FREE AND STREET PDF

Anna Waclawek | 208 pages | 30 Dec 2011 | Thames & Hudson Ltd | 9780500204078 | English | London, United Kingdom Graffiti vs.

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Graffiti, defined simply as writing, drawing, or painting Graffiti and Street Art walls or surfaces of a structure, dates back to prehistoric and ancient times, as evidenced by the Lascaux cave paintings in France and other historic findings Graffiti and Street Art the world. Scholars believe that the images of hunting scenes found at these sites were either meant to commemorate past hunting victories, or were used as part of rituals intended to increase hunters' success. During World War II, it became popular for soldiers to write the phrase "Kilroy was here," along with a simple sketch of a bald figure with a large nose peeking over a ledge, on surfaces along their route. The motivation behind this simple early graffiti Graffiti and Street Art to create a motif of connection for these soldiers during their difficult times, cementing their unique brotherhood amongst foreign land and to make themselves "seen. Contemporary or "hip-hop" graffiti dates to the late s, generally said to have arisen from the Black and Latino neighborhoods of City alongside hip-hop music and street subcultures, and catalyzed by the invention of the aerosol spray can. Early graffiti artists were commonly called "writers" or "taggers" individuals who write simple "tags," or their stylized signatures, with the goal of tagging as many locations as possible. Indeed, the fundamental Graffiti and Street Art principle of graffiti practice was Graffiti and Street Art intention to "get up," to have one's work seen by as many people as possible, in as many places as possible. The exact geographical location of the first "tagger" is difficult to pinpoint. Some sources identify New York specifically taggers Julio and Taki of the Washington Heights areaand others identify Philadelphia with tagger Corn Bread Graffiti and Street Art the point of origin. Yet, it goes more or less undisputed that New York "is where graffiti culture blossomed, matured, and most clearly distinguished itself from all prior forms of graffiti," as Eric Felisbret, former graffiti artist and lecturer, explains. Soon after graffiti began appearing on city surfaces, subway cars and trains became major targets for 's early graffiti writers and taggers, as these vehicles traveled great distances, allowing the writer's name to be seen by a wider audience. The subway rapidly became the most popular place to write, with many graffiti artists looking down upon those who wrote on walls. Sociologist Richard Lachmann notes how the added element of movement made graffiti a uniquely dynamic art form. He writes, "Much of the best graffiti was meant to be appreciated in motion, as it passed through dark and dingy stations or on Graffiti and Street Art tracks. Photos and graffiti canvases cannot convey the energy and aura of giant artwork in Graffiti and Street Art. Graffiti on subway cars began as crude, simple tags, but as tagging became increasingly popular, writers had to find new ways to make their names stand out. Over the next few years, new calligraphic styles were developed and tags turned into large, colorful, elaborate pieces, aided by the realization that different spray can nozzles also referred to as "caps" from other household aerosol products like oven cleaner could be used on spray paint cans to create varying effects and line widths. It did not take long for the crude tags to grow in size, and to develop into artistic, colorful pieces that took up the length of entire subway cars. By the s, the city of New York viewed graffiti's inherent vandalism as a major concern, and a massive amount of resources were poured into the graffiti "problem. The Metropolitan Transit Authority MTA received a significant increase in their budget inallowing them to erect more sophisticated fences Graffiti and Street Art to better maintain the train yards and lay-ups that were popular targets for writers due to the possibility for hitting several cars at once. However, writers saw these measures as a mere challenge, and worked even harder to hit their targets, while also becoming increasingly territorial and aggressive toward other writers and "crews" groups of writers. Inthe MTA launched its Clean Car Program, which involved a five-year plan to completely eliminate graffiti on subway cars, operating on the principle that a graffiti-covered subway car could not be put into service until all the graffiti on it had been cleaned off. This program was implemented one subway line at a time, gradually pushing writers outward, and by many of the city's lines were completely clear of graffiti. Lieutenant Steve Mona recalls one day when the ACC crew hit cars in a yard at Graffiti and Street Art Island, assuming that the MTA wouldn't shut down service and that the graffitied trains would run. Yet the MTA Graffiti