Ajo Art Self-Guided Tour

Total Page:16

File Type:pdf, Size:1020Kb

Ajo Art Self-Guided Tour Heart of the Sonoran Desert™ Sonoran the of Heart AJO, AZ AZ AJO, 2014-04 “Art creates community.” creates “Art International Sonoran Desert Alliance Desert Sonoran International Vananda Ave. Vananda ing facing the street at 400 400 at street the facing ing Chiago. Located on build- on Located Chiago. O’odham artist Michael Michael artist O’odham mural by renowned Tohono Tohono renowned by mural G11 ‘Beginning of Time’ Time’ of ‘Beginning Vananda Ave. Vananda facing the alley way at 400 400 at way alley the facing Located on the buildings buildings the on Located Las Artes GED students. students. GED Artes Las Ree-Nee Wolf Keiser with with Keiser Wolf Ree-Nee G11 Mosaic murals by To- by murals Mosaic campus. den on the Curley School School Curley the on den around the Courtyard Gar- Courtyard the around on map). map). on I10 at (located murals Peace of jects. Located on the fence fence the on Located jects. Rd has a year-round display of International Day Day International of display year-round a has Rd from metal and found ob- found and metal from shops around town. Also, Ajo’s school on Well Well on school Ajo’s Also, town. around shops community members. Made Made members. community Library, and the restaurants, businesses and and businesses restaurants, the and Library, by Kathy Whitman and and Whitman Kathy by Salazar-Ajo Branch of the Pima County Public Public County Pima the of Branch Salazar-Ajo G11 ‘Regenerating Life,’ Life,’ ‘Regenerating to check out the artwork at the Plaza Gallery, the the Gallery, Plaza the at artwork the out check to Besides the pieces listed in this guide, be sure sure be guide, this in listed pieces the Besides 201 Esperanza Ave. Esperanza 201 Address inquiries to [email protected]. to inquiries Address Curley School parking lot, lot, parking School Curley artwork may be found on on found be may artwork . www.isdanet.org the southeast corner of the the of corner southeast the at private residences. Information on additional additional on Information residences. private at Sherri O’Hare. Located in in Located O’Hare. Sherri from the murals throughout town to engaging art art engaging to town throughout murals the from G11 ‘Centipede Bench’ by by Bench’ ‘Centipede This guide will lead you to some good examples, examples, good some to you lead will guide This institutions. Ave. Ave. contact with the mainstream art world or art art or world art mainstream the with contact School, 201 Esperanza Esperanza 201 School, by artists who are self-taught or who have little little have who or self-taught are who artists by the grounds of the Curley Curley the of grounds the community participation. Outsider Art is work work is Art Outsider participation. community Clymer. Located throughout throughout Located Clymer. community setting, and has been created with with created been has and setting, community sculptures, by Marshall V. V. Marshall by sculptures, place. Community Art is art which is based in a a in based is which art is Art Community place. G11 Inukshuks, classic rock rock classic Inukshuks, SELF-GUIDED TOUR SELF-GUIDED with the intention of being displayed in a public public a in displayed being of intention the with Art is art that has been planned and executed executed and planned been has that art is Art PUBLIC • COMMUNITY • OUTSIDER • COMMUNITY • PUBLIC AJO ART AJO Public art. outsider and art, community art, anza Ave. anza are expressed in a wonderful display of public public of display wonderful a in expressed are East garden, 721 Esper- 721 garden, East mining town, Ajo’s eclectic nature and diversity diversity and nature eclectic Ajo’s town, mining Located at the Loma Bonita Bonita Loma the at Located Combined with its history as a tri-cultural copper copper tri-cultural a as history its with Combined and community members. members. community and watchers, environmentalists and star gazers. gazers. star and environmentalists watchers, Don and Gayle Weyers, Weyers, Gayle and Don haven for hikers, mountain bikers, artists, bird bird artists, bikers, mountain hikers, for haven Bench’ by Kathy Whitman, Whitman, Kathy by Bench’ Over the past years, Ajo has evolved into a a into evolved has Ajo years, past the Over E11 The ‘Rainbow Scrabble Scrabble ‘Rainbow The Use the map coordinates listed with artwork to D8 ‘Green Dragon’ recycled G10 A yard of ‘critters’ by fi nd their location on the map inside. steel sculpture