exercise standard precautions. Major street-art lanes like Hosier, AC/DC and Duckboard have evening lighting and occasional foot traffic (late-night diners, workers, security). Usually the worst you’ll encounter are scattered drinkers or transient residents, not violent crime. Stay on lit paths and avoid alley corners if alone. If shooting after dark, be aware that some small lanes (Centre Place, Tattersalls) have limited lighting; consider bringing a friend or staying in groups. In terms of accessibility, laneways are pedestrian-only, so bring a small flashlight for cobblestones and use marked crossings on busy roads. It’s generally safe but not empty: Melbourne is one of Australia’s safest cities, but remain street-smart (keep valuables secured, watch for slippery spots). Many visitors report feeling comfortable in laneways after dusk, especially if there are still open bars or late cafés. Always trust your instincts: if a lane seems deserted and dark, move toward the nearby main street.
Supporting artists can be direct. Many well-known muralists (Rone, Adnate, etc.) sell limited edition prints or canvases on their websites or through local art shops. Here are a few ways to help:
– Buy Artwork/Prints: Check individual artist sites for merchandise. Newer artists often take commissions or sell sketches at market stalls (e.g. Blender Studio markets). The street-art magazine Hoard also sells prints by local artists.
– Attend Exhibitions: When street artists exhibit in galleries (like The Outsiders), attend the show and buy pieces if available. Even free exhibits often have small sticker and postcard sales.
– Donate to Projects: Occasionally street art projects will accept crowdfunding or donations (e.g. mural festivals sometimes have Patreon).
– Art Tours and Workshops: Book paid tours and workshops (the fees help keep the industry alive). When you tip a tour guide or pay for a workshop like at Blender, much of that goes directly to local artists.
– Publicize Respectfully: Share their work on social media with credit (this raises the artist’s profile). Follow and like their pages online.
– Commission Work: If you own a wall, hire an artist for a mural (rates vary by size, but this directly pays the artist).
– Buy Local Street Art Supplies: Shops like Ironlak and Art Lounge sponsor murals; buying quality local spray cans or stencil kits (ironlak.com.au) supports the scene.
Remember: posting photos online without crediting can unintentionally “exploit” artists. Always tag or name the artist (many have open Instagram profiles). By treating street art as art, not just sightseeing, you become part of a respectful ecosystem that lets Melbourne’s creative culture thrive.
Yes – both for kids and adults. In addition to tour-company classes (previously mentioned), check:
– Blender Studios (Collingwood) – regularly holds spray-paint and stencil workshops for novices. For example, their “Stencil Workshop” lets participants design and spray their own canvas.
– Melbourne Street Art Tours (these tours) – offers 2-hour stencil classes for small groups (with all materials provided).
– City Art Centers – Some local councils (especially Yarra and Moreland) run occasional mural-painting workshops for community members.
– School Programs – Look out for City-sponsored youth workshops on street art, often in school holidays.
– Urban Art Festivals – Events like Melbourne Design Week sometimes include live painting workshops taught by prominent artists.
To find current offerings, search “spray paint workshop Melbourne” or keep an eye on local event sites. Even a casual art studio might let you try large-scale spray techniques if asked. These classes will cover supplies (spray cans, gloves, masks, stencils) and basic composition – a safe, legal way to get a taste of street art creation.
Most laneway artists use high-quality spray paints and acrylics. Australian brands like Ironlak (Melbourne-based) are popular, as are Montana and Liquitex. Large murals often begin with roller-applied undercoats and broad swooshes with 1L spray cans. Stencils are a signature method: artists cut designs on cardboard or plastic and spray through them to quickly reproduce images. Another frequent technique is wheatpasting: printing posters and gluing them onto walls. You’ll see layered posters especially in alley corners – artists can cover a wall in minutes by pasting. Markers and stickers (“slaps”) are used too, especially for quick tags.
In summary, the mix includes: – Aerosol Spray Cans: For freehand murals and outlines. These are often the most-visible ingredient.
– Stencil Kits: Blade knives and acetate or cardboard cutouts, used to stamp repeat designs.
– Wheatpaste: DIY “mural prints” glued on (easy to bring from home).
– Mixed Media: In places like Presgrave you’ll see found objects (frames, 3D models) integrated.
Artists generally prepare at home (sketching, cutting stencils) and then execute the final work quickly in situ. The style in Melbourne is diverse: from tagger-style “handstyles” to detailed fine-art portraits. If you watch an artist at work (possible in a workshop or event), note they carry respirators, flat brushes, rollers for basecoats, and often a stack of aerosol caps for different spray sizes.