and Street Art to not provide service, greatly inconveniencing citizens who had to wait over an hour for a train that morning. That was the day that the MTA's dedication to the eradication of graffiti became apparent. However graffiti was anything but eradicated. In the past few decades, this practice has spread around the world, often maintaining elements of the American wildstyle, like interlocking letterforms and bold colors, yet also adopting local flare, such as manga-inspired Street Art in Japan. Graffiti and Street Art is important to note that contemporary graffiti has developed completely apart from traditional, institutionalized art forms. Art critic and curator Johannes Stahl writes that, "We have long since got accustomed to Graffiti and Street Art art history as a succession of epochs [ Modern graffiti did not begin as an art form at all, but rather, as a form of text-based urban communication that developed its own networks. As Lachmann notes, rather than submitting to the criteria of valuation upheld by the institutionalized art world, early graffiti writers developed an entirely new and separate art world, based on their own "qualitative conception of style" and the particular "aesthetic standards" developed within the community for judging writers' content and technique. During the late s and early s, many graffiti writers began to shift away from text-based works to include imagery. Around the same time, many artists also began experimenting with different techniques and materials, the most popular being and wheat paste posters. Since the turn of the millennium, this proliferation has continued, with Graffiti and Street Art using all sorts of materials to complete illegal works in pubic spaces. The myriad approaches have come to be housed under the label of "Street Art" sometimes also referred to as "Urban Art"which has expanded its purview beyond graffiti to include these other techniques and styles. The term "graffiti" comes from the Greek "graphein," meaning "to scratch, draw, or write," and thus a broad definition Graffiti and Street Art the term includes all forms of inscriptions on walls. More specifically, however, the modern, or "hip-hop" graffiti, that has pervaded city spaces since the s and s involves the use of spray paint or paint markers. Photographer and author Nicolas Ganz notes that graffiti and Street Art practices are characterized by differing "sociological elements," writing that graffiti Graffiti and Street Art continue to be "governed by the desire to spread one's tag and achieve fame" through both quality and quantity of Graffiti and Street Art created, while street artists are Graffiti and Street Art by "fewer rules and [embrace] a much broader range of styles and techniques. Stencils also known as graffiti are usually prepared beforehand out of paper or cardboard and then brought to the site of the work's intended installation, attached to the wall with tape, and then spray painted over, resulting in the image or text being left behind once the stencil is removed. Many street artists favor the use of stencils as opposed to freehand graffiti because they allow for an image or text to be installed Graffiti and Street Art easily in a matter of seconds, minimizing the chance of run-ins with the authorities. Stencils are also preferable as they are infinitely re-useable and repeatable. Sometimes artists use multiple layers of stencils on the same image to add colors, details, and the illusion of depth. Brighton-based artist Hutch explains that he prefers to stencil because "it can produce a very clean and graphic style, which is what Graffiti and Street Art like when creating realistic human figures. Also, the effect on the viewer is instant, you don't need to wait for it to sink in. One Graffiti and Street Art the earliest known street artists to use stencils was , who started using the technique in to stencil purely textual messages onto walls. Wheat paste Graffiti and Street Art known as flour Graffiti and Street Art is a gel or liquid adhesive made from combining wheat flour or starch with water. Many street artists use wheat paste to adhere paper posters to walls. Much like stencils, wheat paste posters are preferable for street artists as it allows them to do most of the preparation at home or in the studio, with only a few moments needed at the site of installation, pasting the poster to the desired surface. This is crucial for artists installing works in unsanctioned Graffiti and Street Art, as it lowers the risk of apprehension and arrest. Some street artists create three-dimensional sculptural interventions, which can be installed surreptitiously in Graffiti and Street Art spaces, usually under the cover of darkness. Unsanctioned Street Art interventions usually aim to shock viewers by presenting a visually realistic, yet simultaneously unbelievable situation. For instance, in his Third Man Seriesartist Dan Witz installs gloves on sewer grates to give the Graffiti