Object of This Documentary Project
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Education Kit Years 7-12 the Writing’S on the Wall - a Short History of Street Art
Education Kit Years 7-12 The Writing’s on the Wall - A Short History of Street Art The word graffiti comes from the Italian language and means to inscribe. In European art graffiti dates back at least 17,000 years to wall paintings such as are found in the caves of Lascaux in Southern France. The paintings at Lascaux depict animals from the Paleolithic period that were of cultural importance to the people of that region. They are also believed to be spiritual in nature relating to visions experienced during ritualistic trance-dancing. Australian indigenous rock art dates back even further to about 65,000 years and like the paintings at Lascaux, Australian indigenous rock art is spiritual in nature and relates to ceremonies and the Dreaming. The history of contemporary graffiti/street art dates back about 40 years to the 1960s but it also depicts images of cultural importance to people of a particular region, the inner city, and their rituals and lifestyles. The 1960s were a time of enormous social unrest with authority challenged at every opportunity. It is no wonder graffiti, with its strong social and political agendas, hit the streets, walls, pavements, overpasses and subways of the world with such passion. The city of New York in the 1970s was awash with graffiti. It seemed to cover every surface. When travelling the subway it was often impossible to see out of the carriage for the graffiti. Lascaux, Southern France wall painting Ancient Kimberley rock art Graffiti on New York City train 1 The Writing’s on the Wall - A Short History of Street Art In 1980 an important event happened. -
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 .................................................................. -
PIER 34 Something Possible Everywhere Something Possible
NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street. -
Repositório ISCTE-IUL
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositório Institucional do ISCTE-IUL Repositório ISCTE-IUL Deposited in Repositório ISCTE-IUL: 2019-04-04 Deposited version: Post-print Peer-review status of attached file: Peer-reviewed Citation for published item: Sequeira, A. D. (2017). Ephemeral art in impermanent spaces: the effects of street art in the social construction of public space. In Pedro Costa, Paula Guerra, Pedro Soares Neves (Ed.), Urban intervention, street art and public space. (pp. 65-74).: DINÂMIA'CET-IUL, ISUP. Further information on publisher's website: -- Publisher's copyright statement: This is the peer reviewed version of the following article: Sequeira, A. D. (2017). Ephemeral art in impermanent spaces: the effects of street art in the social construction of public space. In Pedro Costa, Paula Guerra, Pedro Soares Neves (Ed.), Urban intervention, street art and public space. (pp. 65-74).: DINÂMIA'CET-IUL, ISUP.. This article may be used for non-commercial purposes in accordance with the Publisher's Terms and Conditions for self-archiving. Use policy Creative Commons CC BY 4.0 The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-profit purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in the Repository • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. -
Street Art: Lesson What Is Street Art? 9 How Is It Diferent from Grafti? Why Can It Be Perceived As Controversial?
Street Art: Lesson What is Street Art? 9 How is it diferent from Grafti? Why can it be perceived as controversial? LESSON OVERVIEW/OBJECTIVES Students will learn about Street Art, its history and evolution. They will explore the differences between Street Art and Graffti and talk about why Street Art can be controversial. Students will learn about a well known street artist named Banksy and his work and style as well as look at samples of street art from aroud the world. Students will use stencils, paints and pens to create their own personal brand in the form of street art. KEY IDEAS THAT CONNECT TO VISUAL ARTS CORE CURRICULUM: Based on Utah State Visual Arts Core Curriculum Requirements (3rd Grade) Standard 1 (Making): The student will explore and refne the application of media, techniques, and artistic processes. Objective 1: Explore a variety of art materials while learning new techniques and processes. b. Use simplifed forms, such as cones, spheres, and cubes, to begin drawing more complex forms. d. Make one color dominant in a painting. e. Create the appearance of depth by drawing distant objects smaller and with less detail than objects in the foreground. Objective 3: Handle art materials in a safe and responsible manner. a. Ventilate the room to avoid inhaling fumes from art materials. b. Dispose and/or recycle waste art materials properly. c. Clean and put back to order art making areas after projects. d. Respect other students’ artworks as well as one’s own. Standard 2 (Perceiving): The student will analyze, refect on, and apply the structures of art. -
Woodward Gallery Established 1994
