Artists and Art Installations
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Pixaçāo: the Criminalization and Commodification of Subcultural Struggle in Urban Brazil
Kent Academic Repository Full text document (pdf) Citation for published version Gil Larruscahim, Paula (2018) Pixação: the criminalization and commodification of subcultural struggle in urban Brazil. Doctor of Philosophy (PhD) thesis, University of Kent,. DOI Link to record in KAR https://kar.kent.ac.uk/70308/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html PIXAÇĀO: THE CRIMINALIZATION AND COMMODIFICATION OF SUBCULTURAL STRUGGLE IN URBAN BRAZIL By Paula Gil Larruscahim Word Count: 83023 Date of Submission: 07 March 2018 Thesis submitted to the University of Kent and Utrecht University in partial fulfillment for requirements for the degree of Doctor of Philosophy after following the Erasmus Mundus Doctoral Programme in Cultural and Global Criminology. University of Kent, School of Sociology, Social Policy and Social Research Utrecht University, Willem Pompe Institute for Criminal Law and Criminology 1 Statement of Supervision Acknowledgments This research was co-supervised by Prof. -
Trompe L'œil: an Approach to Promoting Art Tourism (Case Study: Shiraz City, Iran)
Trompe l’œil: an approach to promoting art tourism (case study: Shiraz city, Iran) Zahra Nikoo, Neda Torabi Farsani and Mohamadreza Emadi Abstract Zahra Nikoo, Purpose – Trompe l’oeil as a novel art technique can not only promote art tourism but can also transform Neda Torabi Farsani and the landscape of a city into a platform for negotiation. Furthermore, trompe l’oeil aims to create a joyful, Mohamadreza Emadi all entertaining, new experience and an interactive environment for tourists in the cities. This paper are based at the Art highlights the introduction of trompe l’oeil as a new tourist attraction in Shiraz (Iran). Moreover, the goals University of Isfahan, of this study are to explore the role of trompe l’oeil (three-dimensional [3D] street painting) in promoting Isfahan, Iran. art tourism, to investigate the tendency of tourists toward experiencing art tours and trompe l’oeil and to determine the priority of trompe l’oeil themes from the domestic tourists’ perspective. Design/methodology/approach – Qualitative and quantitative methods were used in this research study. Findings – On the basis of the results of this study, it can be concluded that domestic tourists are eager to experience art tours and trompe l’oeil attractions and activities, except for buying and wearing 3D- printed clothes. In addition, trompe l’oeil on street floors and walls with funny, joyful and cultural-artistic and national-historical themes is more attractive for them. Originality/value – No significant academic work has been undertaken in the field of art tourism to evaluate the attitude of tourists toward the trompe l’oeil attractions and activities. -
İncəsənət Və Mədəniyyət Problemləri Jurnalı
AZƏRBAYCAN MİLLİ ELMLƏR AKADEMİYASI AZERBAIJAN NATIONAL ACADEMY OF SCIENCES НАЦИОНАЛЬНАЯ АКАДЕМИЯ НАУК АЗЕРБАЙДЖАНА MEMARLIQ VƏ İNCƏSƏNƏT İNSTİTUTU INSTITUTE OF ARCHITECTURE AND ART ИНСТИТУТ АРХИТЕКТУРЫ И ИСКУССТВА İncəsənət və mədəniyyət problemləri Beynəlxalq Elmi Jurnal N 4 (74) Problems of Arts and Culture International scientific journal Проблемы искусства и культуры Международный научный журнал Bakı - 2020 Baş redaktor: ƏRTEGİN SALAMZADƏ, AMEA-nın müxbir üzvü (Azərbaycan) Baş redaktorun müavini: GULNARA ABDRASİLOVA, memarlıq doktoru, professor (Qazaxıstan) Məsul katib : FƏRİDƏ QULİYEVA, sənətşünaslıq üzrə fəlsəfə doktoru (Azərbaycan) Redaksiya heyətinin üzvləri: ZEMFİRA SƏFƏROVA – AMEA-nın həqiqi üzvü (Azərbaycan) RƏNA MƏMMƏDOVA – AMEA-nın müxbir üzvü (Azərbaycan) RƏNA ABDULLAYEVA – sənətşünaslıq doktoru, professor (Azərbaycan) SEVİL FƏRHADOVA – sənətşünaslıq doktoru (Azərbaycan) RAYİHƏ ƏMƏNZADƏ - memarlıq doktoru, professor (Azərbaycan) VLADİMİR PETROV – fəlsəfə elmləri doktoru, professor (Rusiya) KAMOLA AKİLOVA – sənətşünaslıq doktoru, professor (Özbəkistan) MEYSER KAYA – fəlsəfə doktoru (Türkiyə) VİDADİ QAFAROV – sənətşünaslıq üzrə fəlsəfə doktoru, dosent (Azərbaycan) Editor-in-chief: ERTEGIN SALAMZADE, corresponding member of ANAS (Azerbaijan) Deputy editor: GULNARA ABDRASSILOVA, Prof., Dr. (Kazakhstan) Executive secretary: FERİDE GULİYEVA Ph.D. (Azerbaijan) Members to editorial board: ZEMFIRA SAFAROVA – academician of ANAS (Azerbaijan) RANA MAMMADOVA – corresponding-member of ANAS (Azerbaijan) RANA ABDULLAYEVA – Prof., Dr. (Azerbaijan) -
The Reinvigoration of Oakland Neighborhoods Through Public Art Installations