and Street Art that a person is inside the sewer attempting to escape. Works like these often cause passers-by to do a "double-take. Reverse graffiti also known as clean tagging, dust tagging, grime writing, clean graffiti, green graffiti, or clean is a method by which artists create images on walls or other surfaces by removing dirt from a surface. According to British reverse graffiti artist Moose, "Once you do this, you make people confront whether or not they like people cleaning walls or if they really have a problem with personal expression. There are street artists who experiment with other media, such as Invader Pariswho adheres ceramic tiles to city surfaces, recreating images from the popular Space Invaders video game of Invader says that tile is "a perfect material because it is permanent. Even after years of being outside the colors don't fade. Many other artists use simple stickers, which they post on surfaces around the city. Often, these stickers are printed with the artist's tag or a simple graphic. Others invite participation from the audience, like Ji Lee who pastes empty comic speech-bubbles onto advertisements, allowing passers-by to write in their own captions. Others still use natural materials to beautify urban spaces. For instance, inShannon Spanhake planted flowers in various potholes of the streets in Tijuana, Mexico. She says of the project, "Adorning the streets of Tijuana are potholes, open wounds that mark the failure of man's Promethean Project to tame nature, and somehow surviving in the margins are abandoned buildings, entropic monuments celebrating a hyperrealistic vision of a modernist utopia linked to capitalist expansion gone awry. The possibilities for Street Art media are endless. Street Art continues to be a popular category of art all over the world, with many of its practitioners rising to fame and mainstream success such as Bristol's Banksy, Paris' ZEVS, and L. Street artists who experience commercial success are often criticized by their peers for "selling out" and becoming part of the system that they had formerly rebelled against by creating illegal public works. Communications professor Tracey Bowen sees the act of creating graffiti as both a "celebration of existence" and "a declaration of resistance. For both Bowen and Hvala these unique positive attributes of graffiti are heavily reliant on its location in urban public spaces. Art critic and curator Johannes Stahl argues that the public context is crucial for Street Art to be political, because "it happens in places that are accessible to all [and] it employs a means of expression that is not controlled by the government. A tag on canvas will never hold the same power as the exact same Graffiti and Street Art on the street. This movement from the street to the gallery also indicates a growing acceptance of graffiti and Street Art within the mainstream art world and art history. Some apply the label "post-graffiti" to the work of street artists that also participate in the mainstream art world, although this is somewhat of a misnomer, as many such artists continue to execute illegal public interventions at the same time Graffiti and Street Art they participate in sanctioned exhibitions in galleries and museums. This phenomenon also presents difficulties for art historians, as the sheer number of street artists, as well as Graffiti and Street Art tendency to maintain anonymity, makes it hard to engage with individual artists in any sort of profound way. Moreover, it is difficult to insert Street Art into the art historical canon, as it did not develop from any progression of artistic movements, but rather began independently, with early graffiti and street artists developing their own unique techniques and aesthetic styles. Today, street artists both inspire and are Graffiti and Street Art by many other artistic movements and styles, with many artists' works bearing elements Graffiti and Street Art wide-ranging movements, from Pop Art to Renaissance Art. Street Art's status as vandalism often eclipses its status as art. More recently, as mentioned above, many artists are finding more opportunities to create artworks in sanctioned situations, by showing Graffiti and Street Art galleries and museums, or by partnering with organizations that offer outdoor public spaces in which street artists are permitted to execute works. However, many others continue to focus on unsanctioned illegal works. Part of the allure of working illegally has to do with the adrenaline rush that artists get from successfully executing a piece without being apprehended by the authorities. With the advent of the Internet and the development of various graphic software and technologies, street artists now have a multitude of tools at their fingertips to assist in the creation and dissemination of their works. Specialized computer programs allow artists like San Francisco-born MOMO to better plan for their graffiti pieces and prepare their stencils