by Don Lupe and Steve Ownby. Driver. Located at 745 N Located at 341 Solana Ave. Scene from 1972 E2 2nd Ave, corner of Brady Creative expression can be ‘Pocket Money’ with Lee St. ‘Dog Portrait’ at same found in many Ajo yards. Marvin and Paul Newman. location. By daWolf. On Napa Auto- Care Center, 2050 N Hwy 85. Check out the mosaic E8 Scene from ‘Night of the Lepus’ by ASAP (Ajo Street in front and a second mural G10 ‘Objet Trouvé - 2nd Av- Art Project). On north side on the north side of the enue Bridge’ located at 201 of Roadrunner Java Cafe building. Solana Ave. Constructed by on 2nd Ave. Many scenes Julie and Chuck Crowder from the movie were fi lmed wih found objects from the D6 ‘The Jungle’ by ASAP in Ajo. (Ajo Street Art Project). demolition of the 2nd Ave On the south side of the bridge. Life Enrichment building, F8 ‘Lahissa Cross’ de- between 6th and 7th St on signed by Mrs. Louis Conde G10 ‘Rams,’ an Escher-like 2nd Ave. for her husband’s grave. tessellation, painted by Hop The letters of the 400-word David. Located on the back epitaph are made of copper G6 ‘Locomotive 268’ by of the Copper News build- wire embedded in concrete. Jackie Andes. At private ing, 10 Pajaro St. residence, 411 7th St. Located in the Ajo Ceme- Created for homeowner to tery, center of the west side represent his 42 years as a under a tree. train supervisor. H10 ‘Ghost Riders in the D10 ‘Welcome to Ajo’ mural Sky’ by ASAP (Ajo Street by Carole Hanks and com- Art Project). Located on the munity members. Located front of the Copper News D7 ‘Liberty’ sculpture by next to the Shell Station on building, 10 Pajaro St. Denver Borders at private 2nd Ave. residence, 1040 N Thomp- son Ave in back driveway on Childs St. H10 ‘Ajo Memory Project’ D10 ‘Lizard Flats’ by addresses the history of D8 Cob bench by Jill daWolf. Located at 1020 residents of Indian Village Lorenzini and community Rocalla Ave. Collection of and Mexican Town. Located members. Located at the sculptural forms, cement in Triangle Park on Pizal Community Garden - Rock trees, and a bottle wall. Ave. Mosaic works by To- Church Site, 900 N Camer- Ree-Nee Wolf Keiser with on Ave, corner of Dorsey St. community members. E10 ‘Ghost Figures of Ajo,’ D8 ‘Raven’s Nest’ mural by E11 Mosaic stairs by Mor- mixed media sculptures by ASAP (Ajo Street Art Proj- gana Wallace and Las Artes Val Uschuk. Located at 821 ect). Located at 801 N 2nd GED students. Front steps Solana Ave. Ave, corner of Brady St. at private residence located at 821 Morondo Ave. AJO ART PUBLIC • COMMUNITY • OUTSIDER.
Recommended publications
  • Anti-Trump Street Art Along the US-Mexico Border" (2019)
    University of Pennsylvania ScholarlyCommons Center for Advanced Research in Global CARGC Papers Communication (CARGC) 8-2019 Dreamers and Donald Trump: Anti-Trump Street Art Along the US- Mexico Border Julia Becker [email protected] Follow this and additional works at: https://repository.upenn.edu/cargc_papers Part of the Communication Commons Recommended Citation Becker, Julia, "Dreamers and Donald Trump: Anti-Trump Street Art Along the US-Mexico Border" (2019). CARGC Papers. 11. https://repository.upenn.edu/cargc_papers/11 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/cargc_papers/11 For more information, please contact [email protected]. Dreamers and Donald Trump: Anti-Trump Street Art Along the US-Mexico Border Description What tools are at hand for residents living on the US-Mexico border to respond to mainstream news and presidential-driven narratives about immigrants, immigration, and the border region? How do citizen activists living far from the border contend with President Trump’s promises to “build the wall,” enact immigration bans, and deport the millions of undocumented immigrants living in the United States? How do situated, highly localized pieces of street art engage with new media to become creative and internationally resonant sites of defiance? CARGC Paper 11, “Dreamers and Donald Trump: Anti-Trump Street Art Along the US-Mexico Border,” answers these questions through a textual analysis of street art in the border region. Drawing on her Undergraduate Honors Thesis and fieldwork she conducted at border sites in Texas, California, and Mexico in early 2018, former CARGC Undergraduate Fellow Julia Becker takes stock of the political climate in the US and Mexico, examines Donald Trump’s rhetoric about immigration, and analyzes how street art situated at the border becomes a medium of protest in response to that rhetoric.