Outside the downtown core, the inner-north suburbs are street-art gold. Fitzroy (Fitzroy & Collingwood): as noted, loaded with large street art on Nicholson Street, Smith Street, Brunswick Street, and side lanes. Don’t miss the Everfresh murals on Johnston & Lygon, or the small hidden pieces in Fitzroy Gardens. Also see Gertrude Street and Rose Street.
Collingwood (Smith St and Gore St areas) includes industrial backstreets and warehouse venues. The Collingwood Art Precinct (including Collingwood Yards) is a newer arts hub with evolving murals.
Brunswick and Brunswick East: A bit farther out, these neighborhoods have dozens of painted laneways. Check out quiet lanes off Lygon and Nicholson Streets (e.g. a lane near Brunswick’s Community Centre has evolving paste-ups). The city of Merri-bek (formerly Moreland Council) actively invites street art, so occasional big murals appear on apartment buildings here.
Other pockets: Northcote around High Street, Footscray’s laneways, and even the bayside suburb of Williamstown have stencilled tributes. Essentially, Melbourne’s entire inner ring suburbs harbor art – exploring them requires transit, but it rewards with less-crowded, local scenes.
For truly monumental works, the following are hotspots:
– Collingwood Yards & North Fitzroy: 24m+ pieces. Aside from Haring’s mural, Collingwood has new large works on old textile yards. Fitzroy’s Nicholson Street has 10m panels by Reka and Kaff-eine.
– Spencer Street Power Station (CBD): The abandoned factory walls often get giant slogans. For example, a 2007 Banksy-inspired stencil “No Jobs on a Dead Planet” (by an unknown local) spanned its façade. This site is unsafe to enter, but glimpses from Batman’s Hill Road bridge show the painted statements.
– South Melbourne: In 2021 the city and developer commissioned Atong Atem for a neon glass mural on a 7-storey wall at Hanover House. At night it glows with 3D flowers 22m high, visible from riverfront promenades.
– Docklands: New residential towers often include art wraps. Check out the 30m color murals on Northbank Boulevard’s buildings.
– Fitzroy Street (St Kilda): Worth a mention: the underpass murals at the Station Pier end of Fitzroy (commissioned by AFLAUS) are massive and photogenic.
– Outlying industrial zones: Areas like Sunshine or Richmond (near Hoddle St) sometimes host warehouse-sized murals as commissioned street-art projects. These change year to year.
In general, any wall taller than 4 stories in Melbourne has the potential for a city-authorized mural. Developers working on redevelopments often commission artists as part of heritage/construction projects. If you love large murals, also keep an eye out for any street-art elevator or parking structure – these are getting more common as vehicles get housed behind painted facades.
Commercialization has been a double-edged sword. On one hand, it injects funding and recognition: artists are paid for corporate and council projects, and their reputations grow. Melbourne’s laneways are now marketed as a tourist draw (the city’s “laneway culture” is on brochures and in campaigns). Big brands host mural festivals (e.g. Converse’s project with Aretha Brown) and artists can earn a living through gallery sales and commissions. This professionalization means street art has become a viable career path in Melbourne, not just a renegade pastime.
On the other hand, purists worry about “selling out.” Some argue that too many walls now serve advertising (painted sneakers or energy drink promos labeled as street art). The Guardian’s profile of Melbourne collectors raised the philosophical point that moving art from street to museum might dilute its meaning. Newcomers to the scene might come looking for authenticity and find a glass of wine offered at a gallery opening of street art! Yet many artists see this as inevitable growth. As collector Sandra Powell said, things evolve and it doesn’t faze her much if street art winds up indoors or in high finance – she’s “a great believer in change”.
For visitors, the commercial effect is that most of Melbourne’s best street art is stable and maintained. Official projects tend to stay up and look polished, and tours know what to show. The downside is that some small, purely guerrilla works may be erased for being untidy. Overall, tourists benefit from easily finding and accessing art – the city is proud to sell the street-art experience. Just remember that behind every spray-painted wall lies the tension between art as anti-establishment expression and art as legitimate creative enterprise. Melbourne’s scene embodies that blend.
Yes. Aside from our own itineraries above, there are plenty of maps available. The City of Melbourne’s website has a Laneways Street Art Walking Map (PDF) that marks key pieces and provides walking directions. The What’s On Melbourne portal (City’s official site) also offers a self-guided Street Art Walk with maps. On the tourism front, VisitMelbourne and TimeOut have interactive guides (TimeOut embedded a Google map of top graffiti lanes). Travel blogs often share their MyMap links. You can search for “Melbourne street art Google Map” and find maps that you can copy to your own Google account.
