Talking Chalk: Defacing the First Amendment in the Public Forum
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
V Fórum De Pesquisa Centro De Comunicação E Letras
V FÓRUM DE PESQUISA CENTRO DE COMUNICAÇÃO E LETRAS Ano 5, n. 5, São Paulo, ISSN 2237-4183. Organizadores 1 Isabel Orestes Silveira Alexandre Huady Torres Guimarães CENTRO DE COMUNICAÇÃO E LETRAS ISSN: 2237-4183 2016 V FÓRUM DE PESQUISA CENTRO DE COMUNICAÇÃO E LETRAS 2 V Fórum de Pesquisa 2015 / org. Isabel Oreste Silveira e Alexandre Huady Torres Guimarães – Ano 5, n. 5, São Paulo, 2016. 382p. ISSN 2237-4183 Capa Sheila Lima de Souza Cunha Preparação Bianca Oliveira Coelho ISSN: 2237-4183 2016 V FÓRUM DE PESQUISA CENTRO DE COMUNICAÇÃO E LETRAS Prefácio O Centro de Comunicação e Letras, da Universidade Presbiteriana Mackenzie, por mais um ano proporcionou aos seus aos alunos de Graduação, dos cursos de Letras, Jornalismo e Publicidade e Propaganda, e de Pós-graduação, Stricto Sensu em Letras, a oportunidade de participar do Fórum de Pesquisa CCL, uma iniciativa que já completa meia década e pretende estimular a produção e circulação do conhecimento. O V Fórum de Pesquisa CCL foi realizado nos dias 17 e 18 de setembro de 2015 e, nessa ocasião, os alunos puderam compartilhar o resultado de diferentes produções que transitam nas mais diferentes áreas do saber. O intercâmbio de pesquisa é significativo e relevante, uma vez que coaduna com alguns dos interesses da Universidade Presbiteriana Mackenzie, dentre eles o estimulo ao Ensino, à Pesquisa e à Extensão. Em um clima de efervescência interdisciplinar, o V Fórum foi resultado do estímulo à produção do conhecimento que agora pode ser visualizado pela publicação que segue em forma de artigos, papers, ensaios, projetos experimentais, resenhas e vídeos etc. -
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. -
Parallel Tracks: Three Case Studies of the Relationship Between Street Art and U.S. Museums in the Twenty-First Century
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons Recommended Citation Rolfs, Erin, "Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century" (2018). LSU Master's Theses. 4835. https://digitalcommons.lsu.edu/gradschool_theses/4835 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons PARALLEL TRACKS THREE CASE STUDIES OF THE RELATIONSHIP BETWEEN STREET ART AND U.S. MUSEUMS IN THE TWENTY-FIRST CENTURY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Erin Rolfs B.A., Louisiana State University, 2006 December 2018 Table of Contents Abstract ................................................................................................................................................................ -
The Social Organization of the Hip Hop Graffiti Subculture
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1995 The Social Organization of the Hip Hop Graffiti Subculture Victoria Arriola Wilson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Social and Cultural Anthropology Commons Recommended Citation Wilson, Victoria Arriola, "The Social Organization of the Hip Hop Graffiti Subculture" (1995). Dissertations, Theses, and Masters Projects. Paper 1539626015. https://dx.doi.org/doi:10.21220/s2-yr21-sx21 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE SOCIAL ORGANIZATION OF THE HIP HOP GRAFFITI SUBCULTURE A Thesis Presented to The Faculty of the Department of Sociology The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Victoria Arriola Wilson 1995 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, August 15 David Aday, ffr. A- Gary Kreps Kathleen Slevin TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv LIST OF TABLES v LIST OF ILLUSTRATIONS vi ABSTRACT vii CHAPTER I. HIP HOP GRAFFITI: A HISTORICAL PERSPECTIVE 2 CHAPTER II. GRAFFITI: BASIC TERMS 14 CHAPTER III. THE SOCIAL ORGANIZATION OF GRAFFITI 24 CHAPTER IV. CONCLUSIONS: THE IMPLICATIONS OF SOCIAL POLICY 55 APPENDIX A: SUMMARY OF CREW CHARACTERISTICS 67 APPENDIX B: HIP HOP AND GANG SLANG 69 APPENDIX C: FORMAL INTERVIEW SCHEDULE 76 BIBLIOGRAPHY 83 iii ACKNOWLEDGEMENTS The writer wishes to express her appreciation to Professor David Aday, Jr., under whose guidance this investigation was conducted, for his patient guidance and criticism throughout the investigation. -
Representation and Reconstruction of Memories and Visual Subculture a Documentary Strategy About Graffiti Writing