    [Show full text]
  • The Evolution of Graffiti Art
    Journal of Conscious Evolution Volume 11 Article 1 Issue 11 Issue 11/ 2014 June 2018 From Primitive to Integral: The volutE ion of Graffiti Art White, Ashanti Follow this and additional works at: https://digitalcommons.ciis.edu/cejournal Part of the Clinical Psychology Commons, Cognition and Perception Commons, Cognitive Psychology Commons, Critical and Cultural Studies Commons, Family, Life Course, and Society Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Liberal Studies Commons, Social and Cultural Anthropology Commons, Social and Philosophical Foundations of Education Commons, Social Psychology Commons, Sociology of Culture Commons, Sociology of Religion Commons, and the Transpersonal Psychology Commons Recommended Citation White, Ashanti (2018) "From Primitive to Integral: The vE olution of Graffiti Art," Journal of Conscious Evolution: Vol. 11 : Iss. 11 , Article 1. Available at: https://digitalcommons.ciis.edu/cejournal/vol11/iss11/1 This Article is brought to you for free and open access by the Journals and Newsletters at Digital Commons @ CIIS. It has been accepted for inclusion in Journal of Conscious Evolution by an authorized editor of Digital Commons @ CIIS. For more information, please contact [email protected]. : From Primitive to Integral: The Evolution of Graffiti Art Journal of Conscious Evolution Issue 11, 2014 From Primitive to Integral: The Evolution of Graffiti Art Ashanti White California Institute of Integral Studies ABSTRACT Art is about expression. It is neither right nor wrong. It can be beautiful or distorted. It can be influenced by pain or pleasure. It can also be motivated for selfish or selfless reasons. It is expression. Arguably, no artistic movement encompasses this more than graffiti art.
    [Show full text]
  • Defining and Understanding Street Art As It Relates to Racial Justice In
    Décor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland A thesis presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfilment of the requirements for the degree Master of Arts Meredith K. Stone August 2017 © 2017 Meredith K. Stone All Rights Reserved 2 This thesis titled Décor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland by MEREDITH K. STONE has been approved for the Department of Geography and the College of Arts and Sciences by Geoffrey L. Buckley Professor of Geography Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT STONE, MEREDITH K., M.A., August 2017, Geography Décor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland Director of Thesis: Geoffrey L. Buckley Baltimore gained national attention in the spring of 2015 after Freddie Gray, a young black man, died while in police custody. This event sparked protests in Baltimore and other cities in the U.S. and soon became associated with the Black Lives Matter movement. One way to bring communities together, give voice to disenfranchised residents, and broadcast political and social justice messages is through street art. While it is difficult to define street art, let alone assess its impact, it is clear that many of the messages it communicates resonate with host communities. This paper investigates how street art is defined and promoted in Baltimore, how street art is used in Baltimore neighborhoods to resist oppression, and how Black Lives Matter is influencing street art in Baltimore.
    [Show full text]
  • Mural Mural on the Wall: Revisiting Fair Use of Street Art
    UIC REVIEW OF INTELLECTUAL PROPERTY LAW MURAL MURAL ON THE WALL: REVISITING FAIR USE OF STREET ART MADYLAN YARC ABSTRACT Mural mural on the wall, what’s the fairest use of them all? Many corporations have taken advantage of public art to promote their own brand. Corporations commission graffiti advertising campaigns because they create a spectacle that gains traction on social media. The battle rages on between the independent artists who wish to protect the exclusive rights over their art, against the corporations who argue that the public art is fair game and digital advertising is fair use of art. The Eastern Market district of Detroit is home to the Murals in the Market Festival. In January 2018, Mercedes Benz obtained a permit from the City of Detroit to photograph its G 500 SUV in specific downtown areas. On January 26, 2018, Mercedes posted six of these photographs on its Instagram account. When Defendant-artists threatened to file suit, Mercedes removed the photos from Instagram as a courtesy. In March 2019, Mercedes filed three declaratory judgment actions against the artists for non-infringement. This Comment will analyze the claims for relief put forth in Mercedes’ complaint and evaluate Defendant-artists’ arguments. Ultimately, this Comment will propose how the court should rule in the pending litigation of MBUSA LLC v. Lewis. Cite as Madylan Yarc, Mural Mural on the Wall: Revisiting Fair Use of Street Art, 19 UIC REV. INTELL. PROP. L. 267 (2020). MURAL MURAL ON THE WALL: REVISITING FAIR USE OF STREET ART MADYLAN YARC I. INTRODUCTION ........................................................................................................... 267 A.
