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Pixaçāo: the Criminalization and Commodification of Subcultural Struggle in Urban Brazil
Kent Academic Repository Full text document (pdf) Citation for published version Gil Larruscahim, Paula (2018) Pixação: the criminalization and commodification of subcultural struggle in urban Brazil. Doctor of Philosophy (PhD) thesis, University of Kent,. DOI Link to record in KAR https://kar.kent.ac.uk/70308/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html PIXAÇĀO: THE CRIMINALIZATION AND COMMODIFICATION OF SUBCULTURAL STRUGGLE IN URBAN BRAZIL By Paula Gil Larruscahim Word Count: 83023 Date of Submission: 07 March 2018 Thesis submitted to the University of Kent and Utrecht University in partial fulfillment for requirements for the degree of Doctor of Philosophy after following the Erasmus Mundus Doctoral Programme in Cultural and Global Criminology. University of Kent, School of Sociology, Social Policy and Social Research Utrecht University, Willem Pompe Institute for Criminal Law and Criminology 1 Statement of Supervision Acknowledgments This research was co-supervised by Prof. -
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 ............ -
Charles “Chaz” Bojórquez Interviewed by Karen Mary Davalos on September 25, 27, and 28, and October 2, 2007
CSRC ORAL HISTORIES SERIES NO. 5, NOVEMBER 2013 CHARLES “CHAZ” BOJÓRQUEZ INTERVIEWED BY KAREN MARY DAVALOS ON SEPTEMBER 25, 27, AND 28, AND OCTOBER 2, 2007 Charles “Chaz” Bojórquez is a resident of Los Angeles. He grew up in East Los Angeles, where he developed his distinctive graffiti style. He received formal art training at Guadalajara University of Art in Mexico and California State University and Chouinard Art Institute in Los Angeles. Before devoting his time to painting, he worked as a commercial artist in the film and advertising industries. His work is represented in major private collections and museums, including the Smithsonian American Art Museum, the Museum of Contemporary Art in Los Angeles, and the De Young Museum in San Francisco. Karen Mary Davalos is chair and professor of Chicana/o studies at Loyola Marymount University in Los Angeles. Her research interests encompass representational practices, including art exhibition and collection; vernacular performance; spirituality; feminist scholarship and epistemologies; and oral history. Among her publications are Yolanda M. López (UCLA Chicano Studies Research Center Press, 2008); “The Mexican Museum of San Francisco: A Brief History with an Interpretive Analysis,” in The Mexican Museum of San Francisco Papers, 1971–2006 (UCLA Chicano Studies Research Center Press, 2010); and Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora (University of New Mexico Press, 2001). This interview was conducted as part of the L.A. Xicano project. Preferred citation: Charles “Chaz” Bojórquez, interview with Karen Davalos, September 25, 27, and 28, and October 2, 2007, Los Angeles, California. CSRC Oral Histories Series, no. 5. Los Angeles: UCLA Chicano Studies Research Center Press, 2013. -
Trompe L'œil: an Approach to Promoting Art Tourism (Case Study: Shiraz City, Iran)
Trompe l’œil: an approach to promoting art tourism (case study: Shiraz city, Iran) Zahra Nikoo, Neda Torabi Farsani and Mohamadreza Emadi Abstract Zahra Nikoo, Purpose – Trompe l’oeil as a novel art technique can not only promote art tourism but can also transform Neda Torabi Farsani and the landscape of a city into a platform for negotiation. Furthermore, trompe l’oeil aims to create a joyful, Mohamadreza Emadi all entertaining, new experience and an interactive environment for tourists in the cities. This paper are based at the Art highlights the introduction of trompe l’oeil as a new tourist attraction in