SAUC - Journal V6 - N1 Academic Discipline Representation and Reconstruction of Memories and Visual Subculture A Documentary Strategy about Graffiti Writing Mattia Ronconi (1), Jorge Brandão Pereira (2), Paula Tavares (2) 1 Master in Illustration and Animation, Polytechnic Institute of Cavado and Ave, Portugal 2 Polytechnical Institute of Cavado and Ave, Id +, Portugal E-mail: [email protected]; [email protected]; [email protected] Abstract Graffiti Writing is a visual movement engaged in the Hip Hop subculture. It spread globally over the past decades as a creative manifestation and a public statement of urban artists, being contested by the public domain values. Despite the large amount of material documenting it, such as films, documentaries, magazines and books, it remains a marginal subculture, less known by the large audience in its deep characteristics. The following article presents a work-in-progress practice-based research, whose objective is to investigate and connect the contribution of animation to the documentation and communication of the subculture of Writing, deciphering its interpretation for the uninformed audience. This is accomplished by a documentary fieldwork, with testimonies and memories emerged from the interviews to three activists of the Writing movement. The interviewed are artists that operate in different fields, surfaces and styles. The fieldwork is conducted as a mediation interface, focusing the research on the province of Ferrara, in Northern Italy. The documentary work is developed in a specific geographical context, with representation strategies and narrative reconstruction for the disclosure of this subculture. This is accomplished with the development of an animated documentary short film. Thanks to the documentation strategy it is possible to represent and reconstruct the Writing memories. -
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. -
Guerrilla Artists of New York City
IVOR MILLER Guerrilla artists of New York City In the early 1970s, the New York City subways burgeoned with a new art form. While Norman Mailer and a handful of writers and photographers celebrated the phenomenon, others saw it as an attack on society. By the mid-1980s, NY City’s young guerrilla artists had developed their craft to produce full car murals that became a tourist attraction for visitors from around the world. To regain control over the subways, New York mayors Lindsay and, later, Koch initiated and sustained a multi-million dollar campaign to erase the paintings and arrest the painters. While the passionate and bold murals have vanished for ever from New York’s subways, the art form has become a worldwide phenomenon with adherents in Europe, Australia, New Zealand and all major US cities. In New York, the original painters still call themselves ’painters’, ’aerosol artists’, graffiti artists’ or ’writers’, and the most dedicated of them continue to create their work in public spaces and for art galleries. Since the beginning of their movement in 1971, New York City subway painters have used diverse cultural ideas in their creative processes. Most of the great painters were young (between 12 and 15) when they began. At that age, they were especially conscious of and open to cultural motifs from the world around them: their families taught them movement and language from their particular heritage; TV taught them advertising techniques; currents running within their communities taught them something about politics and the history of Ivor Miller is in the Department of Performance Studies, Northwestern University, and is currently researching the existence of Afro-Cuban religion in contemporary Cuban society. -
03.Enrique Montoya