Woodward Gallery Established 1994 Richard Hambleton 1954 Born Vancouver, Canada. 1975 BFA, Painting and Art History at the Emily Carr School of Art, Vancouver, BC 1975-80 Founder and Co-Director “Pumps” Center for Alternative Art, Gallery, Performance and Video Space; Vancouver, BC; The Furies: Western Canada’s first punk band played their first gig at Richard Hambleton’s Solo Exhibition, May, 1976. Lives and works in New York City’s Lower East Side. SOLO EXHIBITION S 2013 “Beautiful Paintings,” Art Gallery at the Rockefeller State Park Preserve, Sleepy Hollow, NY 2011 “Richard Hambleton: A Retrospective,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Phillips de Pury and Giorgio Armani at Phillips de Pury & Company, New York 2010 “Richard Hambleton New York, The Godfather of Street Art,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani at The Dairy, London “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani at the State Museum of Modern Art of the Russian Academy of Arts, Moscow “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani, Milan “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani, amFAR Annual Benefit, May 20, 2010 2009 “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with -
Annualreport2011-2012 Executivedirector's Report
AnnualReport 2011-2012 ExecutiveDirector’s Report The 2011 – 2012 program year was marked by many ex- ceptional projects, programs and events; once again I am MissionStatement so pleased by the excellent work our superlative staff has The Print Center supports printmaking and photog- presented to our community. Indicative of our intention to raphy as vital contemporary arts and encourages the provide more deeply considered exhibitions to our audi- appreciation of the printed image in all its forms. ence, this year we mounted three exhibitions – a distinct change from our usual eight! To Scale, a group exhibition of works created in a one-to-one ratio to reality, explored a trend in contemporary art which has been enthusiastically embraced in print. Ranging from very small etchings rec- reating the most mundane objects to large scale sculptural works representing architectural and natural forms, the show touched on both the humor and complex concep- tual questions these works reveal. Robert Asman: Silver Mine was a retrospective exhibition of innovative works by one of the most intriguing photographers of our time. In concert with the show, we presented artist lectures at The Print Center; Tyler School of Art, Temple University; and, the University of the Arts, where Asman also conducted a full day hands-on workshop. We continue to work on the publication of a monograph dedicated to this outstanding artist. Our exhibition year ended with Where it Falls, a solo Artist Emma Wilcox giving a gallery talk for Where it Falls. show of photographic work by emerging artist Emma Wil- cox accompanied by Promesas, an exhibition of related Last year was also an excellent year for our Artists-in- works co-curated by Wilcox and our Jensen Bryan Curator Schools Program (AISP). -
Representation and Reconstruction of Memories and Visual Subculture a Documentary Strategy About Graffiti Writing
SAUC - Journal V6 - N1 Academic Discipline Representation and Reconstruction of Memories and Visual Subculture A Documentary Strategy about Graffiti Writing Mattia Ronconi (1), Jorge Brandão Pereira (2), Paula Tavares (2) 1 Master in Illustration and Animation, Polytechnic Institute of Cavado and Ave, Portugal 2 Polytechnical Institute of Cavado and Ave, Id +, Portugal E-mail: [email protected]; [email protected]; [email protected] Abstract Graffiti Writing is a visual movement engaged in the Hip Hop subculture. It spread globally over the past decades as a creative manifestation and a public statement of urban artists, being contested by the public domain values. Despite the large amount of material documenting it, such as films, documentaries, magazines and books, it remains a marginal subculture, less known by the large audience in its deep characteristics. The following article presents a work-in-progress practice-based research, whose objective is to investigate and connect the contribution of animation to the documentation and communication of the subculture of Writing, deciphering its interpretation for the uninformed audience. This is accomplished by a documentary fieldwork, with testimonies and memories emerged from the interviews to three activists of the Writing movement. The interviewed are artists that operate in different fields, surfaces and styles. The fieldwork is conducted as a mediation interface, focusing the research on the province of Ferrara, in Northern Italy. The documentary work is developed in a specific geographical context, with representation strategies and narrative reconstruction for the disclosure of this subculture. This is accomplished with the development of an animated documentary short film. Thanks to the documentation strategy it is possible to represent and reconstruct the Writing memories. -
Women on Walls AB 16358935 FINAL
Women on Walls | Engaging street art through the eyes of female artists Alix Maria Beattie Master of Research Thesis Western Sydney University 2017 ACKNOWLEDGEMENTS First and foremost, I am truly thankful for the support and guidance of my supervisory panel, Dr Rachel Bentley and Professor Lynette Sheridan-Burns. In particular, my primary supervisor Rachel, who not only guided me through my research but offered an endless amount of support, critical engagement and general brainstorming driven by a love of street art. Lynette’s experience, words of encouragement and sharp red pen provided me with the right advice at the right time. I am also thankful to my artists: Mini Graff, Kaff-eine, Buttons, Vexta and Baby Guerrilla. They were generous in their time, thoughts, art, and passion. This work is only possible because of them. To all my lecturers throughout my Master of Research journey – particular Dr Jack Tsonis and Dr Alex Norman – who were tireless in their efforts, helping me become the writer and researcher I am today. Likewise, I want to thank Dominique Spice for creating such a supportive environment for all of us MRes students. To my fellow MRes students - Toshi and in particular Lucie and Beth (aka the awesome clams) – you are all, without doubt the best part of completing this research. Awesome clams, you provided continuous support and good humour –I truly thank you both. Finally, to my friends and family who have been relentless in their support via texts and calls – you know who you are and I am eternally grateful. A special mention and thank you to my wonderful sister Clasina and great friend Tanya, who did a final read through of my thesis. -
