Making Sense of the World Through Art Symposium
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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. -
A Critical Analysis of 34Th Street Murals, Gainesville, Florida
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Critical Analysis of the 34th Street Wall, Gainesville, Florida Lilly Katherine Lane Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE A CRITICAL ANALYSIS OF THE 34TH STREET WALL, GAINESVILLE, FLORIDA By LILLY KATHERINE LANE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2005 Copyright © 2005 All Rights Reserved The members of the Committee approve the dissertation of Lilly Katherine Lane defended on July 11, 2005 ________________________________ Tom L. Anderson Professor Directing Dissertation ________________________________ Gary W. Peterson Outside Committee Member _______________________________ Dave Gussak Committee Member ________________________________ Penelope Orr Committee Member Approved: ____________________________________ Marcia Rosal Chairperson, Department of Art Education ___________________________________ Sally McRorie Dean, Department of Art Education The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ..…………........................................................................................................ v List of Figures .................................................................. -
City of Vincent Major Public Artwork EOI Pamela Gaunt with Joshua Webb + Management by CURATE Publik
City of Vincent Major Public Artwork EOI Pamela Gaunt with Joshua Webb + management by CURATE publik Pamela Gaunt | 12 Cantle Street, Perth WA 6000 | www.pamelagaunt.com.au | [email protected] | mobile 0421 657 477 Contents 1.0 Project Team + Design Approach 2 2.0 Pamela Gaunt Artist CV 4 2.01 Constellation #1 6 2.02 Abundance (Dusk) 7 2.1 Joshua Webb Artist CV 8 2.11 Blue Sun 10 2.12 Temple 11 2.2 CURATE publik Managment Profile 12 2. 3 Sioux Tempestt Artist CV 13 2.31 Town of Victoria Park Mural 14 2.4 Simon Venturi Architect CV 15 2.41 Standby Espresso 16 2.5 Sean Byford Installation Manager CV 17 2.51 Visitants / Menagerie Exhibition 18 Issued on the 8th September 2019 - Revision 0 Birdwood Square Aerial Site Photograph 1.0 >>> Project Team + Design Approach Statement of Skills & Experience Our team for this project includes Pamela Gaunt Artist (as the lead artist / contractor) collaborating with Joshua Webb Artist supported by CURATE publik project management. Collectively we seek to achieve beautifully executed outcomes, embedded with a strong level of artistic integrity, which contribute to their context and often accommodate functional uses. We support merging public art, public space and soft landscaping to generate integrated multidisciplinary outcomes. We also believe public art can play a role in building communities, encouraging connectivity and promoting social interaction. It can stimulate the imagination, the act of story telling and provoke ideas whilst also playing a role in establishing a strong sense of place. Pamela Gaunt’s practice often explores surface and pattern while Joshua Webb’s practice commonly explores form and enclosure which are highly complimentary elements. -
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. -
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. -
Street Art – Legally Speaking
Legally Speaking: Street Art Intellectual property lawyer, Sharon Givoni, spends a vast amount of time working with professional photographers. While most cases involve the photographer taking legal action, they can also easily find themselves as the defendant. One example is when photographing street art, and Sharon has kindly taken the time to discuss this area of law. Street art has gained credibility as a legitimate way for artists to communicate their works to the public outside of the confines of the mainstream art world. The art takes various forms, ranging from bright alleyways to large-scale murals, sanctioned and unsanctioned alike. ‘More than ever before, photographers are an essential part of this scene,’ Lou Chamberlin wrote in her book, Street Art This photograph taken by Melbourne. ‘Known as paint spotters, they spend their spare Chris Scott shows graffiti in time chasing and documenting new pieces as soon as they an incidental fashion go up.’ A consequence of this, however, is the raft of legal issues that could potentially arise for photographers of street art. Imagine the following scenarios: – You photograph street art and reproduce it on a canvas with other images that you superimposed to create ‘art’ which you sell at a gallery. You are then surprised to receive a letter of demand from the street artist’s lawyer claiming a share of the sale. – You conduct a shoot for a magazine in an alleyway in Melbourne. In the background of the shot is some street art. Will publishing the photographs be an infringement of copyright? What if it is impossible to determine who created the art? – You take photographs of street art, frame and sell them. -