The Reinvigoration of Oakland Neighborhoods Through Public Art Installations Riley Anderson-Barrett California Polytechnic State University, San Luis Obispo College of Architecture and Environmental Design City and Regional Planning Department Senior Project June 2019 1 (Riggs) The Reinvigoration of Oakland Neighborhoods Through Public Art Installations Riley Anderson-Barrett Senior Project City and Regional Planning Department California Polytechnic State University - San Luis Obispo June 2019 © 2019 Riley Anderson-Barrett 2 Approval Page Title: The Reinvigoration of Oakland Neighborhoods Through Public Art Installations Author: Riley Anderson-Barrett, BSCRP student Date Submitted: June 14, 2019 Signature of parties: Student: Riley Anderson-Barrett date Advisor: Vicente del Rio, PhD date Department Head: Michael Boswell, PhD date 3 Table of Contents Chapter 1. Introduction 5 Chapter 2. The Role of Public Art in the City 7 Forms of Art 11 Public Art Installations 13 Chapter 3. Case Studies 16 Washington DC 18 Buenos Aires, Argentina 21 Paris, France 24 Lessons Learned 27 Chapter 4. The Case of Oakland 28 Background of Oakland 29 Project Proposal 32 Location 1 34 Location 2 45 Location 3 56 Implementation 67 Chapter 5. Conclusion 75 Chapter 6. References 78 4 Chapter 1. Introduction 5 (Illuminaries, 2013) The driving factor behind this project is my interest in how public art can drastically improve areas with somewhat little tangible change. With the implementation of a few key pieces, an area can gain recognition, triangulation, and life. Recognition begins when the location becomes recognizable and memorable, as opposed to being yet another mundane street corner or node. Making a location memorable and recognizable sparks the interest and desire for people to come visit the area. -
Spring 2021 Houston Seminar Brochure
THE HOUSTON SEMINAR SPRING 2021 As we continue to navigate challenges and new ways of living with COVID-19, the Houston Seminar is offering more courses on Zoom, as well as outdoor, socially distanced in-person experiences around Houston. Please join us as we dive into literature, landscape, history, philosophy, A Note politics, and more. Most of our Zoom courses will be recorded, and will be available on our website for two weeks after they take place. Please note To Our that by registering for Zoom courses, you are understood to be giving your THE HOUSTON SEMINAR Patrons permission to be recorded. Visit www.houstonseminar.org to learn more and to register for courses. The Houston Seminar was founded in 1977 for the purpose of stimulating learning and cultural awareness. Each spring and fall the nonprofit group offers lectures and study tours focused on varied topics that may include art, January architecture, literature, music, theater, history, politics, philosophy, psychology, SMTW TH FS religion, the natural environment, and current trends and events. Spring 2021 1 2 3 4 5 6 7 8 9 BOARD OF DIRECTORS ADVISORY BOARD Daytime Page 10 11 12 13 14 15 16 The Many Names of Slavery 7 17 18 19 20 21 22 23 Gail Adler Nancy Crow Allen 24 25 26 27 28 29 30 Bettie Cartwright Memorial Park: Vera Baker 9 31 Marcela Descalzi Brave Jan Cato Implementing the Ten-Year Plan February Kathleen Huggins Clarke Diane Cannon What’s with That Wall? Exploring 10 1 2 3 4 5 6 Sandy Godfrey Houston’s Street Art (tours) Barbara Catechis Kate Hawk 7 8 9 10 11 12 13 Liz Crowell Nancy F. -
The Ethical Criticism of Street Art
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CommonKnowledge Essays in Philosophy Volume 17 Article 6 Issue 1 The Beautiful and the Good 2-12-2016 Vandals or Visionaries? The thicE al Criticism of Street Art Mary Beth Willard Weber State University Follow this and additional works at: http://commons.pacificu.edu/eip Recommended Citation Willard, Mary Beth (2016) "Vandals or Visionaries? The thicalE Criticism of Street Art," Essays in Philosophy: Vol. 17: Iss. 1, Article 6. http://dx.doi.org/10.7710/1526-0569.1545 Essays in Philosophy is a biannual journal published by Pacific nivU ersity Library | ISSN 1526-0569 | http://commons.pacificu.edu/eip/ Vandals or Visionaries? The Ethical Criticism of Street Art Mary Beth Willard Weber State University Abstract To the person unfamiliar with the wide variety of street art, the term “street artist” conjures a young man furtively sneaking around a decaying city block at night, spray paint in hand, defacing concrete structures, ears pricked for police sirens. The possibility of the ethical criticism of street art on such a conception seems hardly worth the time. This has to be an easy question. Street art is vandalism; vandalism is causing the intentional damage or destruction of someone else’s property; causing destruction or damage is wrong. The only remaining question is which of two coarse-grained models of ethical criticism we choose. The ethicist model holds that a work of art that exhibits ethically bad properties is a work that is thereby aesthetically flawed. That is, the work is flawed as a work of art just because of its ethical flaws. -