Shiraz (Iran). Moreover, the goals University of Isfahan, of this study are to explore the role of trompe l’oeil (three-dimensional [3D] street painting) in promoting Isfahan, Iran. art tourism, to investigate the tendency of tourists toward experiencing art tours and trompe l’oeil and to determine the priority of trompe l’oeil themes from the domestic tourists’ perspective. Design/methodology/approach – Qualitative and quantitative methods were used in this research study. Findings – On the basis of the results of this study, it can be concluded that domestic tourists are eager to experience art tours and trompe l’oeil attractions and activities, except for buying and wearing 3D- printed clothes. In addition, trompe l’oeil on street floors and walls with funny, joyful and cultural-artistic and national-historical themes is more attractive for them. Originality/value – No significant academic work has been undertaken in the field of art tourism to evaluate the attitude of tourists toward the trompe l’oeil attractions and activities. -
İncəsənət Və Mədəniyyət Problemləri Jurnalı
AZƏRBAYCAN MİLLİ ELMLƏR AKADEMİYASI AZERBAIJAN NATIONAL ACADEMY OF SCIENCES НАЦИОНАЛЬНАЯ АКАДЕМИЯ НАУК АЗЕРБАЙДЖАНА MEMARLIQ VƏ İNCƏSƏNƏT İNSTİTUTU INSTITUTE OF ARCHITECTURE AND ART ИНСТИТУТ АРХИТЕКТУРЫ И ИСКУССТВА İncəsənət və mədəniyyət problemləri Beynəlxalq Elmi Jurnal N 4 (74) Problems of Arts and Culture International scientific journal Проблемы искусства и культуры Международный научный журнал Bakı - 2020 Baş redaktor: ƏRTEGİN SALAMZADƏ, AMEA-nın müxbir üzvü (Azərbaycan) Baş redaktorun müavini: GULNARA ABDRASİLOVA, memarlıq doktoru, professor (Qazaxıstan) Məsul katib : FƏRİDƏ QULİYEVA, sənətşünaslıq üzrə fəlsəfə doktoru (Azərbaycan) Redaksiya heyətinin üzvləri: ZEMFİRA SƏFƏROVA – AMEA-nın həqiqi üzvü (Azərbaycan) RƏNA MƏMMƏDOVA – AMEA-nın müxbir üzvü (Azərbaycan) RƏNA ABDULLAYEVA – sənətşünaslıq doktoru, professor (Azərbaycan) SEVİL FƏRHADOVA – sənətşünaslıq doktoru (Azərbaycan) RAYİHƏ ƏMƏNZADƏ - memarlıq doktoru, professor (Azərbaycan) VLADİMİR PETROV – fəlsəfə elmləri doktoru, professor (Rusiya) KAMOLA AKİLOVA – sənətşünaslıq doktoru, professor (Özbəkistan) MEYSER KAYA – fəlsəfə doktoru (Türkiyə) VİDADİ QAFAROV – sənətşünaslıq üzrə fəlsəfə doktoru, dosent (Azərbaycan) Editor-in-chief: ERTEGIN SALAMZADE, corresponding member of ANAS (Azerbaijan) Deputy editor: GULNARA ABDRASSILOVA, Prof., Dr. (Kazakhstan) Executive secretary: FERİDE GULİYEVA Ph.D. (Azerbaijan) Members to editorial board: ZEMFIRA SAFAROVA – academician of ANAS (Azerbaijan) RANA MAMMADOVA – corresponding-member of ANAS (Azerbaijan) RANA ABDULLAYEVA – Prof., Dr. (Azerbaijan) -
The Reinvigoration of Oakland Neighborhoods Through Public Art Installations
The Reinvigoration of Oakland Neighborhoods Through Public Art Installations Riley Anderson-Barrett California Polytechnic State University, San Luis Obispo College of Architecture and Environmental Design City and Regional Planning Department Senior Project June 2019 1 (Riggs) The Reinvigoration of Oakland Neighborhoods Through Public Art Installations Riley Anderson-Barrett Senior Project City and Regional Planning Department California Polytechnic State University - San Luis Obispo June 2019 © 2019 Riley Anderson-Barrett 2 Approval Page Title: The Reinvigoration of Oakland Neighborhoods Through Public Art Installations Author: Riley Anderson-Barrett, BSCRP student Date Submitted: June 14, 2019 Signature of parties: Student: Riley Anderson-Barrett date Advisor: Vicente del Rio, PhD date Department Head: Michael Boswell, PhD date 3 Table of Contents Chapter 1. Introduction 5 Chapter 2. The Role of Public Art in the City 7 Forms of Art 11 Public Art Installations 13 Chapter 3. Case Studies 16 Washington DC 18 Buenos Aires, Argentina 21 