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Education Kit Years 7-12 the Writing’S on the Wall - a Short History of Street Art
Education Kit Years 7-12 The Writing’s on the Wall - A Short History of Street Art The word graffiti comes from the Italian language and means to inscribe. In European art graffiti dates back at least 17,000 years to wall paintings such as are found in the caves of Lascaux in Southern France. The paintings at Lascaux depict animals from the Paleolithic period that were of cultural importance to the people of that region. They are also believed to be spiritual in nature relating to visions experienced during ritualistic trance-dancing. Australian indigenous rock art dates back even further to about 65,000 years and like the paintings at Lascaux, Australian indigenous rock art is spiritual in nature and relates to ceremonies and the Dreaming. The history of contemporary graffiti/street art dates back about 40 years to the 1960s but it also depicts images of cultural importance to people of a particular region, the inner city, and their rituals and lifestyles. The 1960s were a time of enormous social unrest with authority challenged at every opportunity. It is no wonder graffiti, with its strong social and political agendas, hit the streets, walls, pavements, overpasses and subways of the world with such passion. The city of New York in the 1970s was awash with graffiti. It seemed to cover every surface. When travelling the subway it was often impossible to see out of the carriage for the graffiti. Lascaux, Southern France wall painting Ancient Kimberley rock art Graffiti on New York City train 1 The Writing’s on the Wall - A Short History of Street Art In 1980 an important event happened. -
This Is Modern Art 2014/15 Season Lisa Portes Lisa
SAVERIO TRUGLIA PHOTOGRAPHY BY PHOTOGRAPHY BY 2014/15 SEASON STUDY GUIDE THIS IS MODERN ART (BASED ON TRUE EVENTS) WRITTEN BY IDRIS GOODWIN AND KEVIN COVAL DIRECTED BY LISA PORTES FEBRUARY 25 – MARCH 14, 2015 INDEX: 2 WELCOME LETTER 4 PLAY SYNOPSIS 6 COVERAGE OF INCIDENT AT ART INSTITUTE: MODERN ART. MADE YOU LOOK. 7 CHARACTER DESCRIPTIONS 8 PROFILE OF A GRAFFITI WRITER: MIGUEL ‘KANE ONE’ AGUILAR 12 WRITING ON THE WALL: GRAFFITI GIVES A VOICE TO THE VOICELESS with classroom activity 16 BRINGING CHICAGO’S URBAN LANDSCAPE TO THE STEPPENWOLF STAGE: A CONVERSATION WITH PLAYWRIGHT DEAR TEACHERS: IDRIS GOODWIN 18 THE EVOLUTION OF GRAFFITI IN THE UNITED STATES THANK YOU FOR JOINING STEPPENWOLF FOR YOUNG ADULTS FOR OUR SECOND 20 COMMON CORE STATE STANDARDS SHOW OF 2014/15 SEASON: CREATE A MOVEMENT: THE ART OF A REVOLUTION. 21 ADDITIONAL RESOURCES 22 NEXT UP: PROJECT COMPASS In This Is Modern Art, we witness a crew of graffiti writers, Please see page 20 for a detailed outline of the standards Made U Look (MUL), wrestling with the best way to make met in this guide. If you need further information about 23 ACKNOWLEDGEMENTS people take notice of the art they are creating. They choose the way our work aligns with the standards, please let to bomb the outside of the Art Institute to show theirs is us know. a legitimate, worthy and complex art form born from a rich legacy, that their graffiti is modern art. As the character of As always, we look forward to continuing the conversations Seven tells us, ‘This is a chance to show people that there fostered on stage in your classrooms, through this guide are real artists in this city. -
Talking Chalk: Defacing the First Amendment in the Public Forum
TALKING CHALK: DEFACING THE FIRST AMENDMENT IN THE PUBLIC FORUM Marie A. Failinger* I. INTRODUCTION ...................................................................................... 755 II. CHALKING AS A CONTENT DILEMMA ................................................... 759 III. THE PROBLEM OF ANALOGY: IS CHALKING REAL GRAFFITI? .............. 764 IV. CONCLUSION ......................................................................................... 773 I. INTRODUCTION The common law lives on analogy—its power to change depends on whether the creative new things individuals do every day that get them into trouble can be correctly assimilated to conduct that has previously been ruled legal or illegal, determined to be the subject of damages, or protected as part of individual liberty. We might find this dilemma captured in the famous Sesame Street ditty that goes, “One of these things is not like the others, one of these things just doesn’t belong . .”1 Since the Supreme Court’s development of ever-more nuanced versions of the public forum doctrine, starting with cases such as Perry Education Association v. Perry Local Educators’ Association,2 among other refinements of its Speech Clause jurisprudence,3 much free speech jurisprudence has taken on a common law caste, one analogy after another. Because the Supreme Court has provided more robust protection for free speech rights in “public forums,” like streets, parks, and sidewalks, the courts must parse possible analogies to determine whether a sidewalk leading up to a * Professor of Law, Hamline University School of Law. 1 JOE RAPOSO & JON STONE, ONE OF THESE THINGS (IS NOT LIKE THE OTHERS) (Columbia 1970), available at http://members.tripod.com/tiny_dancer/one.html. The Sesame Street analogical process has been cited by more than one legal academic explaining a basic tool of legal analysis. -