Sandy Skoglund
Table of Contents Welcome ................................................................................................................ 1 Event Schedule ..................................................................................................... 2 - 3 General Information .............................................................................................. 5 Exhibitors .............................................................................................................. 7 - 8 General Session Speakers ................................................................................... 9 - 11 Master Art Educator Series .................................................................................. 12 - 15 “Inside the Studio” ............................................................................................... 16 - 18 Thursday Workshops ........................................................................................... 20 - 21 Tours ...................................................................................................................... 22 - 23 Experience Institutes ............................................................................................ 24 - 25 Build Your Own Schedule .................................................................................... 26 - 29 Workshops ............................................................................................................ 30 - 55 Conference Presenters ........................................................................................ -
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. -
Gilbertresume 1/3/15
JAN GILBERT Website: www.jangilbertart.com, www.thevestigesproject.org 7344 Onyx Street New Orleans Louisiana 70124 (504) 251-4968 email [email protected] ! AWARDS & HONORS 2013 ARTS COUNCIL OF NEW ORLEANS, Community Arts Award 2012 DIVISION OF THE ARTS, State of Louisiana, Career Advancement Grant 2011 THE HAVEN FUND, Individual Grant 2009, 10 CREATIVE CAPITAL/LOUISIANA DIVISION OF THE ARTS, Professional Development Fellowships 2008-10 FORD FOUNDATION, HOME, New Orleans? - Four NOLA Neighborhood Projects, Project Grant 2007-9 THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, HOME, New Orleans?, Project Grant 2007-09 TRANSFORMA PROJECTS/NPN, HOME, New Orleans?, Project Grant 2006 POLLOCK-KRASNER FOUNDATION, Individual Artist Grant CONTEMPORARY ARTS MUSEUM HOUSTON KATRINA RELIEF FUND, Individual Grant 2006,08 LOUISIANA CULTURAL ECONOMY FOUNDATION, Individual Grants CONTEMPORARY ARTS CENTER, Katrina Fund, Individual Grant 2003 TRUST FOR MUTUAL UNDERSTANDING, SPACE2, The Unifying Gift, Project Grant 1997-2001 LOUISIANA DIVISION OF THE ARTS, Individual Artist Mini-Grants 1995 NATIONAL ENDOWMENT FOR THE ARTS/ROCKEFELLER FOUNDATION and ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS REGIONAL ARTISTS PROJECT, Artist Fellowship 1995 DIVISION OF THE ARTS, STATE OF LOUISIANA, Artist Fellowship 1995 SOUTHERN ARTS FEDERATION/NATIONAL ENDOWMENT FOR THE ARTS, Fellowship Finalist CONTEMPORARY ARTS CENTER, New Orleans, SweetArts Honoree 1992 NATIONAL ASSOCIATION OF ARTISTS' ORGANIZATIONS/The PEW CHARITABLE TRUSTS Multi-Site Collaborations Program, VESTIGES: -
Between What Is and What Could Be: the Clarion Alley Mural Project Aaron Noble, 2005
Between What Is and What Could Be: The Clarion Alley Mural Project Aaron Noble, 2005 Cuando regresemos a nuestra antigua tierra Que nunca conocimos Y platiquemos de todas esas cosas Que nunca han sucedido Caminaremos llevando de la mano ninos Que nunca han existido Escucharemos sus voces y viviremos Esa vida de la que tanto hablamos Y nunca hemos vivido When we return to our ancient land Which we never knew And talk about all those things That have never happened We will walk holding the hands of children Who have never existed We will listen to their voices and we will live That life which we have spoken of so often And have never lived -- Daisy Zamora Alfonso Texidor chose this poem for Clarion Alley in 1993 as the first murals were being painted. It consists of four utopian assertions, each one qualified –nearly negated-- by the harrow of this world. These assertions claim the importance of