    [Show full text]
  • The Writing on the Wall: Graffiti, Street Art, and a New Organic Urban Architecture Name: Isabella Siegel Faculty Adviser: Professor Laura Mcgrane
    The Writing on the Wall: Graffiti, Street Art, and a New Organic Urban Architecture Name: Isabella Siegel Faculty Adviser: Professor Laura McGrane In the past half a century, graffiti and street art have grown from roots in Philadelphia to become a worldwide phenomenon. Graffiti is a method of self-expression and defiance that has mutated into new art forms that breach the status quo and gesture toward insurrection. Street art has evolved from such work, as a thriving tradition that works to articulate fears and hopes of a city’s inhabitants on the very buildings they live in. Street art, and graffiti as well, is a complex art form, especially when detangling issues of legality in the U.S. The language of “Organic Architecture” describes the way that the inhabitants of a built space work to determine what fills the empty spaces that remain. Graffiti and street art often constitute the materials with which these inhabitants build. Both genres are methods of expression of a personality, a frustration, or a window into the urban subconscious. These issues speak to Fine Arts and Art History majors, but also to those who study Political Science, History, Economics, Sociology, and Anthropology, and the Growth and Form of Cities. Art history is often used as a bridge into all of these topics, and the study of un-commissioned wall-art is no exception. The insurrectionist political nature of many pieces of street art, and much of graffiti as well, can be studied through the unique lens of someone with a background in political science.
    [Show full text]
  • Nikolai Dolgorukov
    IN THE SERVICE OF THE STATE: AGES IM CO U N R T IO E T S Y C E O L L F © T O H C E M N 2020 A E NIKOLAI DOLGORUKOV R M R R I E L L B . C AND THE ART OF PERSUASION IN THE SERVICE OF THE STATE: NIKOLAI DOLGORUKOV’ AND THE ART OF PERSUASION NIKOLAI DOLGORUKOV’ AND THE ART OF THE STATE: IN THE SERVICE © 2020 Merrill C. Berman Collection IN THE SERVICE OF THE STATE: NIKOLAI DOLGORUKOV AND THE ART OF PERSUASION 1 Published by the Merrill C. Berman Collection Series Editor, Adrian Sudhalter Concept and essay by Alla Rosenfeld, Ph.D. Content editing by Karen Kettering, Ph.D., Independent Scholar, Seattle, Washington Research assistance by Sofía Granados Dyer, graduate student, Higher School of Economics, Moscow, and Elena Emelyanova, Curator, Rare Books Department, The Russian State Library, Moscow Design, typesetting, production, and photography by Jolie Simpson Copy editing by Madeline Collins Printed and bound by www.blurb.com Plates © 2020 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection unless otherwise noted © 2020 the Merrill C. Berman Collection, Rye, New York Illustrations on pages 39–41 for complete caption information. Cover: Poster: Za Mirovoi Oktiabr’! Proletarii vsekh stran soediniaites’! (Proletariat of the World, Unite Under the Banner of World October!), 1932 Lithograph 57 1/2 x 39 3/8” (146.1 x 100 cm) (p. 103) Acknowledgments We are especially grateful to Sofía Granados Dyer, graduate student at the Higher School of Economics in Moscow, for conducting research in various Russian archives as well as for assisting with the compilation of the documentary sections of this publication: Bibliography, Exhibitions, and Chronology.
