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Thepeninsulaaugust022014
ISO 9001:2008 CERTIFIED NEWSPAPER ON SATURDAY OFFENCES ONLINE Death toll past 1,600 as Gaza truce collapses GAZA CITY: A humanitarian truce in Gaza collapsed hours after it began yesterday amid a new wave of violence and the apparent capture by Hamas of an Israeli soldier. US Secretary of State John Kerry called on Turkey and Qatar to use their influence to secure the sol- dier’s release. In Gaza, 160 people were killed or died of their wounds yesterday, taking the Palestinian death toll to 1,600, mostly civilians. Sixty-six Israelis, three of them civilians, have died. The Custodian of the Two Holy Mosques King Abdullah bin Abdulaziz of Saudi Arabia denounced “inexcusable” world silence over Israel’s “war crimes” in Gaza. See also page 5 South Sudan peace talks to restart on August 4 ADDIS ABABA: South Sudan’s warring leaders will resume peace talks on Monday, mediators said yesterday, amid warnings of famine within weeks if fighting continues. Mediators from the East African IGAD bloc said in statement that the resumption of talks had been delayed by “extended holidays”. Talks between President Salva Kiir and his former deputy Riek Machar stalled in June with each side blaming the other for the failure. Sisi to skip Obama’s Africa summit WASHINGTON: Egyptian President Abdel Fattah Al Sisi will not attend an unprece- dented gathering of African leaders here next week, after he was given a belated invitation. Morocco’s King Mohamed VI will also be a no-show at next week’s gathering to be hosted by President Barack Obama. -
Limiting Law: Art in the Street and Street in the Art
Linda Mulcahy and Tatiana Flessas Limiting law: art in the street and street in the art Article (Accepted version) (Refereed) Original citation: Mulcahy, Linda and Flessas, Tatiana (2015) Limiting law: art in the street and street in the art. Law Culture and Humanities . ISSN 1743-8721 (In Press) © 2015 The Authors This version available at: http://eprints.lse.ac.uk/64564/ Available in LSE Research Online: December 2015 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s final accepted version of the journal article. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Limiting Law: Art in the Street and Street in the Art To be published in Law Culture and Humanities. Linda Mulcahy London School of Economics and Political Science, London, UK Tatiana Flessas London School of Economics and Political Science, London, UK Abstract Conventional legal responses to street art have tended to characterize it as a problem that is best dealt with through criminal law sanctions. -
Banksy and the Stencil As Radical Graphic Form
DRTP 1 (1) pp. 97–117 Intellect Limited 2016 Drawing: Research, Theory, Practice Volume 1 Number 1 © 2016 Intellect Ltd Essays. English language. doi: 10.1386/drtp.1.1.97_3 Essays Paul GouGh RMIT University Existencillism: Banksy and the stencil as radical graphic form Keywords abstract subcultural graffiti Contemporary graffiti artists, or ‘writers’ as they are known, observe a strict hierarchy that self-ranks Banksy ambition, daring and calligraphic innovation. At the apex are those writers who create the imposing wildstyle Blek le Rat exhibition pieces, large-scale vivid inscriptions that require a high degree of graphic invention and daring. At street art the other extreme are the stencil-cutters, who by comparison are regarded within the peer community of the stencil subculture, as lesser writers, relying on craft skills that are held to be quaint, even fraudulent. This article stencilling explores the persistence and ubiquitous spread of the stencil as a vehicle for mass-produced street art, made especially popular through the iconic work of British street-artist Banksy. Exploring the origins of his work in stencil the article examines how he has both radicalized the genre, while still retaining its essential value 97 DRTP_1.1_Paul Gough_97-117.indd 97 10/1/15 2:26:48 PM Paul Gough as an industrial, utilitarian and iconic graphic. The article compares the deadpan, but hugely popular, drawn language of the stencil with the freehand calligraphy of the taggers, ‘kings’ and other exhibition ‘writers’, and closes with a set of questions, in particular: what is the future of drawing in countercultural expression? urban calligraphy Graffiti have to be seen as an assertion of something, a criticism of public reality […] [a] tide of indecipherable signatures of mutinous adolescents which has washed over and bitten into the facades of monuments and the surfaces of public vehicles in the city where I live: graffiti as an assertion of disrespect, yes, but most of all simply an assertion […] the powerless saying: I’m here too. -
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 -
Munich's Galerie Kronsbein to Stage Banksy's First Solo Show in Germany
