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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. -
Alison Young Art and Belonging: on Place, Displacement And
10 NUART JOURNAL 2019 VOLUME 1 NUMBER 2 10–19 ART AND BELONGING: ON PLACE, DISPLACEMENT AND PLACELESSNESS Alison Young University of Melbourne Street art is often talked about as contributing to a sense of place. Mural projects, festivals, and street artworks are said to foster feelings of belonging, recognition, and connection to a place. More than this, street art is increasingly used in place-branding and in commercial transactions. This article poses some questions about the implications of the way that street art relates to place and both makes and unmakes spaces of connection and disconnection. It will begin with the use of street artwork to sell property development, identifying this as a contemporary characteristic of the now well-known relationship between art and gentrification. As a counterpoint to the commercialisation of the sense of place generated by street art, it examines the work of artists such as Ian Strange, Francis Alÿs, and Stanislava Pinchuk, who make art located in displacement, dislocation, and dispossession. ART AND BELONGING 11 INTRODUCTION time, it did not take long for this apparent correlation to be Where does street art take place? Found in train converted into a belief that commissioned art interventions tunnels, abandoned buildings, warehouses, train carriages would have the same effect on markets. Mural projects, in railyards, alleyways, and on rooftops, street art has usually involving large-scale gable end murals painted with never been found only in the street. The qualifying adjective the consent of residents or city authorities, can now be in the art form’s name provides an indication of simply one found in innumerable cities and towns. -
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. -
Street Art Explosion Walking
ADELAIDE FRINGE 02. HER MAJESTY’S REAR WALL Artist: Anthony Lister STREET ART Anthony Lister was born in Brisbane, Australia, in 1979, and later completed a Bachelor of Fine EXPLOSION 17 Arts degree at the Queensland College of the Arts. He helped pioneer the stencil and street art WALKING MAP movement in Brisbane before moving to New York in 2003 to work with his mentor, Max Gimblett. Lister says “I am interested in culture, and society’s K judgment systems on culture” he tells us when I N we ask about why he was drawn to them as a 16 18 G painter. “Ballerinas are kind of like strippers, only they don’t take their clothes off. I’m interested in breaking art. I’m interested in philosophy.” W 03. PITT ST CARPARK WALL HINDLEY ST I L Artist: Vans the Omega 15 L I 47 14 A Based mostly, but not always, in Adelaide, Vans M the Omega has been creating and paining for 13 more than 2 decades. His influences include architecture, ancient scripts, engineering, nature, as 12 well as the idea of movement and balance. He has experience in a number of disciplines, including 11 design, photography, and clothing, and used all his CURRIE ST S influence to create works that continue to push T the boundaries and satisfy his desire to reinvent 10 and perfect his craft. Today Vans is renowned for 8,9 his diverse use of mediums, colour palettes and Lig ht styles including portraiture, geometric pattern and quare/ traditional graffiti lettering. As one of Australia’s 7 most influential street artists, Vans the Omega is uwi often credited as a pioneer of both the local and international graffiti scene. -
PRESERVATION of STREET ART in PARIS. an EXAMPLE for RIGA? Quentin-En-Yvelines, Fra Latvian Academy of Cult
Mg.sc.soc. Valērija Želve Alumna, Université de Versailles Saint- Quentin-en-Yvelines, France, Latvian Academy of Culture PRESERVATION OF STREET ART IN PARIS. AN EXAMPLE FOR RIGA? Mg. sc. soc. Valērija Želve Alumna, Université de Versailles Saint-Quentin-en-Yvelines, France, Latvian Academy of Culture Abstract In many cities graffiti and street art is considered as vandalism and is often connected with crime. However, in some cities majority of the population does not agree with such a statement. They see street art and graffiti as decoration of the city. They think the artists deserve a safe space for expressing themselves. It is already a little step towards preserving the street art movement, as, of course, not all the citizens will share this opinion, since place of street art is still a very arguable question in many cities around the world. More and more organisations, associations and projects of different types are being created to promote and protect the urban art. Promotion of street art can be expressed in different ways, for example, panel discussions and workshops, exhibitions and festivals. Several street art and graffiti related spaces are being opened in Paris. Museums, warehouses, walls, schools – every kind of space could be used as a platform for the artists. This is also a nice way to show to the city council how important this culture is to the citizens of Paris. At the same time Riga cannot be yet proud of a thriving street art and graffiti culture. But what if Riga actually took Paris as an example? Could similar organisations in Latvia improve the society’s attitude towards urban cultures? Could the safe platform for street art be a solution for its popularization in Riga? The aim of this paper is to introduce organisations which promote and protect street art and graffiti in Paris and to evaluate if street art positions in Paris could actually be an example for Riga. -
Street Art & Graffiti in Belgrade: Ecological Potentials?