    [Show full text]
  • The Unfamiliar in Modern Art: Street Art As a Model
    International Journal of Innovation, Creativity and Change. www.ijicc.net Volume 12, Issue 10, 2020 The Unfamiliar in Modern Art: Street Art as a Model Rana Meery Mizala, Ibtisam Naji Kadhemb*, aBabylon University/ College of Fine Arts/ Department of Design, bBabylon University/ College of Fine Arts/ Department of Plastic Arts, Email: [email protected], b*[email protected] Contemporary art experiences, including street art, are a holistic phenomenon that works to capture everything that surrounds us socially and psychologically, and melts it in a simulation and study of reality as one of the environmental arts that seeks to beautify and preserve the environment. Thus, we always find it be dynamic, as it attracts the changes that afflict civilisation. We even find that the structure of contemporary conceptual art and environmental art has taken a path different from what was previously mentioned in their construction or completion. The later worked to involve the recipient in its construction by raising questions, leaving that to the recipient to mobilise his cognitive abilities to answer the proposals of the contemporary technical text. The true philosophical significance of the work of art is particularly evident in the face of the artist, for what it is in the world (absurdity or strange), and his rebellion only comes by imposing an organised artistic form on reality (Ibrahim, 2010). The criticism of reasonableness in all its varieties, the glorification of life and its elevations, and limitation to the unfamiliar in the implementation of artwork, lasts for hours and days throughout the perspective body to show the viewer that it is real and three- dimensional.
    [Show full text]
  • Marketing Urban Art: a Case Analysis of the Exchange Project
    Marketing Urban Art: A Case Analysis of the Exchange Project Submitted in partial fulfillment of the Master of Science degree in Arts Administration Philip Asbury Candidate for Master’s in Arts Administration Drexel University June 2009 i Table of Contents Section Page Abstract i Problem Statement 1 Literature and Background 3 Definitions 7 Procedure 10 Limitations 10 Body-Marketing Urban Art: The Exchange Project 12 Figure1: List of Participating Artists 18 Case Study: The Exchange Project and Tour 19 Summary 29 Conclusion 33 Bibliography 36 ii Abstract The Exchange is an interactive project that promotes a sharing of stylistic influences amongst a select group of urban artists. The project is web-based but it also mounted a four city tour in 2007. As scholarly research is very limited in the genre, this study was an attempt to gather the few existing sources, general information, and first hand knowledge of the author, a participant in the Exchange. The result is a look at the best practices in marketing urban art. The financial details of the Exchange were unable to be included. The author recommends that urban artists partner with organizations that share a similar mission and to focus on viral marketing. i Problem Statement Urban art is a new genre of art that is still in its developing stages. Though the market for urban art is growing rapidly, how to market urban art work has largely gone unstudied and undocumented. This study will document the Exchange, a collaborative visual art project involving 13 international “urban artists”. In this process, special attention will be focused on the marketing tools and strategies employed by the Exchange as well as their effectiveness.
    [Show full text]
  • Lindsey Mancini Street Art's Conceptual Emergence
    30 NUART JOURNAL 2019 VOLUME 1 NUMBER 2 30–35 GRAFFITI AS GIFT: STREET ART’S CONCEPTUAL EMERGENCE Lindsey Mancini Yale School of Art Drawing primarily on contemporary public discourse, this article aims to identify a divergence between graffiti and street art, and to establish street art as an independent art movement, the examples of which can be identified by an artist’s desire to create a work that offers value – a metric each viewer is invited to assess for themselves. While graffiti and street art are by no means mutually exclusive, street art fuses graffiti’s subversive reclamation of space with populist political leanings and the art historically- informed theoretical frameworks established by the Situationists and Dadaism. Based on two founding principles: community and ephemerality, street art is an attempt to create a space for visual expression outside of existing power structures, weaving it into the fabric of people’s daily lives. GRAFFITI AS GIFT 31 AN INTRODUCTION (AND DISCLAIMER) Hagia Sophia in Turkey; Napoleon's troops have been Attempting to define any aspect of street art or graffiti described as defacing the Sphinx in the eighteenth century; may seem an exercise in futility – for, as is the case with and during World War II, cartoons featuring a long-nosed most contemporary cultural contexts, how can we assess character alongside the words ‘Kilroy was here’, began something that is happening contemporaneously and appearing wherever U.S. servicemen were stationed (Ross, constantly evolving? – but the imperative to understand 2016: 480). In the eighteenth century, English poet Lord what is arguably the most pervasive art movement of the Byron engraved his name into the ancient Greek temple to twenty-first century outweighs the pitfalls of writing Poseidon on Cape Sounion – a mark now described as ‘a something in perpetual danger of becoming outdated.
