DOCSLIB.ORG

Die Subkultur Von Street Art Als Ästhetisches Phänomen Im Urbanen Raum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 .............................................................. 4 2.3 Die Differenzierung von Graffiti und Street Art ...................................... 6 2.4 Formen der Wahrnehmung ................................................................... 7 2.5 Zusammenfassung der Merkmale von Street Art ................................. 8 3. Unterschiedliche Stilmittel und Techniken ...................................... 9 3.1 Die verschiedensten Utensilien ............................................................ 9 3.2 Schablonen – Stencil ............................................................................ 9 3.3 Das Kratzen – Scratching ................................................................... 10 3.4 Das Cut Out ........................................................................................ 11 3.5 Die Kreidezeichnungen....................................................................... 11 3.6 Der Sticker .......................................................................................... 13 3.7 Das Roll on ......................................................................................... 14 3.8 Die Décollage ..................................................................................... 15 3.9 Der Farbauftrag .................................................................................. 16 3.10 Das Mural ........................................................................................... 17 3.11 Das Guerilla Knitting ........................................................................... 18 4. Die subkulturelle Szene ................................................................... 19 4.1 Gruppierung und Wechsel von Graffiti zu Street Art ........................... 19 4.2 Anonymität und Identität der Akteure ................................................. 19 4.3 Direkte Kommunikation von Street Art und Graffiti ............................. 20 4.4 Der gezielte Anwendungsort von Street Art ........................................ 20 4.5 Anerkennung und Respekt ................................................................. 20 4.6 Die Motivation und Gruppendynamik .................................................. 21 4.7 Der Vandalismus ................................................................................ 22 I Inhaltsverzeichnis 4.8 Die Vergänglichkeit eines Kunstwerkes .............................................. 23 4.9 Das Kommunikationsmedium ............................................................. 24 4.10 Der Graffiti- und Street-Art-Jargon ...................................................... 25 5. Akteure .............................................................................................. 26 5.1 Street-Art-Akteur Blek Le Rat ............................................................. 26 5.2 Street-Art-Akteur Banksy .................................................................... 28 5.3 Die Zerstörung von Banksy-Werken ................................................... 30 5.4 Street-Art-Akteur Chainsaw – Kettensäge .......................................... 32 5.5 Graffiti-Künstler DAIM ......................................................................... 33 6. Bildende Kunst ................................................................................. 34 6.1 Gemeinsamkeiten von Bildender Kunst und Street Art ....................... 34 6.1.1 Überschneidungen mit Pop Art ........................................................... 34 6.1.2 Überschneidungen mit Comic ............................................................. 35 6.1.3 Überschneidungen mit Land Art ......................................................... 36 6.1.4 Überschneidungen mit Dadaismus ..................................................... 37 6.1.5 Überschneidungen mit Situationismus ............................................... 38 7. Die Grenzen zwischen Kunst und Kommerz .................................. 39 7.1 Street Art und der Einzug in die Werbung .......................................... 39 7.2 Street Art in den Fängen von Guerilla-Marketing ................................ 39 7.3 Die Ausschlachtung der Subkultur durch Sell-Out .............................. 40 7.4 Zerstörung eines Guerilla-Marketings der Firma Sony ....................... 42 8. Zusammenfassung ........................................................................... 43 Literaturverzeichnis .................................................................................... VI II Abbildungsverzeichnis Abbildungsverzeichnis Abbildung 1: The New York Times vom 21. Juli 1971. ................................... 5 Abbildung 2: Taki 183 Tag in New York. ......................................................... 5 Abbildung 3: Taki 183 beim Sprühen in New York. ......................................... 5 Abbildung 4: Zahlreiche Fäuste von Kripoe in Berlin. ..................................... 7 Abbildung 5: Banksy-Stencil erstellt aus mehreren Schablonen. ................... 9 Abbildung 6: Scratching an einem Mauerwerk. ............................................ 10 Abbildung 7: Graffiti-Schriftzug am Fenster mehrfach nachgezogen. ........... 10 Abbildung 8: Graffiti-Schriftzug in ein Haltestellenfenster gekratzt. .............. 10 Abbildung 9: Cut Out an einer Plakatwand. .................................................. 11 Abbildung 10: Cut Out in einer Düsseldorfer Fußgängerzone. ..................... 11 Abbildung 11: 3D Street Art von Edgar Müller. ............................................. 12 Abbildung 12: Optische Illusion von Edgar Müller in Hollywood. .................. 12 Abbildung 13: 3D Street Art von Edgar Müller in London. ............................ 