DOCSLIB.ORG

Graffiti, Street Art E Diritto D'autore: Un'analisi Comparata

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Graffiti, Street Art E Diritto D'autore: Un'analisi Comparata Trento Law and Technology Research Group Student Paper n. 41 GRAFFITI, STREET ART E DIRITTO D’AUTORE: UN’ANALISI COMPARATA LORENZA GIORDANI ISBN : 978-88-8443-809-6 COPYRIGHT © 2018 LORENZA GIORDANI This paper can be downloaded without charge at: Trento Law and Technology Research Group Student Papers Series Index: http://www.lawtech.jus.unitn.it IRIS: http://hdl.handle.net/11572/211088 Questo paper Copyright © 2018 Lorenza Giordani è pubblicato con Creative Commons Attribuzione-Non commerciale-Non opere derivate 2.5 Italia License. Maggiori informazioni circa la licenza all’URL: http://creativecommons.org/licenses/by-nc-nd/2.5/it/ 2 KEYWORDS Street art – Droit d’auteur – Copyright – Comparative Law – Conflicting interests About the author Lorenza Giordani ([email protected]) graduated in Law, magna cum laude, at the University of Trento, under the supervision of Prof. Roberto Caso and Dr. Giulia Dore (March 2018). The opinion stated in this paper and all possible errors are the Author's only. PAROLE CHIAVE Street art - Diritto d’autore – Copyright – Diritto Comparato – Bilanciamento degli interessi Informazioni sull’autore Lorenza Giordani ([email protected]) ha conseguito la Laurea in Giurisprudenza, magna cum laude, presso l’Università di Trento con la supervisione del Prof. Roberto Caso e della dott.ssa Giulia Dore (Marzo 2018). Le opinioni e gli eventuali errori contenuti sono ascrivibili esclusivamente all’autore. 3 ABSTRACT Street art: art or vandalism? Although it used to be stigmatized as vandalism until no long ago, street art is currently largely appreciated and celebrated. The public loves and defends artworks by Banksy, Blu, Ericailcane or OSEGEMEOS, who became today’s acclaimed artists. The power of Graffiti and street art is being ephemeral: they surprise you in the streets and are hidden around the corners, regardless of bad weather and despite the changes of the city landscape. They are created without the consent of the owner of the wall, who might get angry about them or even love them. This paper aims is to analyse the relationship between copyright and street art, seeking to determine the extent to which copyright law is able to offer protection to street art works. The question may remain theoretical as street artists rarely file lawsuits in courts. However, street art allows legal experts to reason about the boundaries of copyright law and question the traditional property right of the artist on the artwork’s tangible medium. The first chapter of this paper will analyse graffiti as artistic and sociological phenomena, underlying the contradictions within this artistic movement. Some definitions for graffiti and street-art will be suggested. The second chapter will question, from a comparative legal perspective, whether copyright law can be successfully applied to graffiti and street art. In particular, it will inquire whether illegal artworks can be protected by copyright law despite the illegality of the circumstances of their creation. US, UK and Italian law will be taken into consideration. The third chapter will focus on the moral right of integrity, always from a comparative legal point of view. The conflict between the moral right of the artist and the property right of the owner will be extensively explored. It will be argued that street art can be protected by copyright law, as the illegality of the work does not affect copyright-protection in any of the considered legal system. Although the UK, US and Italy have similar legal approaches towards the moral right of integrity, artists’ prerogatives are protected in a significantly different way. Whether in Italy and in the UK artists can only oppose to distortion and modification of their artwork which is prejudicial to their honour and reputation, US artists can also prevent the destruction of their creations. The considerations on copyright and the artist’s moral right to integrity will show the opportunity to think of property as a limited right when it is related to an artwork. In fact, art is peculiar because even if it belongs to one person, the whole public can be interested in preserving it as a common good. 4 ABSTRACT Street art: arte o vandalismo? Se fino a qualche anno fa veniva stigmatizzata come atto vandalico, oggi invece la street art viene largamente apprezzata e finanche celebrata: basti pensare a Banksy, Blu, Ericailcane, OSGEMEOS, tutti nomi di cui oggi il pubblico conosce, apprezza e addirittura difende le opere. Si tratta di murales favolosi, nascosti tra le vie della città, pronti ad incantare colui che cammina distrattamente per le strade. La caratteristica principale delle opere di graffiti e street art è la loro effimerità: esse nascono, vivono e muoiono sulla strada, in balia del tempo atmosferico e degli eventi che accadono sul suolo urbano. Inoltre, molto spesso sono collocate sui muri altrui senza consenso, suscitando l’ira oppure, all’opposto, l’apprezzamento del proprietario del muro. Il presente lavoro vuole indagare i rapporti tra diritto d’autore e street art, analizzando in chiave comparata la tutela di cui potrebbero godere le opere di questa forma d’arte; si usa il condizionale, infatti, perché molto spesso gli artisti rimangono fedeli alla cultura della strada, anziché agire in giudizio. Inoltre, la street art ha il pregio di porre immediatamente la questione del rapporto tra artista e proprietario, mostrando la difficoltà di raggiungere un giusto bilanciamento tra diritto sull’opera e diritto sul supporto materiale. Nel primo capitolo di questa tesi si analizzerà il fenomeno di graffiti e street art secondo una prospettiva artistica e sociologica, proponendo alcune definizioni ed evidenziando molte delle contraddizioni poste da questo fenomeno. Nel secondo capitolo si analizzeranno in prospettiva comparata i presupposti della tutela di diritto d’autore così come applicabili alla street art: ci si chiederà alla luce delle legislazioni sul copyright inglese e americano, nonché del diritto d’autore italiano, se queste opere possano godere di tutela e se l’illiceità della loro creazione possa in qualche modo influenzare la concessione della tutela. Nel terzo capitolo, infine, sempre in prospettiva comparata si analizzeranno le problematiche legate al diritto morale di integrità dell’opera, in particolare in relazione al conflitto tra diritto morale dell’artista e diritto di proprietà del proprietario del supporto materiale. Nel corso del lavoro si è osservato come tale forma d’arte possa certamente godere di tutela da parte del diritto d’autore, non rilevando l’illiceità dell’opera. I rapporti tra diritto morale dell’artista e diritto del proprietario, invece, se, da una parte, presentano un approccio simile nei vari ordinamenti quanto a modificazioni e distorsioni dell’opera, dall’altra presentano profonde diversità quanto a distruzione dell’opera stessa, consentendo gli Stati Uniti all’artista di opporsi alla distruzione, diversamente da Italia e Regno Unito. La relazione tra diritto d’autore e distruzione dell’opera, infatti, permette di riflettere sulla possibilità di limitare il diritto di proprietà, laddove esso abbia ad oggetto opere d’arte, in quanto l’arte ha la peculiarità di poter appartenere a qualcuno, ma allo stesso tempo essere di interesse di tutti. 5 INDICE Introduzione ................................................................................................................ 9 CAPITOLO I L’arte sulla strada ....................................................................................................... 11 1.1. Un esempio per porre la domanda di fondo ................................................................... 11 1.2. Definizioni ............................................................................................................................ 14 1.3.Cenni storici all’evoluzione di Graffiti e Street Art ......................................................... 16 1.4.Arte o vandalismo? ............................................................................................................... 25 1.5 Ancora sulle definizioni ....................................................................................................... 33 CAPITOLO II Graffiti, street art e diritto d’autore ........................................................................... 38 2.1 Opere dell’ingegno e principi cardine del diritto d’autore .............................................. 38 2.2. Concetto di creatività nei diversi ordinamenti ................................................................ 44 2.3. Graffiti e Street art sono tutelati dal diritto d’autore? .................................................... 52 2.3.1 Originalità ........................................................................................................................... 52 2.3.2. Permanenza dell’opera ..................................................................................................... 55 2.3.2.1. Stati Uniti e fixation on a tangible medium of expression ............................. 55 2.3.2.2. Regno Unito e requisito della fixation .............................................................. 57 2.3.2.3. L'Italia e l'assenza di prescrizioni in relazione al supporto materiale .......... 58 2.3.2.4. Graffiti e Street art sono sufficientemente ‘fixed’? .......................................... 58 2.3.3. Illiceità dell’opera ............................................................................................................... 59 2.3.3.1. Stati Uniti e ‘unclean
Load more