    [Show full text]
  • No More White Cubes: Street Art Museum Amsterdam
    No more white cubes: Street Art Museum Amsterdam CAITLIN S. WUNDERLICH, MSC University of Glasgow The Museum Review www.TheMuseumReview.org Rogers Publishing Corporation NFP 5558 S. Kimbark Ave., Suite 2, Chicago, IL 60637 www.RogersPublishing.org Cover photo: Cincinnati Museum Center, Ohio, following a two-year renovation. Reopened 2018. Image: Sarah Brancato, Cincinnati Museum Center. ©2019 The Museum Review The Museum Review is a peer reviewed Open Access Gold journal, permitting free online access to all articles, multi-media material, and scholarly research. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. No more white cubes: Street Art Museum Amsterdam CAITLIN S. WUNDERLICH, MSC University of Glasgow Keywords Street art; museums; exhibition; open-air museum; Amsterdam Abstract Noteworthy museums in Europe and North America have organized international exhibitions that appropriated street art to display within a gallery space. This paper argues that the restrictive framework of the ‘white cube’ museum space is incompatible for the display of street art. As the museum redefines its role in our society and carefully crafts appropriate narratives around cultural objects, it must also rethink its presentation of artworks like street art. All cultures deserve to have their story told in their way, and their objects authentically displayed – including street art culture. Taken from a larger research project, this article considers the conceptual relationship between street art and the museum, and physical display of the artwork. Rather than forcing the art to conform to the museum, the strategies of the Street Art Museum of Amsterdam are highlighted to provide opportunities for the museum to reconsider its role in the presentation of street art.
    [Show full text]
  • Contextualizing Graffiti and Street Art in Suitable Museum Settings Street Art Today’S Upcoming Museum in Amsterdam
    SAUC - Journal V5 - N2 Desire Lines: Metaphorical Contextualizing graffiti and street art in suitable museum settings Street Art Today’s upcoming museum in Amsterdam Giovanna Di Giacomo Collection Management & Research Street Art Today, Amsterdam Email: [email protected] Abstract Overall, this essay examines the suitable settings for contextualizing graffiti and street art indoors, by introducing the upcoming museum for graffiti and street art in Amsterdam, an initiative of Street Art Today. Firstly, an overview of the project’s story, including its idealizer, location and collection is provided. Secondly, the contributions of the museum to the art form are presented. In particular, through its ambition to become a knowledge hub of graffiti and street art, the institution produces, gathers and analyses data, thus reinforcing the legitimation of these visual expressions. Finally, this article examines the expectations related to the museum’s role and its future visitors. Key words: graffiti, street art, museum, legitimation, institutionalization, Amsterdam 1. The start of the dream 1.1. The dreamer It all started in 2015 when the founder of IJ-Hallen - the flea Peter Ernst Coolen discovered graffiti at the age of thirteen. market located at NDSM-Wharf in Amsterdam - asked art He felt at home in this intersection of self-expression and director Peter Ernst Coolen to produce some large-scale freedom, which allowed him to color outside the lines. canvases to hang inside the shipyard warehouse where Always creative, he became an advertising art director, the market used to take place. The 24 meters high and while remaining highly engaged with street art. Coolen 118 meters long walls distinguish the space, previously produced several campaigns with graffiti artists, organized used to assemble some of the largest ships in the world.
    [Show full text]
  • Rebranding Street Art: an Examination of Street Art and Evolution Into Mainstream Advertising, Branding, and Propaganda
    Portland State University PDXScholar University Honors Theses University Honors College 5-25-2018 Rebranding Street Art: An Examination of Street Art and Evolution into Mainstream Advertising, Branding, and Propaganda Moira Fiona Hampson Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Hampson, Moira Fiona, "Rebranding Street Art: An Examination of Street Art and Evolution into Mainstream Advertising, Branding, and Propaganda" (2018). University Honors Theses. Paper 631. https://doi.org/10.15760/honors.642 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Rebranding Street Art An examination of street art and evolution into mainstream advertising, branding, and propaganda. by Moira Fiona Hampson An undergraduate honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts In University Honors and Communication Studies Thesis Adviser Dr. Cynthia Lou Coleman Portland State University 2018 REBRANDING STREET ART Abstract An examination of the evolution of street art arising from an elemental form of graffiti/vandalism to an established and respected art form used by corporate organizations for advertisement and branding. This case study will provide testimony of research performed over the span of twenty years allowing for the development of acclaimed street artists like Shepard Fairey to establish their own brand identities and collaborations with corporate advertising. This will be exhibited by breaking down what street art is and how it relates to advertising, branding, and propaganda.
    [Show full text]