12 Abbildung 14: Großflächige Sticker-Wand in Kanada. .................................. 13 Abbildung 15: Mehrere Graffiti Sticker in Seattle. ......................................... 13 Abbildung 16: Cartoon Sticker am Abflussrohr. ............................................ 13 Abbildung 17: Graffiti Roll on an einer Bahnstrecke. .................................... 14 Abbildung 18: Roll on Schriftzug von Akim in Berlin. .................................... 14 Abbildung 19: Roll on an einer schwer erreichbaren Stelle in Berlin............. 14 Abbildung 20: Roll on vom Dach eines Berliner Hauses gemalt. .................. 14 Abbildung 21: Décollage in Venedig. ............................................................ 15 Abbildung 22: Décollage von Wolf Vostell aus dem Jahr 1961. .................... 15 Abbildung 23: Décollage in New York. .......................................................... 15 Abbildung 24: Décollage in Chelsea. ............................................................ 15 Abbildung 25: Strichmännchen von Harald Naegeli in Zürich. ...................... 16 Abbildung 26: Strichmännchen von Harald Naegeli in Zürich. ...................... 16 Abbildung 27: Strichmännchen von Harald Naegeli in Düsseldorf. ............... 16 Abbildung 28: Graffiti am Hochhaus in Hamburg - Bergdorf - Lohbrügge. .... 17 Abbildung 29: Doppel Mural in der Cuvry-Straße in Berlin. .......................... 17 Abbildung 30: Banksy Mural an einer Fassade in New York. ....................... 17 Abbildung 31: Guerilla Knitting am Baum im Park. ....................................... 18 Abbildung 32: Guerilla Knitting an Londoner Telefonzelle. ........................... 18 Abbildung 33: Guerilla Knitting am Baum in einer Fußgängerzone. ............. 18 Abbildung 34: Guerilla Knitting am Geländer eines Parkhauses. ................. 18 Abbildung 35: Die Reinigung eines bemalten Graffiti-Zuges. ....................... 23 III Abbildungsverzeichnis Abbildung 36: Die Säuberung eines Graffitis mittels Sandstrahlers. ............. 23 Abbildung 37: Blek Le Rat Street Art in Paris. .............................................. 27 Abbildung 38: „Woman with Child“ von Blek Le Rat in Leipzig. .................... 27 Abbildung 39: Schmuggelaktion von Banksy im britischen Museum ...........
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Aroldo Marinai´S Frogmen Project: a Pioneer of Street Art in Florence1
    SAUC - Journal V6 - N1 Academic Discipline Aroldo Marinai´s Frogmen project: a pioneer of street art in Florence1 Mª Isabel Carrasco Castro, PhD e-mail (personal): [email protected] Main Affiliation postal address: Marist College Madrid C/ Madrid, s/n Office: 9.0.40 Universidad Carlos III de Madrid, Getafe. Stelle Confuse (sticker artist) https://stelleconfuse.wixsite.com/stelleconfuse Abstract: Aroldo Marinai´s (Florence, Italy, 1941) first – and, in relative terms, quite late - experience of the art world came through a street art project. Inspired by a recent work stay in New York, at the end of 1979 he decided to enact a creative intervention in his own city through a stencil image of a scuba diver. This act was subsequently followed by a gallery exhibition and the production of a book, entitled Frogmen: Un segno sui muri come per caso (1980), in which he collated all available documents related to the piece: a diary, photographs, newspaper clippings and a police report. As early as the 1980s, Frogmen had already begun to open up a conversation concerning the complex relationship between street art and advertisement, street art and the gallery space, or the ephemeral and its documentation (before social media). Marinai managed to capture these debates, that continue to provoke interest and discussion within the field of urban studies, – some of them not without a degree of controversy –making them part of Frogmen. This article aims to shine a light on and bring attention to a project that up to this point has been overlooked critically, and that merits analysis for its originality as well as its pioneering role within the context of Florence street art.
    [Show full text]
  • By the Numbers
    march 19, 2015 | Vol. 113 no. 19 | middleburycampus.com Questions Surround Off-Campus Housing Lottery By Emilie Munson year’s lottery, which took place On Feb. 19, a group of 10 dis- on Feb. 17. Of these rising seniors, gruntled students shook up a approved only eight varsity ath- Community Council-sponsored letes were chosen from the lottery, By The Numbers “Community Conversation” event of the 37 varsity athletes who ap- People who applied: 111 individuals groups: (students can apply in with loud allegations directed to- plied. Three others athletes were wards the College’s Residential accepted just after the lottery approved: 58 groups of three) Life team. These ten students, all because Residential Systems Co- former or current varsity athletes, ordinator Karin Hall-Kolts, who Varsity athletes approved: 11 59 application groups complained that they had been organizes and conducts the lot- varsity athletes applied: 37 17 athlete groups applied unfairly treated in the off-campus tery, forgot to add their names to housing lottery on the basis of the pot. their identities as athletes. It was the shockingly low ac- % of student body that is ceptance rate among varsity ath- 38 groups approved, The off-campus housing lot- varsity athletes: tery is a random process through letes that caused the Community 6 groups of athletes Conversation outcry. How could which rising seniors can apply to were approved live in houses not owned by the the lottery be random if so few 28% College. Interested students can athletes were accepted, they chal- submit applications for groups of lenged. up to three people.