SAUC - Journal V6 - N2 Emergence of Studies Street Art & Graffiti in Belgrade: Ecological Potentials? Srđan Tunić STAW BLGRD - Street Art Walks Belgrade, Serbia [email protected], srdjantunic.wordpress.com Abstract Since the emergence of the global contemporary graffiti and street art, urban spaces have become filled with a variety of techniques and art pieces, whether as a beautification method, commemorative and community art, or even activism. Ecology has also been a small part of this, with growing concern over our environment’s health (as well as our own), disappearing living species and habitats, and trying to imagine a better, less destructive humankind (see: Arrieta, 2014). But, how can this art - based mostly on aerosol spray cans and thus not very eco-friendly - in urban spaces contribute to ecological awareness? Do nature, animal and plant motifs pave a way towards understanding the environment, or simply serve as aesthetic statements? This paper will examine these questions with the example of Belgrade, Serbia, and several local (but also global) practices. This text is based on ongoing research as part of Street Art Walks Belgrade project (STAW BLGRD) and interviews with a group of artists. Keywords: street art, graffiti, ecology, environmental art, belgrade 1. Introduction: Environmental art Art has always been connected to the natural world - with its Of course, sometimes clear distinctions are hard to make, origins using natural materials and representing the living but for the sake of explaining the basic principles, a good world. But somewhere in the 1960s in the USA and the UK, example between the terms and practices could be seen a new set of practices emerged, redefining environmental in the two illustrations below. -
The Wanås Foundation
Pressinformation 7 augusti, 2017 Maria Hassabi and Fall Program at Wanås Konst – The Wanås Foundation The exhibition SculptureMotion brings together six Swedish, Nordic, and international artists in an exhibition that includes moving image and performance. The artists begin with movement – adding, being, reproducing movement, the memory of movement, and emphasizing the dual meaning of the word “movement”: active physical movement, but also movement as mobilization. One of the world’s foremost choreographers, William Forsythe, presents his Choreographic Objects in Sweden for the first time. The exhibition program has included a Walk & Talk with William Forsythe, a performance weekend with the artist collective Mammalian Diving Reflex as well as a performance by Sonia Khurana. August 19 and 20 choreographer Maria Hassabi’s outdoor performance STAGED? (2016) – undressed will take place in the sculpture park at the Wanås Foundation. Maria Hassabi, STAGED (?) 2016., 2016 Photo: Thomas Poravas. “Coming into contact with art at Wanås Konst is not superficial. It is live, physical and could be characterized as unavoidable: you feel the dirt under your feet, understand the weight of your body relative to a river of concrete, sense its width in a maze of trees, or its height distorted through bent glass. You seek out the specific work you would like to see and your sense of time is altered. The journey becomes just as important as the object you are looking for. Art is all around. Nature is all around. You activate it, it activates you.” – Rachel Tess, Associate Curator Dance, Wanås Konst About Maria Hassabi Maria Hassabi’s intent to stillness and sustained motion is pursued in her ongoing work as she examines the tension between the human form and the artistic object. -
When the Wall Talks: a Semiotics Analysis of Graffiti Tagged by “Act Move”