Street Art/Graffiti Self-Portraits
STREET ART/GRAFFITI SELF-PORTRAITS A high school unit plan focusing on how visual artists use images, symbols, and words to convey meaning. Aimee Carmella Background/Intent With a background in both creative design and art education, I find that I draw on my strengths as a designer when I create lesson plans. Developing a lesson that is worthy of my student’s time and creative energy is paramount. I want the student’s end result – the work of art created or simply their process of experimentation – to be meaningful and worthwhile. I treat my work as a designer in the same manner. I want to make meaning with what I create. I solve problems to get to where I need to be with a design I develop. Formulating lesson plans becomes a puzzle that I need to organize and design so that the message reads clearly and resonates with what I am trying to express. When I design lessons to use in the classroom, I begin with a complex idea and break it down into lessons that scaffold upon one another. I feel that since students will be picking up several skills (i.e., how to correctly photograph another student’s portrait, how to use Photoshop to alter an image, etc.), I want each lesson to be self-contained, having the strength to stand on its own. There should be a clear point to each lesson that is achievable so that students are set up for success. Designing a series of lessons in such a way that they can build knowledge and skill and work toward the larger goals that time to attain. -
California State University, Northridge Shepard Fairey
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE SHEPARD FAIREY AND STREET ART AS POLITICAL PROPAGANDA A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Art, Art History by Andrea Newell August 2016 Copyright by Andrea Newell 2016 ii The thesis of Andrea Newell is approved: _______________________________________________ ____________ Meiqin Wang, Ph.D. Date _______________________________________________ ____________ Owen Doonan, Ph.D. Date _______________________________________________ ____________ Mario Ontiveros, Ph.D., Chair Date California State University, Northridge iii Acknowledgements I would first like to thank my thesis advisor Dr. Mario Ontiveros of the Art Department at California State University, Northridge. He always challenged me in a way that brought out my best work. Our countless conversations pushed me to develop a deeper and more comprehensive understanding of my research and writing as well as my knowledge of theory, art practices and the complexities of the art world. He consistently allowed this paper to be my own work, but guided me whenever he thought I needed it, my sincerest thanks. My deepest gratitude also goes out to my committee, Dr. Meiqin Wang and Dr. Owen Doonan, whose thoughtful comments, kind words, and assurances helped this research project come to fruition. Without their passionate participation and input, this thesis could not have been successfully completed. I would also like to acknowledge Dr. Peri Klemm for her constant support beyond this thesis and her eagerness to provide growth opportunities in my career as an art historian and educator. I am gratefully indebted to my co-worker Jessica O’Dowd for our numerous conversations and her input as both a friend and colleague. -
Features of Graffiti Art in Iraqi Demonstrations 1
Journal of Xi'an University of Architecture & Technology ISSN No : 1006-7930 Features of graffiti art in Iraqi demonstrations 1-. Ali Shaker Naama/ College of Fine Arts/ University of Babylon 2-. Adel Mohsin Manati/ College of Fine Arts/ University of Babylon Abstract This research is concerned with studying (the features of graffiti art in Iraqi demonstrations), and it is located in four chapters, the first of which is devoted to illustrating the research problem, its importance, need for it and its goal, which was limited to (defining the features of graffiti art in Iraqi demonstrations), within a time period between 2019-2020. It is the era that witnessed the popular demonstrations in Iraq, and was characterized by a broad and rich product, and the chapter ended with the definition of terms. As for the second chapter, it included two topics, the first of which dealt with the origins and development of graffiti art, while the second chapter covered diversity in Iraqi graffiti art, and the second chapter ended with indicators of the theoretical framework and previous studies, where it included the most important of the theoretical framework of indicators and concepts. As for the research procedures, they started from all the graffitial works that represent the Iraqi demonstrations and ended with what was analyzed as a sample. The third chapter was devoted to it, which resulted in results, conclusions, recommendations and proposals, and among the results reached by the researchers, including: 1- The features of the graffiti art appeared through the form, where the artist used the STRAIGHT LETTER method, which is called Bubbles, and the nature of the Arabic identity, and gave the character a suggestion of the third dimension (3-D letter) through the use of shadows to achieve perspective.