For printouts, tourist offices in the CBD usually stock small laneway maps (some are free pamphlets). Libraries may also have local walking brochures. For photography, some outlets sell street-art postcards or zines. In any case, planning ahead with a downloaded map is wise so you’re not relying on phone data in cramped alleys.
Melbourne’s laneways are surrounded by great food and drink. Here are some pairings:
In general, Melbourne’s coffee culture thrives in laneway neighborhoods: expect independent roaster cafes on almost every corner of Fitzroy and the CBD. For a complete pub crawl/art-tour combo, Chapel Street or Brunswick Street offer dozens of side lanes with both art and great venues. Wherever you are, a friendly cafe or bar is likely within a block – ask any barista to recommend a nearby mural or lane.
Local media and online platforms regularly feature Melbourne street artists. Try these sources:
– Invurt (invurt.com) – an online magazine focusing on Australian street art. They interview artists and cover events.
– Art and design sections of The Guardian or ABC News – they occasionally run features on Melbourne artists (see, for example, The Guardian’s long interview with collectors Powell & King about Melbourne’s scene).
– AdelaideStreetArt, Street Art News, Vandalog – while global, they sometimes cover big Melbourne projects. Vandalog’s archives include All Your Walls and Stencil Festival stories.
– Artist social media – many street artists blog or post about their work. Following their Instagram (eg. @adnateone, @r0neart, @lushsux) gives direct insights and links to longer interviews they give.
– Local art blogs and zines – the Melbourne Art Critic blog and paper zines like Juxtapoz sometimes have Q&As.
– Documentaries – There’s a 2005 doco called RASH about Melbourne graffiti (it’s old but covers early street-art emergence). Another short film, Street Art Melbourne, might be found on YouTube for a visual overview.
– Public art talks – check for panel discussions or gallery talks (NGV occasionally hosts street-art related talks, or City library events).
These deeper sources can reveal an artist’s motivation, technique, or community stories (for example, why certain subjects are chosen). They usually surface after notable events: after the 2013 festival you’ll find plenty of blog interviews in late-2013, etc. For insider knowledge, the best is often word-of-mouth – any local art community can tell you who to read or contact for background.
Hosier Lane gets busy mid-morning through late afternoon. To avoid people blocking shots, plan an early-morning visit (around 7–8 AM) when street cleaners have buffed overnight tags and before tourists arrive. Weekdays are generally quieter than weekends. If early hours are not possible, consider late evening (after shops close) – the art can still be seen clearly and there are fewer visitors. Another trick is to move to lesser-known sections of Hosier: the far ends and upper levels often see fewer gawkers than the central corridor. For completely empty walls, try the laneways that adjoin Hosier, like Rutledge Lane or Bowman Lane; they have good art but little foot traffic.
When photographing, patience helps: wait 5–10 minutes for pedestrians to move on, or shoot from an angle that includes the crowd as a foreground rather than blocking the art entirely. If shooting video, use multiple takes and digitally edit out passersby. The key is timing: the laneway’s condition and crowd size can change hourly, so if your first pass is crowded, come back in half an hour.
Respect is paramount. Street murals are often the result of considerable effort (and in some cases official cost), so treat them as artworks. Don’t lean on canvases, touch wet paint or attempt to add your own tags or stickers – such actions will be seen as vandalism by both artists and the community. When taking photos, do not climb structures or pillars unless clearly marked safe to do so. Keep a reasonable distance from the art (especially at close range) so you don’t damage delicate wheatpaste posters with your breath or static.
Do not remove or take pieces (theft of posters or paste-ups is sadly common). If a mural is on private property (even if the wall is public), recognize it belongs to someone. If you need to film or photograph a person within a mural, politely ask permission.
Don’t litter: if you’ve been having coffee, carry your cup out of the lane to dispose of it. Also, remember that these are working parts of the city – if a mural is on a cafe wall, it’s polite to buy something before using their power outlets or bathroom.
Acknowledging artists’ copyrights is also good practice. If posting images on social media, credit the artist by name or handle. Finally, never deface other people’s art in reaction (as some misguided people do by tagging over work they don’t like). The unwritten rule of laneways is “look, photograph, appreciate – but don’t spoil it.” By following simple courtesy and tipping local guides/cafes, you support the street-art ecosystem that keeps the lanes colorful.
There’s no central directory by theme, but you can use targeted searches and context cues. For Indigenous art, look for murals in NAIDOC Week (July) or on building projects by Indigenous organizations. Search online: use terms like “Melbourne Aboriginal mural” or check the social feed of Reconciliation events. The Converse/Aretha Brown mural (climate-themed Indigenous art) in Collingwood is a prime example.