Place, History, Nurturance and Listening, the last of which is most closely associated with an ideal life. Could this sorrowful brief poem be any more opposed to the way things are moving in San Francisco today? Could Alfonso have thrown us any more of a curve ball? The best history of the Clarion Alley Mural Project would be a listening project, assembled from interviews with one or two or three hundred people and would fill a small book at least. In lieu of that, I’ve tried to follow a thread through my own experience, a thread I hope will connect a few ideas about our position in the political and artistic currents—or say, to link them properly, the expressive practices of the Mission district, and about the frictions of insisting on a better world in this world, a world better in that, among other things, the meaning of signs is held to account. -
Bush ACCESSIBILITY and the ARTS 18 Ubiquity: the Journal Of
Bush ACCESSIBILITY AND THE ARTS Ubiquity: The Journal of Literature, Literacy, and the Arts, Praxis Strand, Vol.1 No.1, Winter 2014, 18-33 Ubiquity: http://ed-ubiquity.gsu.edu/wordpress/ Accessibility and the Arts in the 21st Century: Samples from the Southeastern United States © Katie Bush High Museum of Art Correspondence concerning this article should be addressed to Katie Bush; High Museum of Art; 1280 Peachtree Street Northeast, Atlanta, GA 30309 Contact: [email protected] 18 Bush ACCESSIBILITY AND THE ARTS Abstract The arts in the 21st century rely heavily on accessibility and participation. Social media has allowed art movements to develop and increase public awareness, access, and participation with the arts. This paper summarizes three art movements and five arts programs and their presence in the southeastern United States. I aim to encourage the reader to participate in the arts in their communities by explaining current art movements and emerging non-profit arts organizations in the Southeastern United States. Keywords: Accessibility, social media, street art, nonprofit organizations Ubiquity: The Journal of Literature, Literacy, and the Arts, Praxis Strand, Vol.1 No.1, Winter 2014 19 Bush ACCESSIBILITY AND THE ARTS Accessibility and the Arts in the 21st Century: Samples from the Southeast The arts have dramatically changed in the past few decades, partly due to emerging technologies. The Internet has made the visual arts easily accessible, giving way to trends like visual culture in the art classroom. These emerging technologies are inclusive: they are utilized by all ages. Jenkins (2009) calls this a participatory culture, one that has “relatively low barriers to artistic expression and civic engagement, strong support for creating and sharing creations, and […] participants pass along knowledge to novices” (p. -
Policing Art: an Investigation of Protest Art, Policy, and Identity
Policing Art: An Investigation of Protest Art, Policy, and Identity in Capitol Hill, Seattle, WA. Laura Nauert A thesis submitted in partial fulfillment of the requirements for the degree of Master of Urban Planning University of Washington 2021 Committee: Manish Chalana Joaquín Herranz Jr. Program Authorized to Offer Degree: Urban Design and Planning © Copyright 2021 Laura Nauert University of Washington Abstract Policing Art: An Investigation of Protest Art, Policy, and Identity in Capitol Hill, Seattle, WA. Laura Nauert Chair of the Supervisory Committee: Manish Chalana Urban Design and Planning Integrating meaningful public art into our urban landscapes is an important goal for planners and urban designers, and it aligns with strategies for supporting community identity and placemaking. Though sanctioned art is encouraged and there are numerous policies to support the funding, development, and conservation of sanctioned public art, less focus and attention is given to unsanctioned art that manifests naturally in the built environment. Protest art typically falls into a gray area of illegality and criminality, and this type of art is unfunded and largely unrecognized. Regardless, placemaking and protest movements are related, particularly in the Capitol Hill neighborhood of Seattle, WA. This thesis illustrates the unique relationship between unsanctioned protest art and community identity in Capitol Hill by examining two seminal case studies of protest art movements and conducting a thorough policy analysis. The anti-gentrification artwork by John Criscitello and the protest art that developed from the Capitol Hill Occupied Protest (CHOP) in June 2020 are excellent examples of how protest art reflected community sentiment and served as a means of expression for the entire community.