APA 6Th Edition Template
Graffiti: History, Definition and Entrepreneurship in Urban Art. Graffiti: History, Definition And Entrepreneurship In Urban Art A Master’s Thesis Presented to Dr. Loren Schmidt Heritage University In Partial Fulfillment Of the Requirements for the Degree of Master of Arts William D. Green Heritage University 1 | P a g e Graffiti: History, Definition and Entrepreneurship in Urban Art. FACULTY APPROVAL Graffiti: The History, Definition and Entrepreneurship in Urban Art Approved for the Faculty , Faculty Advisor, Dr. Loren Schmidt , Associate Professor, English & Humanities Ann Olson 2 | P a g e Graffiti: History, Definition and Entrepreneurship in Urban Art. Abstract This thesis’ main objective is to give the general audience a better insight of what exactly graffiti art is and to show that there is a demand in the market for the art form. How this thesis portrays this is by giving a brief history of the art form; providing examples of the customs that are affiliated with graffiti art, by defining the different styles that are commonly used by graffiti artists and to provide examples of companies and urban artists either using this art on their product or urban artists finding ways to assimilate their hobby into a profession. 3 | P a g e Graffiti: History, Definition and Entrepreneurship in Urban Art. PERMISSION TO STORE I, William D. Green, do hereby irrevocably consent and authorize Heritage University Library to file the attached Thesis entitled, Graffiti: The History, Definition and Entrepreneurship in Urban Art, and make such paper available for the use, circulation, and/or reproduction by the Library. The paper may be used at Heritage University and all site locations. -
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S PRING 2 013 BEAUTY OR BLIGHT? Concordia experts analyze graffiti and street art UNIVERSITY MAGAZINE CELTIC CANADIANS > EDUCATING EDUCATORS > CONSIDERING QUEER FILM Discover why over 375,000 graduates enjoy greater savings Join the growing number of graduates who enjoy greater savings from TD Insurance on home and auto coverage. Most insurance companies offer discounts for combining home and auto policies, or your good driving record. What you may not know is that we offer these savings too, plus we offer preferred rates to graduates and students of Concordia University. You’ll also receive our highly personalized service and great protection that suits your needs. Find out how much you could save. Request a quote today 1-888-589-5656 Monday to Friday: 8 a.m. to 8 p.m. Saturday: 9 a.m. to 4 p.m. melochemonnex.com/concordia Insurance program sponsored by the The TD Insurance Meloche Monnex home and auto insurance program is underwritten by SECURITY NATIONAL INSURANCE COMPANY. The program is distributed by Meloche Monnex Insurance and Financial Services Inc. in Quebec and by Meloche Monnex Financial Services Inc. in the rest of Canada. Due to provincial legislation, our auto insurance program is not offered in British Columbia, Manitoba or Saskatchewan. *No purchase required. Contest organized jointly with Primmum Insurance Company and open to members, employees and other eligible persons belonging to employer, professional and alumni groups which have an agreement with and are entitled to group rates from the organizers. Contest ends on October 31, 2013. Draw on November 22, 2013. One (1) prize to be won. -
Juliana Abramides Dos Santos.Pdf
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Juliana Abramides dos Santos Arte urbana no capitalismo em chamas: pixo e graffiti em explosão DOUTORADO EM SERVIÇO SOCIAL SÃO PAULO 2019 Juliana Abramides dos Santos DOUTORADO EM SERVIÇO SOCIAL Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutora em Serviço Social sob a orientação do Prof. Dr. Antônio Carlos Mazzeo. 2019 Autorizo exclusivamente para fins acadêmicos e científicos, a reprodução total ou parcial desta tese de doutorado por processos de fotocopiadoras ou eletrônicos. Assinatura: Data: E-mail: Ficha Catalográfica dos SANTOS, JULIANA Abramides Arte urbana no capitalismo em chamas: pixo e graffiti em explosão / JULIANA Abramides dos SANTOS. -- São Paulo: [s.n.], 2019. 283p. il. ; cm. Orientador: Antônio Carlos Mazzeo. Co-Orientador: Kevin B. Anderson. Tese (Doutorado em Serviço Social)-- Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em Serviço Social, 2019. 1. Arte Urbana. 2. Capitalismo Contemporâneo. 3. Pixo. 4. Graffiti. I. Mazzeo, Antônio Carlos. II. Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em Serviço Social. III. Título.I. Mazzeo, Antônio Carlos. II. Anderson, Kevin B., co-orient. IV. Título. Banca Examinadora ------------------------------------- ------------------------------------- ------------------------------------- ------------------------------------- ------------------------------------- Aos escritores/as e desenhistas do fluxo de imagens urbanas. O presente trabalho foi realizado com apoio do Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) - Número do Processo- 145851/2015-0. This study was financed in part by the Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) - Finance Code 001-145851/2015-0. Esta tese de doutorado jamais poderia ser escrita sem o contato e apoio de inúmeras parcerias. -
