Urban Design and Public Art
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Feature Article} {Profile}
{PROFILE} {PROFILE} {FEATURE ARTICLE} {PROFILE} 28 {OUTLINE} ISSUE 4, 2013 Photo Credit: Sharon Givoni {FEATURE ARTICLE} Street Art: Another Brick in the Copyright Wall “A visual conversation between many voices”, street art is “colourful, raw, witty” 1 and thought-provoking... however perhaps most importantly, a potential new source of income for illustrators. Here, Melbourne-based copyright lawyer, Sharon Givoni, considers how the laws relating to street art may be relevant to illustrators. She tries to make you “street smart” in an environment where increasingly such creations are not only tolerated, but even celebrated. 1 Street Art Melbourne, Lou Chamberlin, Explore Australia Publishing Pty Ltd, 2013, Comments made on the back cover. It canvasses: 1. copyright issues; 2. moral rights laws; and 3. the conflict between intellectual property and real property. Why this topic? One only needs to drive down the streets of Melbourne to realise that urban art is so ubiquitous that the city has been unofficially dubbed the stencil graffiti capital. Street art has rapidly gained momentum as an art form in its own right. So much so that Melbourne-based street artist Luke Cornish (aka E.L.K.) was an Archibald finalist in 2012 with his street art inspired stencilled portrait.1 The work, according to Bonham’s Auction House, was recently sold at auction for AUD $34,160.00.2 Stencil seen in the London suburb of Shoreditch. Photo Credit: Chris Scott Artist: Unknown It is therefore becoming increasingly important that illustra- tors working within the street art scene understand how the law (particularly copyright law) may apply. -
Graffiti De Oz Montanía, Fotografía De Xoan García Huguet
CUADERNOS SALAZAR #1 DISLOCACIONES CENTro CULTURAL DE ESPAÑA Juan DE SALAZAR Tacuary 745 y Herrera 834 CUADERNOS SALAZAR #1 Asunción (Paraguay) +59521449921 [email protected] DISLOCACIONES Dislocaciones www.juande salazar.org.py Tw: @ccejs_py Fb: CCEJS_AECID Paraguay Los cuadernos del Salazar se editan bajo licencia Creative Commons: Reconocimiento del autor Sin fines de lucro Sin obra derivada CUADERNOS SALAZAR #1 DISLOCACIONES EMBAJADA DE ESPAÑA Embajador—Diego Bermejo Romero de Terreros CENTRO CULTURAL DE ESPAÑA JUAN DE SALAZAR Directora—Eloísa Vaello Marco COLECCIÓN CUADERNOS SALAZAR #1 DISLOCACIONES Coordinación y edición—Ruth Osorio Cuidados de la edición y corrección—Toni García Diseño editorial—Alejandro Valdez, Ana Ayala, Paolo Herrera. Autores que colaboran en éste número —Azeta, Oz Montanía, Adriana Almada, Rosa Palazón, Vladimir Velázquez, Lía Colombino, Luís Caputo, Daniel Mittmann, Lorena Cabrera, Rafo Vera, Fros, Rocío Céspedes, Kast, Kleina Mc, Leda Sostoa, Legasy, Lonchi Romero, PrizPrazPruz, Mali, Lucas We, Eulo García, María Glausser, Saturn, Rafael Scorza, Walter Souza, Eddy Graff, Vidal González, Yana Vallejo, Eloísa Vaello Marco, Ruth Osorio. Agradecimientos a Patty Acuña, una de las fundadoras de la Casa de los Payasos, quien con su luz sigue irradiando, a Yamil Ríos, referente de la cultura hip hop, por el apoyo y colaboración y a Patricio Dobrée. Imagen de portada—Graffiti de Oz Montanía, Fotografía de Xoan García Huguet. Impreso en ARTE NUEVO 1.000 Ejemplares Asunción, 17 de octubre de 2013. A los soñadores -
Street Art Rising Marshall Soules—[email protected]
Vol 1 No 2 (Autumn 2020) Online: jps.library.utoronto.ca/index.php/nexj Visit our WebBlog: newexplorations.net Street Art Rising Marshall Soules—[email protected] This illustrated article discusses the various manifestations of street art—graffiti, posters, stencils, social murals—and the impact of street art on urban environments. Continuing perceptions of street art as vandalism contributing to urban decay neglects to account for street art’s full spectrum of effects. As freedom of expression protected by law, as news from under-privileged classes, as images of social uplift and consciousness-raising, and as beautification of urban milieux, street art has social benefits requiring re-assessment. Street art has become a significant global art movement. Detailed contextual history includes the photographer Brassai's interest in Parisian graffiti between the world wars; Cézanne’s use of passage; Walter Benjamin's assemblage of fragments in The Arcades Project; the practice of dérive (passage through diverse ambiances, drifting) and détournement (rerouting, hijacking) as social and political intervention advocated by Guy Debord and the Situationist International; Dada and Surrealist montage and collage; and the art of Quebec Automatists and French Nouveaux réalistes. Present street art engages dynamically with 20th C. art history. The article explores McLuhan’s ideas about the power of mosaic style to subvert the received order, opening spaces for new discourse to emerge, new patterns to be discovered. The author compares street art to advertising, and raises questions about appropriation, authenticity, and style. How does street art survive when it leaves the streets for galleries, design shops, and museums? Street art continues to challenge communication strategies of the privileged classes and elected officials, and increasingly plays a reconstructive role in modulating the emotional tenor of urban spaces. -