    [Show full text]
  • F16 Art Titles - August 2016 Page 1
    Art Titles Fall 2016 {IPG} Death and Memory Soane and the Architecture of Legacy Helen Dorey, Tom Drysdale, Susan Palmer, Frances S... Summary This book of essays is published to coincide with an exhibition of the same title at Sir John Soane's Museum, Lincoln's Inn Fields, London (October 23, 2015–March 26, 2016) commemorating the 200th anniversary of Soane's beloved wife Eliza's death on November 22, 1815. Its relevance to Soane studies, is, however, much broader, with essays shedding new light on the architecture of legacy in Sir John Soane's Museum; Soane's preoccupation with memorialization as revealed in the design process for the Soane family tomb; the legacy of his drawings collection; and Soane's Pimpernel Press attempt shortly before his death to sustain future interest in his collections by creating a series of 9780993204111 time capsules. The essays, written by the curatorial team at Sir John Soane's Museum, are Pub Date: 9/28/16 accompanied by 39 illustrations in full color, some of them published for the first time. Ship Date: 9/28/16 $16.95/$33.95 Can. Contributor Bio Discount Code: LON Trade Paperback Helen Dorey is Deputy Director and Inspectress of Sir John Soane’s Museum. Tom Drysdale was the Museum's Soane Drawings Cataloguer and now works for Historic Royal Palaces. Susan Palmer is 48 Pages Archivist and Head of Library Services at Sir John Soane's Museum. Dr. Frances Sands is Catalogue Carton Qty: 70 Editor of the Adam Drawings Project, Sir John Soane's Museum. Architecture / Historic Preservation ARC014000 11 in H | 8.5 in W | 0.2 in T | 0.6 lb Wt A Whakapapa of Tradition One Hundred Years of Ngato Porou Carving, 1830-1930 Ngarino Ellis, Natalie Robertson Summary From the emergence of the chapel and the wharenui in the nineteenth century to the rejuvenation of carving by Apirana Ngata in the 1920s, Maori carving went through a rapid evolution from 1830 to 1930.
    [Show full text]
  • Graffiti Art and Professional Communication: Where Art and Communication Conventions Converge and Diverge
    Utah State University DigitalCommons@USU Undergraduate Honors Capstone Projects Honors Program 5-2016 Graffiti Art and Professional Communication: Where Art and Communication Conventions Converge and Diverge Rebekah Miner Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/honors Part of the English Language and Literature Commons Recommended Citation Miner, Rebekah, "Graffiti Art and Professional Communication: Where Art and Communication Conventions Converge and Diverge" (2016). Undergraduate Honors Capstone Projects. 581. https://digitalcommons.usu.edu/honors/581 This Thesis is brought to you for free and open access by the Honors Program at DigitalCommons@USU. It has been accepted for inclusion in Undergraduate Honors Capstone Projects by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. GRAFFITI ART AND PROFESSIONAL COMMUNICATION: WHERE ART AND COMMUNICATION CONVENTIONS CONVERGE AND DIVERGE by Rebekah Miner Thesis submitted in partial fulfillment of the requirements for the degree of DEPARTMENTAL HONORS in Professional and Technical Writing in the Department of English Approved: _ ~e~~ject' Advisor Thesis/Project Committee Member D/ed Colton Dr. Rebecca Walton Departmental Honors Advisor ·ttouors Program Director Dr. McLaughlin Dr. Kristine Miller UTAH STATE UNIVERSITY Logan, UT Spring 2016 Abstract Graffiti Art and Professional Communication: Where Art and Communication Conventions Converge and Diverge This thesis describes professionals in the areas of art and professional communication and their text and interview discussions of the professional presence of graffiti art influence in social media, marketing, and advertising. A review of these interviews coupled with field research creates a third space of professional communication where graffiti art becomes it's own genre of art and communication when used professionally.
    [Show full text]
  • Placing Post-Graffiti: the Journey of the Peckham Rock
    Placing post-graffiti: the journey of the Peckham Rock Luke Dickens To cite this version: Luke Dickens. Placing post-graffiti: the journey of the Peckham Rock. cultural geographies, SAGE Publications, 2008, 15 (4), pp.471-496. 10.1177/1474474008094317. hal-00572052 HAL Id: hal-00572052 https://hal.archives-ouvertes.fr/hal-00572052 Submitted on 1 Mar 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. cultural geographies 2008 15: 471–496 Placing post-graffiti: the journey of the Peckham Rock Luke Dickens Department of Geography, Royal Holloway, University of London This article is about the intersections between contemporary forms of urban inscription, art and the city, as they come to be configured through an emergent ‘post-graffiti’ aesthetic practice. Exemplary of this movement is the self-proclaimed ‘art terrorist’, Banksy, who has earned a reputation recently for his audacious interventions into some of the most significant art institutions in the western world, as well as for his politically charged stencil and sculptural work in the everyday spaces of the city. Focusing on the artist’s Peckham Rock, a fragment of concrete that he surreptitiously stuck to the walls of the British Museum in May 2005, this article uses the methodological device of ‘the journey’ in an attempt to place the connections and disconnections between a series of elite and institutional spaces, social relations and mediascapes through which ‘the rock’ passes as its ‘life’ as an artwork unfolds.
    [Show full text]