Context and Visual Culture in Recent Works of Allen Fisher and Ulli Freer
Article How to Cite: Virtanen, J 2016 Writing on: Context and Visual Culture in Recent Works of Allen Fisher and Ulli Freer. Journal of British and Irish Inno- vative Poetry, 8(1): e3, pp. 1–34, DOI: http://dx.doi.org/10.16995/biip.20 Published: 27 May 2016 Peer Review: This article has been peer reviewed through the double-blind process of Journal of British and Irish Innovative Poetry, which is a journal published by the Open Library of Humanities. Copyright: © 2016 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and repro- duction in any medium, provided the original author and source are credited. See http://creativecommons. org/licenses/by/4.0/. Open Access: Journal of British and Irish Innovative Poetry is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Juha Virtanen, ‘Writing on: Context and Visual Culture in Recent Works of Allen Fisher and Ulli Freer’ (2016) 8(1): e3 Journal of British and Irish Innovative Poetry, DOI: http:// dx.doi.org/10.16995/biip.20 ARTICLE Writing on: Context and Visual Culture in Recent Works of Allen Fisher and Ulli Freer Juha Virtanen University of Kent, GB [email protected] This article is a study of Allen Fisher’s Proposals and SPUTTOR, and Ulli Freer’s Burner on the Buff. -
How the Commercialization of American Street Art Marks the End of a Subcultural Movement
SAMO© IS REALLY DEAD1: How the Commercialization of American Street Art Marks the End of a Subcultural Movement Sharing a canvas with an entire city of vandals, a young man dressed in a knit cap and windbreaker balances atop a subway handrail, claiming the small blank space on the ceiling for himself. Arms outstretched, he scrawls his name in loops of black spray paint, leaving behind his distinct tag that reads, “FlipOne.”2 Taking hold in the mid ‘70s, graffiti in New York City ran rampant; young artists like FlipOne tagged every inch of the city’s subway system, turning the cars into scratchpads and the platforms into galleries.3 In broad daylight, aerosolcanyeilding graffiti artists thoroughly painted the Lower East Side, igniting what would become a massive American subculture movement known as street art. Led by the nation’s most economically depressed communities, the movement flourished in the early ‘80s, becoming an outlet of expression for the underprivileged youth of America. Under state law, uncommissioned street art in the United States is an act of vandalism and thereby, a criminal offense.4 As a result of the form’s illegal status, it became an artistic manifestation of rebellion, granting street art an even greater power on account of its uncensored, defiant nature. Demonized for its association with gang violence, poverty, and crime, local governments began cracking down on inner city street art, ultimately waging war upon the movement itself. As American cities worked to reclaim their streets and rid them of graffiti, the movement eventually came to a standstill, giving way to cleaner, more prosperous inner city communities. -
Finding Solutions Through Distinguishing Graffiti Art from Graffitiandalism V
University of Michigan Journal of Law Reform Volume 26 1993 The Writing on Our Walls: Finding Solutions Through Distinguishing Graffiti Art from Graffitiandalism V Marisa A. Gómez University of Michigan Law School Follow this and additional works at: https://repository.law.umich.edu/mjlr Part of the Criminal Law Commons, Entertainment, Arts, and Sports Law Commons, and the Law and Society Commons Recommended Citation Marisa A. Gómez, The Writing on Our Walls: Finding Solutions Through Distinguishing Graffiti Art from Graffitiandalism V , 26 U. MICH. J. L. REFORM 633 (1993). Available at: https://repository.law.umich.edu/mjlr/vol26/iss3/5 This Note is brought to you for free and open access by the University of Michigan Journal of Law Reform at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in University of Michigan Journal of Law Reform by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. THE WRITING ON OUR WALLS: FINDING SOLUTIONS THROUGH DISTINGUISHING GRAFFITI ART FROM GRAFFITI VANDALISM Marisa A. G6mez* I. Graffiti's Roots .......................... 636 II. Types of Graffiti and the Motivations of Its Creators .......................... 644 III. Proponents v. Opponents: Sketching Out the Arguments For and Against Graffiti .......... 650 IV. Methods Used to Combat Graffiti ............ 656 A. Criminal Prosecution and Penalties ...... 657 B. Civil Causes of Action Against Writers .... 670 C. Measures Against the Writer's Parents .... 672 D. Prophylactic Measures ................ 673 V. Towards an Integrated Solution That Recognizes and Meets the Needs of the Writers . 696 A. Drawing a Clearer Line Between Graffiti Art and Graffiti Vandalism ............ -