Paris, France 24 Lessons Learned 27 Chapter 4. The Case of Oakland 28 Background of Oakland 29 Project Proposal 32 Location 1 34 Location 2 45 Location 3 56 Implementation 67 Chapter 5. Conclusion 75 Chapter 6. References 78 4 Chapter 1. Introduction 5 (Illuminaries, 2013) The driving factor behind this project is my interest in how public art can drastically improve areas with somewhat little tangible change. With the implementation of a few key pieces, an area can gain recognition, triangulation, and life. Recognition begins when the location becomes recognizable and memorable, as opposed to being yet another mundane street corner or node. Making a location memorable and recognizable sparks the interest and desire for people to come visit the area. -
Spring 2021 Houston Seminar Brochure
THE HOUSTON SEMINAR SPRING 2021 As we continue to navigate challenges and new ways of living with COVID-19, the Houston Seminar is offering more courses on Zoom, as well as outdoor, socially distanced in-person experiences around Houston. Please join us as we dive into literature, landscape, history, philosophy, A Note politics, and more. Most of our Zoom courses will be recorded, and will be available on our website for two weeks after they take place. Please note To Our that by registering for Zoom courses, you are understood to be giving your THE HOUSTON SEMINAR Patrons permission to be recorded. Visit www.houstonseminar.org to learn more and to register for courses. The Houston Seminar was founded in 1977 for the purpose of stimulating learning and cultural awareness. Each spring and fall the nonprofit group offers lectures and study tours focused on varied topics that may include art, January architecture, literature, music, theater, history, politics, philosophy, psychology, SMTW TH FS religion, the natural environment, and current trends and events. Spring 2021 1 2 3 4 5 6 7 8 9 BOARD OF DIRECTORS ADVISORY BOARD Daytime Page 10 11 12 13 14 15 16 The Many Names of Slavery 7 17 18 19 20 21 22 23 Gail Adler Nancy Crow Allen 24 25 26 27 28 29 30 Bettie Cartwright Memorial Park: Vera Baker 9 31 Marcela Descalzi Brave Jan Cato Implementing the Ten-Year Plan February Kathleen Huggins Clarke Diane Cannon What’s with That Wall? Exploring 10 1 2 3 4 5 6 Sandy Godfrey Houston’s Street Art (tours) Barbara Catechis Kate Hawk 7 8 9 10 11 12 13 Liz Crowell Nancy F. -
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. -
Artists and Art Installations
alk chalk & pa dew inte Si d wall murals Art SEPTEMBER 4 - 12, 2021 Artists and Art Installations Returning Featured Mural Artist - David Mark Zimmerman (aka Bigshot Robot) Wall mural address: Ace Hardware, 200 S River St bigshot-robot.com Bigshot Robot is a Milwaukee-based designer with creations that explore curiosity, vibrancy, humor and movement. In his installations there is always a sense of imagination at play with colorful palettes full of energetic patterns. You can see some of his work around Milwaukee at places like Black Cat Alley, Bayshore, Commonplace / Tasha Rae, and Classic Slice. Bigshot participated in Art Infusion 2020 and completed the beloved Dog Bone Mural at the back of the building at 215 W Milwaukee St in Janesville. Most recently and on the heels of a Milwaukee Bucks NBA Finals win, Bigshot was commissioned to create a mural in the Walker’s Point neighborhood of a fierce buck that can be seen from various viewpoints in Milwaukee. Ivan Roque of Miami, Florida Wall mural address: Rock River Charter School, 31 W Milwaukee Street ivanroque.com Born December of 1991, Ivan J. Roque is a Cuban-American visual artist from Miami, Florida. Raised in the inner city of the infamous Carol City with a passion for the concepts of birth, death, renewal and social struggles, his influences range from the old masters to the new such as Caravaggio, Marc Rothko, Typoe and Gianni Versace. Roque has been able to accomplish many achievements for his young age, including working with rapper Denzel Curry, collaborating with major brands like Samsung, Becks, Seagram's Gin, Ultra Music Festival and showcasing alongside established artists such as The London Police, David Detuna, John "CRASH" Matos and many more. -