artnet artnet Auctions English Market Art World People Videos Topics Search ART WORLD Munich's Galerie Kronsbein to Stage Banksy's First Solo Show in Germany Henri Neuendorf, Tuesday, March 29, 2016 SHARE Banksy Kate, London (2005). Photo: Courtesy of Galerie Kronsbein, Munich. Presenting the first comprehensive survey of Banksy's work in Germany, Munich-based Galerie Kronsbein's upcoming exhibition "Banksy King of Urban Art" will showcase originals and editions by the mysterious and celebrated British street artist. Opening on April 14 and gathering over 40 works, the show will include highlights such as Banksy's Gangster Rat and Paparazzi Rat stencils, as well as his homage to the great street art pioneer Keith Haring. Also on view will be two original versions of Toxic Mary, which depict the Virgin Mary feeding baby Jesus with toxic fluid. Other well-known originals such as Balloon Girl and Heavy Weapons will also be on display at the exhibition in southern Germany, and visitors and collectors can also look forward to seeing Banksy's portrait of super model Kate Moss à la Andy Warhol in the flesh. Banksy Girl With Balloon (2004). Photo: Courtesy of Galerie Kronsbein, Munich. “Banksy is the Andy Warhol of urban art," gallery director Sarah Kronsbein told artnet News in a telephone conversation. “He's responsible for establishing urban art in art history. “We want to show a cross-section of his work, and show key pieces that guide the viewer through Banksy's world," she added. The Munich exhibition will be of particular interest to German collectors and street art enthusiasts, since Germany's last remaining Banksy mural was destroyed by vandals in Hamburg in February 2015. -
And the Law Won. Property Law V Art, Banksy's Spy Booth
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aberystwyth Research Portal Aberystwyth University Spy fought the law: and the law won. Property Law v Art, Banksy’s Spy Booth Huws, Catrin Fflur Publication date: 2017 Citation for published version (APA): Huws, C. F. (Author). (2017). Spy fought the law: and the law won. Property Law v Art, Banksy’s Spy Booth. Web publication/site, http://www.catrinfflurhuws.cymru/: . Retrieved from http://www.catrinfflurhuws.cymru/site/documents/spyfought.pdf Document License CC BY-NC-ND General rights Copyright and moral rights for the publications made accessible in the Aberystwyth Research Portal (the Institutional Repository) are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the Aberystwyth Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the Aberystwyth Research Portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. tel: +44 1970 62 2400 email: [email protected] Download date: 03. Oct. 2019 Spy fought the law: and the law won. Property Law v Art, Banksy’s Spy Booth Catrin Fflur Huws Spy fought the law: and the law won. -
Maureen Mswela
OWNERSHIP OF SOUTH AFRICAN STREET ART AND THE PROTECTION OF CULTURAL HERITAGE RESOURCES by SARAH RUTHERFORD SMITH submitted in accordance with the requirements for the degree of DOCTOR OF LAWS at the UNIVERSITY OF SOUTH AFRICA Supervisor: Prof M Wethmar-Lemmer Co-Supervisor: Prof C Roodt SEPTEMBER 2019 STATEMENT DECLARATION Name: Sarah Rutherford Smith ___________________________________ Student number: 33737193_______________________________________________ Degree: LLD____________________________________________________ Exact wording of the title of the thesis as appearing on the electronic copy submitted for examination: Ownership of South African Street Art and the Protection of Cultural Heritage Resources I declare that the above thesis is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. I further declare that I submitted the thesis to originality checking software and that it falls within the accepted requirements for originality. I further declare that I have not previously submitted this work, or part of it, for examination at Unisa for another qualification or at any other higher education institution. (The thesis will not be examined unless this statement has been submitted.) ________________________ _____________________ SIGNATURE DATE I have written Gandalf is here in signs that all can read from Rivendell to the mouths of Anduin. JRR Tolkien, The Lord of the Rings Mr Shine. Him diamond. Terry Pratchett, Thud! i ACKNOWLEDGMENTS Many people have contributed to this thesis in unique ways. I would like to specifically recognise the support of a few individuals: My husband, Gary. Any expression of gratitude is going to fall short of what you have done and continue to do for me. -
1 EDITORIAL If This Doesn't Look Like the Cheltenham We Know, That's Because It's on the Far Side of the World. Some Years
Newsletter No. 93 Affiliated to Cheltenham Arts Council March 2019 Registered Charity No. 1056046 http://www.cheltlocalhistory.org.uk EDITORIAL If this doesn’t look like the Cheltenham we know, that’s because it’s on the far side of the world. Some years ago we had a report from Cheltenham, NSW— a suburb of Sydney—by a member who had been there. This namesake is a leafy residential suburb of Adelaide in South Australia, which is where I shall be when you read this. There’s another Cheltenham in Melbourne, one in Auckland and at least two in the USA. If anyone visits any of them, please take some photos and tell us about it! Kath Boothman 1 March 2019 Cheltenham LHS For CONTENTS please see page 23. ANNUAL GENERAL MEETING The Society’s Annual General Meeting will be held on Tuesday 21st May in the Council Chamber, Municipal Offices, Promenade, Cheltenham at 7.30 pm prompt. (See Agenda enclosed with this Newsletter—please bring this with you to the meeting. Copies of the minutes of last year’s AGM will be available on the door.) The Mayor, as President of the Society, will chair the meeting and give a short address. Election of Officers and Committee 2019-20 Officers and committee members (as listed in the 2018 AGM Minutes) will resign in accordance with the Society’s constitution, although they can be re-elected if they so wish. Nominations are invited for Chairman, Secretary and Treasurer and for committee members. If you would like to nominate someone or be nominated yourself, either for one of these posts or as a committee member, please contact the Secretary Chris Conoley (email [email protected]) or phone 01452 700635 for a nomination form. -