Die Subkultur Von Street Art Als Ästhetisches Phänomen Im Urbanen Raum
Die Subkultur von Street Art als ästhetisches Phänomen im urbanen Raum Bachelorarbeit im Studiengang Mediendesign an der Ostfalia Hochschule für angewandte Wissenschaften vorgelegt von Sascha Senger Matrikelnummer 40982350 Erster Gutachter: Professor Dr. Klaus Düwal Zweiter Gutachter: Professor Dr. Bernhard Wutka Braunschweig im Januar 2013 Danksagung Mein Dank gehört für die Betreuung: Professor Dr. Klaus Düwal Professor Dr. Bernhard Wutka für das Korrekturlesen: Marina Senger Edeltraut Seidler Ein besonderer Dank gilt auch meiner Lebenspartnerin, Stephanie Seidler, die mich vor allem während dem Endspurt seelisch unterstützt hat. Inhaltsverzeichnis Inhaltsverzeichnis Inhaltsverzeichnis .......................................................................................... I Abbildungsverzeichnis ............................................................................... III Abkürzungsverzeichnis ............................................................................. VI 1. Einleitung ............................................................................................ 1 1.1 Motivation ............................................................................................. 1 1.2 Aufbau der Arbeit .................................................................................. 2 2. Der Weg von Graffiti zu Street Art ..................................................... 3 2.1 Definition und Ursprung von Street Art ................................................. 3 2.2 Die Wurzeln der Graffiti-Kunst ............................................................. -
Culture Jamming: Ads Under Attack by Naomi Klein Bill Gates And
Culture Jamming: Ads Under Attack By Naomi Klein Bill Gates and Microsoft aren't the only corporate giants suffering a backlash against their superbrands. Last month, computer hackers invaded Nike's Web site in the latest protest against the company's alleged sweatshop practices, redirecting visitors to a site concerned with "the growth of corporate power and the direction of globalization." Similar rants have been directed at McDonald's--from the student who waved a sign with the arch logo at the World Trade Organization protest in Seattle to the axe-wielding vandal--now a cultural hero--who tried to thwart the opening of a McDonald's in the tiny town of Millau, France. For their brilliance at building their brands, the marketers behind the likes of Nike, McDonald's, Wal-Mart and Starbucks now find themselves at the center of journalist Naomi Klein's avowed "next big political movement" in No Logo: Taking Aim at the Brand Bullies from Picador/St. Martin's Press. Reporting everywhere from university campuses to garment factories in Third World countries, Klein depicts the encroachment of big-name brands on our daily lives, and the array of in- your-face counter-measures this has provoked among consumer advocates. One such measure is discussed in the chapter partially excerpted here: "culture jamming," the practice of parodying ads and hijacking billboards to drastically alter their messages. "Something not far from the surface of the public psyche is delighted to see the icons of corporate power subverted and mocked," Klein writes, offering up memorable examples of "adbusting" done to Absolut, Levi's, Ford, Exxon, Apple and others. -
Graffiti Stencil Letters Font