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. -
The Role of the Artist As a Social Critic: As Interpreted Through the Art of Swoon, Allora & Calzadilla, and Ai Wei
Rollins College Rollins Scholarship Online Master of Liberal Studies Theses Fall 2014 The Role of the Artist as a Social Critic: as Interpreted through the Art of Swoon, Allora & Calzadilla, and Ai Wei Wei Jessica A. Hasara MLS, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/mls Part of the Contemporary Art Commons, and the Fine Arts Commons Recommended Citation Hasara, Jessica A., "The Role of the Artist as a Social Critic: as Interpreted through the Art of Swoon, Allora & Calzadilla, and Ai Wei Wei" (2014). Master of Liberal Studies Theses. 67. http://scholarship.rollins.edu/mls/67 This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Master of Liberal Studies Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. Rollins College Rollins Scholarship Online Masters of Liberal Studies Theses Fall 2014 The Role of the Artist as a Social Critic: as interpreted through the art of Swoon, Allora & Calzadilla, and Ai Wei Wei Jessica A. Hasara Follow this and additional works at: http://scholarship.rollins.edu/mls This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Masters of Liberal Studies Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. The Role of the Artist as a Social Critic: as interpreted through the art of Swoon, Allora & Calzadilla, and Ai Wei Wei A Project Submitted in Partial Fulfillment of the requirements for the Degree of Master of Liberal Studies by Jessica Hasara December 2014 Mentor: Dr. -
Takin' It to the Streets
Takin’ it to the streets Street Artists (OPPOSITE TOP) Core members of the Die crew (Revenge, Pacer, Geli, ES, Jah, Drue) in front of a thematic resurrection of Bridgeport’s Majestic Theater (Main GALLERIES AND COLLECTORS ARE RECOGNIZING THAT STREET ART Steet between Congress and Arch streets). Big-Top Salute (OPPOSITE BOTTOM) The Die crew was behind this tribute to circus visionary and Bridgeport resident P.T. Barnum HAS EVOLVED FAR BEYOND THE WRITING ON THE WALL (Main and Gold streets) supported by Mayor Bill Finch and the City of Bridgeport. Batman Returns Downtown Bridgeport art on Main Street (between Golden Hill and Arch streets) depicts a vintage Batman character by Jick and graffiti veteran Wane COD. Create, Inspire “Set The World on Fire” by legendary Tats Cru members Nicer and Bio. BY JAHMANE | PHOTOGRAPHY BY HELEN KLISSER DURING global street-art phenomenon is taking the world by storm, but not by surprise. Decades before this multifaceted art form was so openly welcomed into museums, galleries and private collections, graffiti artists (or writers) Awere labeled outlaws for spray painting their tags on the trains, walls, tunnels and pages of history. Early graffiti pioneers like Stay High 149, Taki 183, Cornbread and Phase 2, supplied the blueprint for present-day street-art icons like Banksy, Shepard Fairey, Mr. Brainwash and a multitude of next- generation street artists to launch their own careers. Although most major US cities lay claim to a particular style or contribution toward graffiti’s evolution, the Bronx is universally recognized as the mecca and birthplace of graffiti culture, which along with BBoying (break dancing), MCing and DJing comprise the four major elements of a broader hip-hop culture.