REMI ROUGH Remi Rough (B
REMI ROUGH Remi Rough (b. London, 1971) SELECTED SOLO EXHIBITIONS 2018 Volume, MOCA London. London, UK Interlude (With Peter Lamb & Charley Peters, House of St Barnabas. London UK Morning Dynamics, External mural project with MTRHK and Swir Properties Arts. Hong Kong Syncopation (With LX One), Zimmerling & Jungfleisch. Saarbrucken, DE 2017 Sound pigments, Magda Danysz Gallery, Paris FR Symphony of systematic minimalism, Wunderkammen Gallery, Rome IT 2016 Post, Speertstra. Bursins CH 2015 Home, Scream Gallery. London UK 2014 Motivational Therapy, Whitewalls Gallery. San Francisco US Further Adventures In Abstraction, Soze Gallery. Los Angeles US Flow with John ‘Crash’ Matos, Dorian Grey Gallery. New York US 2013 Excuse my French with RCF1, Galerie Celal. Paris FR 2012 In the presence of Angels, Soze Gallery. Los Angeles US How to use colour & manipulate people, Unit 44 Gallery. Newcastle UK 2011 Selected Moments with Stormie Mills, Unit 44 Gallery. Newcastle UK A (with Steve More), Blackall Studios. London UK 2009 ProjectRoom (with Jaybo), ProjectRoom. Berlin DE Lost colours and alibis, Urban Angel Gallery. London UK 2008 Coded Language, Peacock Visual Arts. Aberdeen UK 2007 Repetition, Rhythm & Rough, Nancy Victor Gallery. London UK SELECTED GROUP EXHIBITIONS 2019 Graffuturism Paris, L’Alternatif. Paris FR 2018 Art from the streets, Art Science Museum, Singapore. 2017 Compendium, Treason Gallery, Seattle US Re-Define, Dallas Contemporary, Dallas US 2016 Jidar, Museé Mohammed VI. Rabat, MA MB6 Marrakech Biennale, Marrakech, MA 2015 15 Classes, St Jean De Luz FR Street Art, Fine Art, Pace Gallery London UK Public Provocations, Colab Gallery. Weil am Rhein DE Masters of Street Art, Magda Danysz Gallery. -
Beyond the War on Graffiti: the Right to Visual Expression in Urban Spaces
Beyond the War on Graffiti: The Right to Visual Expression in Urban Spaces Author Crawley, Karen Published 2015 Journal Title Griffith Journal of Law & Human Dignity Version Version of Record (VoR) Copyright Statement © The Author(s) 2015. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License (https://creativecommons.org/licenses/by-nc/4.0/) which permits unrestricted, non-commercial use, distribution and reproduction in any medium, providing that the work is properly cited. Downloaded from http://hdl.handle.net/10072/99076 Griffith Research Online https://research-repository.griffith.edu.au BEYOND THE WAR ON GRAFFITI ART SPECIAL ISSUE 2015 BEYOND THE WAR ON GRAFFITI: THE RIGHT TO VISUAL EXPRESSION IN URBAN SPACES KAREN CRAWLEY∗* This article draws on the work of urban scholars, activists, graffiti writers and street artists to explore alternative ways of thinking about visual expression in urban space, with a particular focus on Brisbane, Australia. The article first explores the limitations of criminalisation, arguing that a zero-tolerance approach is counterproductive. Next, the author explores the costly policy of rapid removal, arguing that despite the law’s apparent commitment to upholding property rights, the authorities are ultimately more concerned with maintaining control over the visual appearance of public space. Part four argues that graffiti writers and street artists articulate a different relationship to the city based on being a citizen rather than a property owner. The article concludes by suggesting that harm minimisation is better policy than zero tolerance, and that we need to remain open to the possibilities of illegal visual expression in urban spaces. -
Assessing Western Australian Year 11 Students' Engagement with Theory in Visual Arts
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2015 Assessing Western Australian Year 11 students’ engagement with responding in Visual Arts Julia Elizabeth Morris Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Art Education Commons Recommended Citation Morris, J. E. (2015). Assessing Western Australian Year 11 students’ engagement with responding in Visual Arts. https://ro.ecu.edu.au/theses/1627 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1627 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2015 Assessing Western Australian Year 11 students’ engagement with responding in Visual Arts Julia Elizabeth Morris Edith Cowan University Recommended Citation Morris, J. E. (2015). Assessing Western Australian Year 11 students’ engagement with responding in Visual Arts. Retrieved from http://ro.ecu.edu.au/theses/1627 This Thesis is posted at Research Online. http://ro.ecu.edu.au/theses/1627 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). -