When The Wall Talks: A Semiotics Analysis of Graffiti Tagged by “Act Move” A Journal Paper Hasan IbnuSafruddin (0707848) English Education Department, Faculty of Language and Arts Education, Indonesia University of Education, Dr. Setiabudhi 229, Bandung 40154, Indonesia Email: [email protected] Abstract: In Indonesia Graffiti phenomenon has become a popular culture. Graffiti exists around us; in public space, wall, and toilet.Its existence sometime lasts just a few days then beingerased, but some other exists for a long time. Some people think graffiti is a kind of vandalism, some other think it is a piece of art. That makes the graffiti interesting to me. The author believe there must be a purpose and meaning in creating graffiti. Bandung city is popular as the place of creative people; there are many communities of Bomber, graffiti creator called.The author choose some graffiti tagged by Act Move around Bandung as the sample for my analysis. Different with other graffiti, Act Move more applies more the words form rather than pictures. In this paper the author would like to analyze five graffiti tagged by Act Move around Bandung city through the Roland Barthes framework. Barthes‟ Frame work isapplied to find out the meaning of graffiti. After doing descriptive analysis of the graffiti the author also do an interview with the Bomber of Act Move to enrich the data and make the clear understanding of this study. The finding of this study is the meaning of denotation, connotation and myth or ideology of the graffiti. The author expect this study can give the exploration and interpretation the meaning beyond and surface of graffiti. -
Arquivototal.Pdf
Débora Machado Visini A CIDADE É O SUPORTE: arte urbana, mercado e subversão. Texto apresentado ao Programa de Pós- Graduação em Artes Visuais da Universidade Federal da Paraíba como requisito para obtenção de título de mestre. Linha de Pesquisa: Historia, Teoria e Processos de Criação em Artes Visuais. Orientadora: Prof. Dr. Maria Helena Magalhães João Pessoa Fevereiro, 2017 AGRADECIMENTOS Existe uma família afetuosa, composta por milhares de pessoas que vão passando pelas nossas vidas. Alguns permanecem, outros se vão. Essa família não significa hereditariedade sanguínea, mas sim ancestralidade, aqueles vínculos e conexões que sentimos e que, no entanto não sabemos explicar direito de onde vem e como vem. Gostaria de agradecer a essa família afetuosa. Em primeiro lugar as mulheres mais importantes dessa família, as matricarias, responsáveis por todo amor e afeto que existe nessa vida, minha mãe Sônia Regina, minha avó Maria do Carmo, minha irmã Aida Luiza e a minha sobrinha, que chegou em meio a todo esse processo, pequena Alice. Também agradeço a meu pai Wlamir, meu irmão Victor e meu avô, que partiu em meio ao processo, Sérgio Visini. Agradeço as grandes amigas de longa data, Ana Carolina, Nina Vieira, Maiara, Gabriel, Mylena, André, e minha prima e amiga querida, Michelle. As amigas de nova data também, Camille, Raabe, Akene, Susi, Bruna, Thiaga. Agradeço as duas mulheres que foram minhas companheiras durante o processo, Jamille Ribeiro e Kimmy Simões, por terem segurado a barra que é gostar de uma pesquisadora independente de um tema tão controverso em um país como o Brasil, que conta com um sistema acadêmico que adoece milhares de alunos todos os anos pelas suas pressões em produtividade e a baixíssima assistência financeira e psicológica, eles dirão que é uma questão de meritocracia, e eu vos direi que é uma questão de privilégios. -
Årstryck 2011 Göteborgs Konstmuseum
GÖTEBORGS KONSTMUSEUM ÅRSTRYCK 2011 ÅRSTRYCK GÖTEBORGS KONSTMUSEUM ÅRSTRYCK Göteborgs konstmuseum Götaplatsen 412 56 Göteborg Telefon: +46 31 368 35 00 www.konstmuseum.goteborg.se ISSN 0432-126X 11 GÖTEBORGS KONSTMUSEUM ÅRSTRYCK 2011 INNEHÅLL Redaktör: Kristoffer Arvidsson Förord ............................................................................................................................... 7 Medredaktörer: Anna Hyltze 2011: året i korthet ............................................................................................................ 9 Isabella Nilsson Utställningar ...................................................................................................................... 10 Medverkande: Kalle Andersson Malin Borin Omhängningar .................................................................................................................. 