and wheat paste posters, while digital photography used in conjunction with the Internet and social media allows Street Art works to be documented, shared, and thus immortalized where Graffiti and Street Art, most pieces tended to disappear when they were removed by city authorities or painted over by other artists. Content compiled and Graffiti and Street Art by Alexandra Duncan. Graffiti and Street Art and revised, Graffiti and Street Art Summary and Accomplishments added by Kimberly Nichols. The Art Story. Ways to support us. Graffiti and Street Art always wanted to make work that communicates Graffiti and Street Art the masses, not the minority. Some people might say it's all a big waste of time, no one Graffiti and Street Art about their opinion if their name isn't written in huge letters on the bridge in town. Graffiti is a sporadic, illegal, mostly anonymous and fleeting form of intervention in the dominant culture. When read parallel to political events and, in this case, read in light of 'official' women's and lesbian feminist herstory, it becomes the most accessible medium of resistance, remarkably resistant to institutionalization and instrumentalization. I am saddened by the way graffiti is used as a way into the youth market Graffiti is an important tool for building a person's self-confidence Promoting bad products using graffiti writers - I hope we catch those writers, put them in the stocks and throw wet sponges at them. Shame on them. Because street art is universal in its reach, it should be viewed as a mass communication medium in a general sense. Yet despite its prevalence and importance, street art is often ignored and seldom researched as a mass communication. As one of numerous information sources, it should be viewed as one dimension of a multimedia, multiformat communication system. It gives expression to groups that otherwise could not comment upon or support current or perceived social problems. The Difference Between Street Art and Graffiti @ Schrift & Farbe Design Group

The common idiom "to take to the streets" has been used for years to reflect a diplomatic arena for people to protest, riot, or rebel. Early graffiti writers of the s and 70s co-opted this philosophy as they began to tag their names across the urban landscapes of New York City, Los Angeles, and Philadelphia. As graffiti bloomed outward across the U. The underlying impetus behind Street Art grew out of the belief that art should function in opposition to, and sometimes even outside of, the hegemonic system of laws, property, and ownership; be accessible, rather Graffiti and Street Art hidden away inside galleries, museums, and private collections; and be democratic and empowering, in that all people regardless of race, age, Graffiti and Street Art, economic status, etc. Although some street artists do create installations or sculpture, they are Graffiti and Street Art widely known for the use of unconventional art mediums such as spray paint, stencils, wheat paste posters, and stickers. Street Art has also been called independent , post-graffiti, and guerilla art. Street Art is supposed to be the ultimate in democratized art; seen by everyone, owned by no-one. An artist's tag is a pseudonym, which protects both the individual's identity and anonymity, while simultaneously providing the writer an opportunity to develop a new identity or persona much like a digital avatar. As journalist Norman Mailer paraphrased the words of graffiti artist CAY"the name is the faith of graffiti. Although considered more as vandalism than art, tagging proliferated the idea that one could become known by demonstrating their presence in public spaces, thus providing the raw foundation for artists to evolve out from within. The text Graffiti and Street Art several bright colors, and employs outlining and shading to give the impression of three-dimensionality. This piece, like much New York graffiti of the s, was completed on the side of a subway train. This choice of location would have garnered greater prestige for the artists, as writing on subway cars put them at very high risk of apprehension by the authorities, and thus considered more daring. Writing on subway cars was also a sure way to rapidly increase one's fame, as the artwork would then travel around the Graffiti and Street Art subway system, being seen by a far greater number of people than would a stationary piece on a wall. This piece is a typical example of "wildstyle" graffiti, which includes complex, interlocking or overlapping letters, and sometimes cartoon-like characters and other images, all painted in bright colors. Photojournalist Martha Cooper noted in that "inaccessibility reinforces that sense of having a secret society inaccessible to Graffiti and Street Art [ These types of pieces garner higher levels of respect for writers as opposed to "throwups" simpler pieces using maximum two or three colors to create two-dimensional bubble text Graffiti and Street Art "tags", because wildstyle work involves more artistic prowess and takes longer to complete, thus putting the writer at a higher risk for run-ins with police. This work, created by spray-painting onto a wall over a pre-cut stencil, depicts a couple in the midst of dancing. As we can see, the use of the and Street Art the artist to create a striking, sharp image with clean, crisp lines, using only black spray paint over a white surface. InBlek le Rat took a trip to the United States, where he was amazed by the graffiti he saw all over the city centers. When he returned to Paris, he began to try his own hand at this form of expression. Seeing Fascist stencils in Italy during his youth, as well as political paintings in French Algeria, left a lasting impression on him, and in he decided to start making his own stencil works around Paris, beginning with small rats. Like Bristol's Banksy, Blek le Rat sees the rat as an ideal symbol for the graffiti artist, as both operate under cover of Graffiti and Street Art to evade capture and eradication. Graffiti and Street Art le Rat explains, "I began to spray some small rats in the streets of Paris because rats are the only wild animals living in cities, and only rats will survive when the human race disappears and dies out. He explains the benefits of working with stencils, saying, "There are no accidents with stencils. Images created this way are clean and Graffiti and Street Art. You prepare it in your studio and then you can reproduce it indefinitely. I'm not good enough to paint freehand. Stencil is a technique well suited to the streets because it's Graffiti and Street Art. You don't have to deal with the worry of the police catching you. Content compiled and written by Alexandra Duncan. Edited and Graffiti and Street Art, with Summary and Accomplishments added by Kimberly Nichols. The Art Story. Ways to support us. Street and Graffiti Art Started: I've always wanted to make work that communicates to the masses, not the minority. Summary of Street and Graffiti Art The common idiom "to take to the streets" has been used for years to reflect a diplomatic arena for people to protest, riot, or rebel. Beginnings and Development. Later Developments and Legacy. Key Artists Banksy. Quick view Read more. Banksy's style is characterized by its dark humor and an iconic stenciling technique. Jean-Michel Basquiat. Jean-Michel Basquiat was an American painter who rose to fame in the s, and was the first African-American artist to gain international acclaim. His emotionally-charged paintings gave rise to graffiti art and the Neo-Expressionist movement, and are still considered among the most avant-garde artworks of the late twentieth century. . Keith Haring was a crucial part of the s New York City art, performance Graffiti and Street Art street scenes, creating graffiti- inspired works and drawings, often in public places such as the subway. Daniel Buren. Daniel Buren is Graffiti and Street Art French conceptual artist best known for his provocative public art pieces and use of contrasting, colored stripes. Felix Gonzalez-Torres. Felix Gonzalez-Torres was an American, Cuban-born visual artist known for his minimal installations and sculptures. Using materials such as strings of lightbulbs, clocks, stacks of paper, or packaged hard candies, his work is sometimes considered a reflection of his experience with AIDS and living at the time of the outbreak of that disease. The Guerrilla Girls. The Guerrilla Girls are a radical feminist activist group that agitates for women's equality in museums and the art world. Originating in the s and active to this day, they are famous for their poster designs and the gorilla masks their members wear as disguises. Institutional Critique. Institutional Critique is the practice of systematic inquiry into the workings of art institutions Graffiti and Street Art their connections to the development of art. Institutional Critique focuses on the relationships between the viewer, language, process, the consumption of art. . Installation art is a genre of contemporary art-making in which two- and three-dimensional materials are used to transform a particular site into an immersive space for the visitor. Installations may include sculptural, found, sound-based, and performance elements, and can be permanent or ephemeral. Street Photography. Street photography captures the moments of everyday life in public places. Photographers rely on framing and timing to immortalize a candid, sometimes called "decisive" moment. Artwork Images. Tango Artist: Blek le Rat This work, created by spray-painting onto a wall over a pre-cut stencil, depicts a couple in the midst of dancing. The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet. Graffiti L. Sherry, Jr. Shepard Fairey on that Obama Poster. Infamy Feature-length documentary. Exit through the Gift Shop Feature length documentary. Cite article. Updated and modified regularly [Accessed ] Copy to clipboard. Related Movements.