Graffiti Stencil Letters Font When Mickie steam-roller his Teuton assure not attentively enough, is Durant smearier? Extranuclear Bartholomeus still andredividing: Delian startledJules often and hattingfaddier someMontgomery Mennonites tittupped deliverly quite or immethodically de-escalate apocalyptically. but scuttle her cellule indicatively. Stoichiometric Happy 194 Stencil graffiti found also the Berlin Wall in 2005 The object depicted is a DualShock video game controller Stencil refers to two typefaces released within months of gear other in 1937 The face created. How ensure you reside a graffiti poster? Stencil Font Letter word Number Stencil Sets Kalligrafie Stencil Lettering Monogram Stencil Graffiti. The Graffiti Letters which were initially used in 1970s and 0s have been changed adapted expanded and. Free Dxf Stencil Fonts SenzaScorie. The sleep tool we convert your desired text into images using graffiti fonts. A full work of printable alphabet graffiti bubble letters including upper and. MARSH STENCIL Free Font MARSH STENCIL is a revival of lovely old stencil typeface produced by joint American company MARSH Stencil Machines. We have 10 photos about Graffiti Stencil Font Lettering including images pictures models photos etc In this stick we least have variation of models usable. Graffiti letter t. Does Microsoft Word and a stencil font? Kids can estimate how do very readable, letters graffiti font stencil type out the text generator from eduardo recife, cursive font ve graffiti text letters are a diverse range of. Letters and fonts Frank to new primary Military stencil letters and numbers Spray painted army grunge alphabet Vintage graffiti vector font alphabet type and. Jan 21 2013 This music was discovered by Hector Sanchez Discover to save his own Pins on Pinterest. -
Examining Street Art Expressions of Social Justice Who Is Banksy? and When He Did First Appear?
Examining Street Art Expressions of Social Justice Who is Banksy? And when he did first appear? We don't exactly know. Banksy is a famous - but anonymous - British graffiti artist. He keeps his identity a secret. Although a lot of his art is produced in public places, he usually only reveals it's his after it has appeared on his social media. A lot of his art is done in a particular style which people can easily recognise. Although lots of people have tried to guess who he is, his identity has still not been revealed. Banksy first got noticed for spray-painting trains and walls in his home city of Bristol during the early 1990s. Street art and graffiti can be considered criminal damage, so in the beginning it's thought the artist stayed anonymous to keep out of trouble. In the beginning his pieces were mainly in Bristol, but in the 2000s his artworks started appearing all over the UK and other parts of the world. What is Banksy's style? Banksy chose to use stencils to create his pieces, probably because it's a faster way to paint. He was influenced in his early days by a French graffiti artist called Blek le Rat. Blek le Rat is considered to be the father of stencil graffiti and people sometimes confuse the work of the two artists. Banksy doesn't only do street art, he's produced drawings, paintings and installation pieces. He even created his own theme park called Dismaland. What is he trying to say with his art? Banksy's work is known for delivering political messages. -
Is Street Art a Crime? an Attempt at Examining Street Art Using Criminology
Advances in Applied Sociology 2012. Vol.2, No.1, 53-58 Published Online March 2012 in SciRes (http://www.SciRP.org/journal/aasoci) http://dx.doi.org/10.4236/aasoci.2012.21007 Is Street Art a Crime? An Attempt at Examining Street Art Using Criminology Zeynep Alpaslan Department of Sociology, Hacettepe University, Ankara, Turkey Email: [email protected] Received February 1st, 2012; revised February 29th, 2012; accepted March 13th, 2012 A clear and basic definition is the fundamental element in understanding, thus explaining any social sci- entific concept. Street art is a social phenomenon, characterized by its illegal nature, which social scien- tists from several subjects have increasingly been examining, interpreting and discussing for the past 50 years. Even though the concept itself has been defined much more clearly over the years, its standing concerning whether it is a crime or form of art is still a borderline issue. This paper attempts to first try to define street art under a type of crime, then examine it using criminological perspective, with crimino- logical and deviance theories in order to understand and explain it better using an example, the KÜF Pro- ject from Ankara Turkey. Keywords: Street Art; Definition; Criminology; Crime Theory; KÜF Project Introduction what it has to offer. The street artists, who use the technologies of the modern time to claim space, communicate ideas, and Art, in the general sense, is the process and/or product of de- express social and/or political views, have motivations and liberately arranging elements in a way that appeals to the senses objectives as varied as the artists themselves. -
Stencilling-Anushka