FIGURE 7.1. Demonstration/Performance by The
07 Chapter 7.qxd 12/8/2006 2:46 PM Page 192 FIGURE 7.1. Demonstration/performance by the Art Workers Coalition at the Guggenheim Museum, New York, 1971, in support of AWC cofounder Hans Haacke, whose exhibition was canceled by the museum’s director over his artwork Shapolsky et al., Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971. Photographer unknown. L 07 Chapter 7.qxd 12/8/2006 2:46 PM Page 193 7. Artists’ Collectives Mostly in New York, 1975–2000 ALAN W. MOORE The question of collectivism in recent art is a broad one. Artists’ groups are an intimate part of postmodern artistic production in the visual arts, and their presence informs a wide spectrum of issues including modes of artistic practice, the exhibition and sales system, publicity and criticism, even the styles and subjects of art making. Groups of all kinds, collectives, collaborations, and organizations cut across the landscape of the art world. These groups are largely autonomous organizations of artistic labor that, along with the markets and institutions of capital expressed through galleries and museums, comprise and direct art. The presence of artistic collectives is not primarily a question of ideology; it is the expression of artistic labor itself. The practical requirements of artistic production and exhibition, as well as the education that usually precedes active careers, continuously involves some or a lot of collective work. The worldwide rise in the number of self- identiWed artist collectives in recent years reXects a change in patterns of artistic labor, both in the general economy (that is, artistic work for com- mercial media) and within the special economy of contemporary art. -
Contemporary Graffiti's Contra-Community" (2015)
Maine State Library Maine State Documents Academic Research and Dissertations Special Collections 2015 Anti-Establishing: Contemporary Graffiti's Contra- Community Homer Charles Arnold IDSVA Follow this and additional works at: http://digitalmaine.com/academic Recommended Citation Arnold, Homer Charles, "Anti-Establishing: Contemporary Graffiti's Contra-Community" (2015). Academic Research and Dissertations. Book 10. http://digitalmaine.com/academic/10 This Text is brought to you for free and open access by the Special Collections at Maine State Documents. It has been accepted for inclusion in Academic Research and Dissertations by an authorized administrator of Maine State Documents. For more information, please contact [email protected]. ANTI-ESTABLISHING: CONTEMPORARY GRAFFITI’S CONTRA-COMMUNITY Homer Charles Arnold Submitted to the faulty of The Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the requirements for the degree Doctor of Philosophy April, 2015 Accepted by the faculty of the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. _______________________________ Sigrid Hackenberg Ph.D. Doctoral Committee _______________________________ George Smith, Ph.D. _______________________________ Simonetta Moro, Ph.D. April 14, 2015 ii © 2015 Homer Charles Arnold ALL RIGHTS RESERVED iii It is the basic condition of life, to be required to violate your own identity. -Philip K. Dick Celine: “Today, I’m Angéle.” Julie: “Yesterday, it was me.” Celine: “But it’s still her.” -Céline et Julie vont en bateau - Phantom Ladies Over Paris Dedicated to my parents: Dr. and Mrs. H.S. Arnold. iv ACKNOWLEDGEMENTS The author owes much thanks and appreciation to his advisor Sigrid Hackenberg, Ph.D. -
Is Graffiti Art?
IS GRAFFITI ART? Russell M. Jones A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2007 Committee: Andrew Hershberger, Advisor Allie Terry ii ABSTRACT Dr. Andrew Hershberger, Advisor Illegal graffiti is disconnected from standard modes of visual production in fine art and design. The primary purpose of illegal graffiti for the graffiti writer is not the visual product, but “getting up.” Getting up involves writing or painting one’s name in as many places as possible for fame. The elements of risk, freedom and ritual unique to illegal graffiti serve to increase camaraderie among graffiti writers even as an individual’s fame in the graffiti subculture increases. When graffiti has moved from illegal locations to the legal arenas of fine art and advertising; risk, ritual and to some extent, camaraderie, has been lost in the translation. Illegal graffiti is often erroneously associated with criminal gangs. Legal modes of production using graffiti-style are problematic in the public eye as a result. I used primary and secondary interviews with graffiti writers in this thesis. My art historical approach differed from previous writers who have used mainly anthropological and popular culture methods to examine graffiti. First, I briefly addressed the extremely limited critical literature on graffiti. In the body of the thesis, I used interviews to examine the importance of getting up to graffiti writers compared to the relative unimportance of style and form in illegal graffiti. This analysis enabled me to demonstrate that illegal graffiti is not art.