Título del artículo 361 TAKI 183, KOAS, ADOM 2, LADY VEE, Graffiti Hip-hop: CHICO, CRASH, TCO, PER, SOLO, NOMAD, una plaga de artistas RES, COLT, KOOL SHEEN, CMK, CAINE, JOKER, MUELLE, SHOE, DELTA, JAZ, CHOP, JES, ROCK, MORSE, FRANK 207, CHEW 127, JULIO 204, MAST, BERE, TALA, KID, SKEME, MITCH 77, BLECK LA RATA, SNOW, HANEM, DIBO, CHOLO, ISRA + METS, SUSO,GLUG, ATOM, DOZE, CRASH, FLITE, KOOL, BUTCH 2, CRIME AND PRIME, SLAVE, KINDO, JAST, LUK, Enrique Montoya MAD 103, BARBARA AND EVA 62, CHARMIN, SAM, STITCH I, SNAKE 1, CAT 87, FLINT 707, SJK 171, BAMA, T-REX 131, CHECHO, SIKO, BEATSKY, STONEY, GRAPE I, FLAME ONE, COOZ, RISKY, SIRAI, KATHY 97, BRANDO, PRIDE, MODE 2, SWEET, FRICK, ERSI, KEL 139, CAT 2233, RASTA, BAN II, DIS 1, PSCYCHO, KIDISH, HULK 62, KENO, MONO, MICO, CHINO MALO, C-MOR, TEE BEE, SLIC-I, SUPER SLICK, CYAM, DY, COSER, TB, MOE, IRON MIKE, W.C. 188, STITCH 1, TOP CAT, KOOL JEFF, STAY HIGH, PISTOL 1, PHASE II, SHOCKER, STAN 153, ACME, JES, A.L.K. POSSE, PEEL 888, SEP 2121, BOOT 007, COOL HERE, LADY PINK, DURO, IN, SIN, KID PANAMA, JACKY, SKKI, IRUS, SCRIBLA, JAP 302, LOKIS, STEPH 2, DAT, IOU ONE, DOC ODNOK, TBB, TNA, TSF, TRACY, KAZO, OENO, FLIP 6, FLICK 6, CRUNCH, CRACK, TI, W-5, TAT CREW NICER, THOW, WASP, ANY-ONE, SEONE, TCA, TBB, SK, GOLZ, BGEE, 501, BAMA, 3 YB, STAN 153, FLINT 707, JAY 00, KIN, ZETA, JER, ZURE, MASTERS 4-STYLE FORCE, ERNI, BAKER, SB, KAOS AND MACE, KATHY 97, SCIPION AND SAHO, ZEPHYR, REVOLT, JAST, BLADE, ZEPHYR, LEE, SUPER KOOL 223, GLASS TOP, TIME, ALI, FUTURA 2000, MAST, QUIK, LEE, VULCAN, CHICO 88, GAME OVER. -
Mss 006 Ferry
RUTH LILLY SPECIAL COLLECTIONS AND ARCHIVES Carol Bernstein Ferry and W. H. Ferry Papers, 1971-1997 Mss 006 Carol Bernstein Ferry and W.H. Ferry Papers, 1971-1997 Mss 006 22.4 c.f. (22 cartons and 1 document box) ABSTRACT Carol Bernstein Ferry and the late W. H. (Ping) Ferry were social change philanthropists who gave away a substantial part of their personal wealth to progressive social change groups, activities, and activists concentrating generally in the areas of war, racism, poverty, and injustice. The Ferrys were also board members of the DJB Foundation, established by Carol’s first husband, Daniel J. Bernstein, which focused its giving in similar areas. The papers, 1971-1996, document the individuals, organizations, and activities the Ferrys supported with their donations. ACCESS This collection is open to the public without restriction. The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. PREFERRED CITATION Cite as: Carol Bernstein Ferry and W. H. Ferry Papers, 1971-1997, Ruth Lilly Special Collections and Archives, University Library, Indiana University Purdue University Indianapolis ACQUISITION Presented by Carol Bernstein Ferry and W. H. Ferry, December 1993. A93-89, A96-33 Processed by Brenda L. Burk and Danielle Macsay, February, 1998. Ferry Finding Aid - page 2 HISTORY Carol Bernstein Ferry was born Carol Underwood in 1924 in upstate New York and grew up in Portland, Maine. She attended a private girls’ school and graduated from Wells College, a small woman’s college near Auburn, New York, in 1945. She moved to New York City in 1946 and worked as a copy editor and proofreader, eventually freelancing in that capacity for McGraw- Hill. -
1220-1222 State St & 20 E Victoria St
Art Wall Mural Elevation From Artist PLAZA GRANADA MURAL Developed for Developed By David Grossman Tracy Lee Stum & Sayak Mitra The Jurkowitz Center for Community 11391 Citrus Drive, #103 Engagement Ventura, CA 93004 (805) 899-3000 ext 140 (805) 340-3907 Cover Letter David Grossman The Jurkowitz Center for Community Engagement 1214 State Street Santa Barbara, CA 93101 Re: Plaza Granada Mural RFP Dear David, With great pleasure we submit our presentation as a collaborative team for consideration in selection for the Plaza Granada Mural Project. Thanks to the JCCE for creating a fantastic opportunity for any artist focused on public engagement and beautification! As a resident of Ventura County, I have long had a relationship with Santa Barbara regarding art and local history. I have been a 21 year contributor to the I Madonnari Festival at the Old Mission, creating large scale ephemeral pastel murals for the public. This festival gave me my 'start' in public philanthropic works, which I carried onwards as my career of choice. Prior to the discovery of street painting I enjoyed a career in mural painting, creating original works in a variety of painting traditions for large hospitality and commercial properties. I continue to work in this capacity on select projects. My husband Sayak Mitra is an art practitioner from Kolkata, India, who has relocated to Ventura, in hopes of expanding his art career while making a new life here in the US. A gifted designer /artist, he has shown his work throughout India and is a regular contributor to the Kolkata art community.