Questions How did stencilling begin ? When was it first seen as an art form in the streets? Who are the artists currently employing it ? What is Stencilling? Stencil graffiti makes use of stencils made out of paper, cardboard, or other media to create an image or text that is easily reproducible. The desired design is cut out of the selected medium and then the image is transferred to a surface through the use of spray paint or roll- on paint. Often the stencils express political and social opinions of the artist, or are simply images of pop culture icons. By Golan Levin, Pittsburgh, Pennsylvania How did stencilling begin? When was it first seen as an art form in the streets? Those who began stencilling may have had many motivations. It is a cheap and easy method to produce a message. Because stencils are prepared ahead of time, and spraying (or rolling) over them is quite quick, a street artist can make a detailed piece in seconds. Since the stencil stays uniform throughout its use, it is easier for an artist to quickly replicate what could be a complicated piece at a very quick rate. The stencil graffiti subculture has been around since the mid 60s to 70s and evolved from the freestyle graffiti seen in the New York City subways and streets. Social turmoil ruled the United States in the 1970s, which gave rise to anti-establishment movements. Punk rock bands, such as Black Flag and Crass, and punk venues would stencil their names and logos across cities and became known as symbols to the punk scene. -
Street Art Is Visual Art Created in Public Locations, Usually Unsanctioned Artwork Executed Outside of the Context of Traditional Art Venues
Worksheet on Street Art Christine Röll What is street art? Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. Other terms for this type of art can be "urban art", "guerrilla art", "independent public art", "post-graffiti", and "neo-graffiti". Common forms and media can include spray paint graffiti, stencil graffiti (a form of graffiti that makes use of stencils made out of paper, cardboard, or other media to create an image or text that is easily reproducible), wheatpasted poster art (wheatpaste is a combination of flour, sugar, and water to put up a poster), sticker art, street installations, and sculpture. Street art is a form of artwork that is displayed in a community on its surrounding buildings, streets, and other publicly viewed surfaces. Many instances come in the form of guerrilla art, whose aim is to make a public statement about the society that the artist lives within. The work has moved from the beginnings of graffiti and vandalism to new modes where artists work to bring messages, or just simple beauty, to an audience. Source: https://en.wikipedia.org/wiki/Street_art Who is Banksy? Banksy is an anonymous England-based graffiti artist. His (or maybe her) satirical street art and subversive epigrams (short and interesting statements) combine dark humour with graffiti executed in a distinctive stenciling technique. Banksy's works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. -
Banksy. Urban Art in a Material World
Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition -
Street Art As Visual Communication
University of Zagreb Croatian Studies Division of Communication Sciences Sara Ivanović Street Art as Visual Communication BACHELOR THESIS Zagreb, 2018 Content 1. Introduction ............................................................................................................................ 1 2. The origins of street art .......................................................................................................... 2 3. Visual communication ............................................................................................................ 5 4. Art and the city ....................................................................................................................... 6 5. Notable artists ......................................................................................................................... 8 6. Street art advertising ............................................................................................................. 18 7. From streets to web .............................................................................................................. 19 8. Conclusion ............................................................................................................................ 21 9. Bibliography ......................................................................................................................... 22 1. Introduction In the world of media, sight has become the most important sense for receiving an information. Thanks to one's sense of vision,