And the Law Won. Property Law V Art, Banksy's Spy Booth
Aberystwyth University Spy fought the law: and the law won. Property Law v Art, Banksy’s Spy Booth Huws, Catrin Fflur Publication date: 2017 Citation for published version (APA): Huws, C. F. (Author). (2017). Spy fought the law: and the law won. Property Law v Art, Banksy’s Spy Booth. Web publication/site, . http://www.catrinfflurhuws.cymru/site/documents/spyfought.pdf Document License CC BY-NC-ND General rights Copyright and moral rights for the publications made accessible in the Aberystwyth Research Portal (the Institutional Repository) are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the Aberystwyth Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the Aberystwyth Research Portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. tel: +44 1970 62 2400 email: [email protected] Download date: 26. Sep. 2021 Spy fought the law: and the law won. Property Law v Art, Banksy’s Spy Booth Catrin Fflur Huws Spy fought the law: and the law won. Property Law v Art, Banksy’s Spy Booth Catrin Fflur Huws1 Abstract Abstract: In April 2014, a work of art, titled Spy Booth, by the artist Banksy, was painted on the outside wall of a house in Cheltenham. -
Announcement
Announcement 51 articles, 2016-08-23 06:00 1 Morning Links: Frank Ocean ‘Endless’ Edition Must-read stories from around the art world 2016-08-22 09:02 1KB (1.08/2) www.artnews.com 2 rafael berges residual living proposal for new york city the proposal is an urban, multi-family housing that enriches human plurality by blurring the boundaries between public and domestic (1.03/2) space. 2016-08-22 18:25 3KB www.designboom.com 3 Editors’ Picks: 9 Art Events to See in New York This Week Check some of these art events as summer comes to a close and (1.03/2) don't miss your last chance for most of these exhibits. 2016-08-22 15:42 6KB news.artnet.com 4 How Did Wolfgang Tillmans’s Song End Up on Frank Ocean’s Album? The German artist and photographer didn't know he had (1.02/2) collaborated with Ocean on what is considered the hottest record release of the year. 2016-08-22 06:07 2KB news.artnet.com 5 Top Galleries of 2016: Sadie Coles HQ The following Q&A appeared in Modern Painters’ August issue, which profiles the world’s top galleries of 2016. 2016-08-22 16:00 3KB (0.04/2) www.blouinartinfo.com 6 eternity today collection by sophia blends ancient & modern an exploration of greek themes including beauty, health, endurance, strength, and more the diverse collection was designed by sophia. 2016-08-23 04:05 1KB www.designboom.com 7 duffy london's table + bench use surfboard- making techniques duffy london brings back its popular 'surf-ace' series with a set of table and benches made using traditional surfboard manufacturing techniques. -
Susan Hansen Heritage Protection for Street Art? the Case of Banksy's
Nuart Journal 2018 Volume 1 Number 1 31–35 Heritage protection for street art? The case of Susan Hansen, Middlesex University Banksy’s Spybooth London In April 2014, two works by Banksy – Mobile Lovers and Spybooth – appeared overnight, 40 miles apart, in the Southwest of England. They each set a precedent for the preservation, safeguarding and ownership of street art. However, while Mobile Lovers achieved this by subverting legal strictures in favour of a socio-moral course of action (see Hansen, 2018) the disruption effected by Spybooth lay in its appropriation and co-option of existing heritage frameworks. Through their site-specific placement, these pieces subverted the recent trend for the removal of street art for private auction without the consent of either the artist or the community in which the work is located. This controversial trend has sparked debates reminiscent of the illegal trade of antiquities (Merrill, 2014). The tension at the basis of this lawful yet morally problematic practice is grounded in the legal recognition of the rights of property owners to the tangible works on their walls over the moral rights of street artists to control the first distribution of their work; the rights of communities to assert ownership over works they regard as public art intended for their enjoyment, and the until now unrealized potential for the recognition of the value of such works to their communities of origin through heritage protection. This research note explores the case of Spybooth, and in particular, the precedent this work set for the protection of street art in situ, and the community debate this generated.3 Banksy’s Spybooth (see Figure 1) was located on 20 August 2016). -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Bonadio, E. (2017). Copyright Protection of Street Art and Graffiti under UK Law. Intellectual Property Quarterly, 2017(2), pp. 187-220. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16343/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Copyright Protection of Street Art and Graffiti under UK Law Enrico Bonadio (*) INTRODUCTION This article aims at analyzing to what extent UK copyright law is capable of regulating various forms of art placed in the streets. Although I have been intrigued by street art for long time, I actually started doing academic research in this field after moving to the Shoreditch area in East London. This part of the British capital is well known for being culturally vibrant and dynamic and for hosting a highly artistic, vast and ever-changing range of street artworks.