Facets of Graffiti Art and Street Art Documentation Online: a Domain and Content Analysis Ann Marie Graf University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 Facets of Graffiti Art and Street Art Documentation Online: A Domain and Content Analysis Ann Marie Graf University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Library and Information Science Commons Recommended Citation Graf, Ann Marie, "Facets of Graffiti Art and Street Art Documentation Online: A Domain and Content Analysis" (2018). Theses and Dissertations. 1809. https://dc.uwm.edu/etd/1809 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FACETS OF GRAFFITI ART AND STREET ART DOCUMENTATION ONLINE: A DOMAIN AND CONTENT ANALYSIS by Ann M. Graf A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Information Studies at The University of Wisconsin-Milwaukee May 2018 ABSTRACT FACETS OF GRAFFITI ART AND STREET ART DOCUMENTATION ONLINE: A DOMAIN AND CONTENT ANALYSIS by Ann M. Graf The University of Wisconsin-Milwaukee, 2018 Under the Supervision of Professor Richard P. Smiraglia In this dissertation research I have applied a mixed methods approach to analyze the documentation of street art and graffiti art in online collections. The data for this study comes from the organizational labels used on 241 websites that feature photographs of street art and graffiti art, as well as related textual information provided on these sites and interviews with thirteen of the curators of the sites. -
Melbourne's Groovy Street
BEYOND Street Art WALL TO WALL collectives and artist management studios If you’re in Melbourne in March, that routinely schedule exhibitions and street take a short trip to Victoria, art festivals, curate works for events, and located north east of the city, for off er residencies to visiting international their annual Wall To Wall Street artists. A city-run programme off ers young Art Festival organised by Judy Roller. It’s a crowd funded event street artists a platform for mentorship and that draws thousands of collaboration with established names. artists and art enthusiasts. To get under the skin of this Melbourne judyroller.com.au subculture, I walk the laneways of Melbourne with eminent street artist Rone, who’s been in the scene for a decade and a half. Where’s the art at? Mention street art in Melbourne, and Hosier Lane LOOK OUT FOR is a name that’s sure to pop up. The narrow laneway ► The Juddy Roller studio ► If you spot calligraphic style in the city centre is among Melbourne’s best-known is on an alley connecting lettering in swirly black and street art venues, crammed with a dizzying array of Johnston Street and Chapel white, it’s the trademark work Street. The studio is open to of Mayonaize. One of the best public if there’s an exhibit or places to see his creations on event, but the area around display is the exterior of The it houses some of the most Stone Hotel on Brunswick Crammed with a dizzying interesting and eye catching Street. -
City of Stirling Draft Public Art Masterplan
City of Stirling Draft Public Art Masterplan August 2021 City of Stirling Draft Public Art Masterplan The City of Stirling and element acknowledge the traditional custodians of this land, the Wadjak people of the Nyoongar nation, and pays respect to the Elders past, present and future for they hold the memories, the traditions, the culture and hopes of Aboriginal Australia. This document has been prepared by element on behalf of the City of Stirling Image Cover: Windswept - Britt Mikkelson, North Beach ii Contents Section 1. Introduction 1 Executive Summary 1 How to Use This Document 2 The Value of Public Art 3 Public Art Typologies 4 Developing the Public Art Masterplan 5 Consultation and Engagement Findings 6 Section 2. Context 9 Existing Public Art 9 Aboriginal Context 12 City of Stirling Context 14 Section 3. The Masterplan 16 Strategic Foundation 16 Principles 17 Assessment Measures and Criteria 19 Curatorial Themes 20 Public Artwork Opportunities Details 25 City of Stirling Public Art Challenges 39 References 40 iii City of Stirling Draft Public Art Masterplan Whale Playground - Jahne Rees, Scarborough iv Section 1. Introduction Executive Summary The Vision, Guiding and Supporting Principles, and Curatorial Themes included in this ‘Public Art can embody our community spirit and aspirations Masterplan were developed to align with the overarching vision of the City’s Strategic by honouring the past and envisioning our future’1 Community Plan. 2018- 2028: The City of Stirling will be a place where people choose The City of Stirling is Western Australia’s largest local government area, spanning 30 suburbs and a range of natural landscapes.