For political themes, pieces often appear around landmarks of activism: look near City Square or public parks for protest art. A notable one was “No jobs on a dead planet” on the old power station.
For portraiture, many are signed by the artists themselves (Rone, Adnate, etc.). Portraits of Indigenous elders or celebrities are common themes – one example is a Don Bradman stencil gone viral on Marble Arch Lane (Brunswick East).
For paste-ups and stencils, wander any offbeat alley (like Heffernan Lane or Smith Street’s small lanes); you’ll find lots of smaller stickers and posters.
In practice, the fastest way is through Instagram hashtags: try e.g. #pasteupMelbourne or #stencilartMelbourne. Community forums (Facebook groups like “Melbourne Street Art Appreciation”) often have threads on where to spot specific kinds of work. Lastly, joining a theme-based tour (some groups occasionally run “First Nations mural walks” or “Graffiti vs street art” walks) can point you to examples and artists specializing in each theme.
Local government is a big player. The City of Melbourne and other councils actively manage the street-art environment. Programs like “Laneways Project” (started circa 2009) provide funding to artist collectives to paint particular lanes. The city physically installs some murals (for example, it preserved Banksy’s “Little Diver” in 2008 with a perspex screen) and officially designated some areas for public art. Councils also promote street art tourism, which in turn brings more public support and maintenance money.
Precincts matter too. The Hosier and Rutledge Precinct, AC/DC Precinct, and Upper West Side Precinct are officially recognized zones where art is encouraged. In these precincts, painting is not “turn-and-burn” vandalism but a tolerated (and sometimes contracted) activity. Councils sometimes commission “Street Art Activation” projects – for instance, Melbourne Council’s 2020–2025 strategy included commissioning new murals in Brunswick Street Mall (Fitzroy) and Central CBD laneways.
More broadly, local councils must balance promoting creative laneways with cleaning unwanted graffiti. Some (like Port Phillip Council) have graffiti management teams to both remove illegal tags and protect beloved murals. The end result is that the council/precinct system has institutionalized street art: they guide who gets to paint (via permits or grants) and sometimes maintain the works (e.g., touching up murals for festivals).
In summary: councils and art precinct administrators act as gatekeepers and patrons. They can preserve a street mural the way a gallery preserves a painting, or designate new walls for artists. Street art in Melbourne today owes much to this semi-official framework.
No, not without permission. If a mural is on someone else’s wall, only the owner (or the artist, if contracted) has the right to paint over or remove it. Covering an existing commissioned or popular piece without agreement would violate both legal norms and community trust. Legally, all published artwork (even on walls) is protected by copyright, so modifying it without consent could be infringement. Ethically, painting over another’s art (sometimes known as “overspraying”) is frowned upon in Melbourne’s community and can lead to public backlash.
If the mural is on property you own, you may replace it, but many experienced people will consult the original artist (especially if the work is valued by the public). City regulations aside (no special laws prohibit erasing street art), most artists consider their murals part of the public heritage. Ethically, the community expects artists to finish murals with respect or for removals to be handled professionally (for instance, re-muraling events rather than random buffing).
On the other hand, if by “remove” you mean post-processing a photograph (like using Photoshop to eliminate people), that’s fine. The caution applies only to physical removal from the street. In short: at best, painting over existing street art requires negotiation; at worst it can be charged as vandalism or worse. So, no: you cannot and should not just cover up murals you don’t own.
Half-day visit (4–5 hours): Focus on the CBD laneways (Hosier, Duckboard, AC/DC, plus a couple of others like Union or Blender Lane) as per Route B above. Start around mid-morning, grab coffee in a laneway cafe (Degraves or Centre Place), then walk the loop. Allow about 1–2 hours for viewing/art (including photo stops), 30 minutes for lunch at a laneway eatery, and the rest for walking/transit. This will cover the essentials without fatigue.
Full-day adventure (8+ hours): Combine the city core with neighborhoods. Morning: do the CBD loop, then catch a tram north to Fitzroy. Spend the afternoon on Brunswick and Gertrude Streets (everlasting murals and interesting side alleys – maybe break for brunch in Fitzroy). Continue to Collingwood for the Keith Haring wall and more murals, then if time remain swing by Docklands or Richmond back near the city for the newer large pieces. Fit in rest breaks at notable spots (like the Fitzroy Gardens or a brewery tour in Collingwood if art-weary). Keep transit spare (Melbourne’s tram network is efficient); say 4 hours on lanes (with breaks), 2 hours traveling/waiting, 2 hours exploring broader areas.
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