16 Margaretha Dahlström Per Dahlström Pedagogik .......................................................................................................................... 17 Malin Gustafsson Helena Karlsson Evenemang ........................................................................................................................ 19 Eva Lekvall Philippa Nanfeldt Bue Nordström Information och marknadsföring ........................................................................................ 25 Eva Nygårds Lennart Pettersson Forskning .......................................................................................................................... -
The Art of the Illegal
COMING TO MELBOURNE THIS SUMMER Explore I MELBOURNE Evening Standard 63 THE ART OF ADNATE, SOFLES AND SMUG ADNATE, ARTISTS THE ILLEGAL 11 JAN – 18 FEB PRESENTED BY MTC AND ARTS CENTRE MELBOURNE Peter Barrett traces the evolution ARTS CENTRE MELBOURNE, PLAYHOUSE DEAN SUNSHINE of street art in Melbourne Photo of Luke Treadaway by Hugo Glendinning Photo of Luke Treadaway mtc.com.au | artscentremelbourne.com.au PHOTOGRAPHY Curious-Jetstar_FP AD_FA.indd 1 1/12/17 10:37 am Explore I MELBOURNE n a back alley in Brunswick, a grown man is behaving like a kid. Dean Sunshine should be running his family textiles business. IInstead, the lithe, curly-headed 50-year-old is darting about the bluestone lane behind his factory, enthusiastically pointing out walls filled with colourful artworks. It’s an awesome, open-air gallery, he says, that costs nothing and is in a constant state of flux. Welcome to Dean’s addiction: the ephemeral, secretive, challenging, and sometimes confronting world of Melbourne street art and graffiti. Over the past 10 years, Dean has taken more than 25,000 photographs and produced two + ELLE TRAIL, VEXTA ART SILO DULE STYLE , ADNATE, AHEESCO, books (Land of Sunshine and artist, author and educator, It’s an awesome, Street Art Now) documenting Lou Chamberlin. Burn City: ARTISTS the work of artists who operate Melbourne’s Painted Streets open-air gallery, 64 in a space that ranges from a presents a mind-boggling legal grey area to a downright diversity of artistic expression, he says, that costs illegal one. “I can’t drive along a from elaborate, letter-based street without looking sideways aerosol “pieces” to stencils, nothing and is in down a lane to see if there’s portraits, “paste-ups” (paper something new there,” he says. -
Ikea Art Event 2015 Limited Collection April 2015 Ikea Press Kit / April 2015 / 2
PH124392 IKEA ART EVENT 2015 LIMITED COLLECTION APRIL 2015 IKEA PRESS KIT / APRIL 2015 / 2 PH124364 Bring the street art home We have long provided people all over the world with democratic design – affordable and functional design for all. Now, we’re launching an art initiative with no practical function, instead it’s all about evoking emotions. Creative Leader Henrik Most explains the idea behind IKEA Art Events: - Normally you could say that art has a limitation. That it’s for the few, with a lot of money, or something you see in museums and galleries. But we think that art belongs in people’s homes. And with these collections, art becomes accessible for a lot of people - you don’t need to be wealthy to buy something unique. For this years’ collection, we invited 12 street artists from around the world to create 12 unique street art posters for IKEA. The global launch is 1 April 2015, and since it’s a limited collection the posters might sell out very quickly. Our aim is that the different styles and expressions will create a better everyday life - for everyone who loves great art. IKEA ART EVENT 2015 IKEA PRESS KIT / APRIL 2015 / 3 “Street art is free for anyone to enjoy, you can just grab a bike and discover art in your own hometown. It’s the most democratic art form that exists.” HENRIK MOST Creative Leader, IKEA of Sweden IKEA ART EVENT 2015 IKEA PRESS KIT / APRIL 2015 / 4 From the streets of the world... Street art lives in the urban environment.