Recommended publications
  • This Is Modern Art 2014/15 Season Lisa Portes Lisa
    SAVERIO TRUGLIA PHOTOGRAPHY BY PHOTOGRAPHY BY 2014/15 SEASON STUDY GUIDE THIS IS MODERN ART (BASED ON TRUE EVENTS) WRITTEN BY IDRIS GOODWIN AND KEVIN COVAL DIRECTED BY LISA PORTES FEBRUARY 25 – MARCH 14, 2015 INDEX: 2 WELCOME LETTER 4 PLAY SYNOPSIS 6 COVERAGE OF INCIDENT AT ART INSTITUTE: MODERN ART. MADE YOU LOOK. 7 CHARACTER DESCRIPTIONS 8 PROFILE OF A GRAFFITI WRITER: MIGUEL ‘KANE ONE’ AGUILAR 12 WRITING ON THE WALL: GRAFFITI GIVES A VOICE TO THE VOICELESS with classroom activity 16 BRINGING CHICAGO’S URBAN LANDSCAPE TO THE STEPPENWOLF STAGE: A CONVERSATION WITH PLAYWRIGHT DEAR TEACHERS: IDRIS GOODWIN 18 THE EVOLUTION OF GRAFFITI IN THE UNITED STATES THANK YOU FOR JOINING STEPPENWOLF FOR YOUNG ADULTS FOR OUR SECOND 20 COMMON CORE STATE STANDARDS SHOW OF 2014/15 SEASON: CREATE A MOVEMENT: THE ART OF A REVOLUTION. 21 ADDITIONAL RESOURCES 22 NEXT UP: PROJECT COMPASS In This Is Modern Art, we witness a crew of graffiti writers, Please see page 20 for a detailed outline of the standards Made U Look (MUL), wrestling with the best way to make met in this guide. If you need further information about 23 ACKNOWLEDGEMENTS people take notice of the art they are creating. They choose the way our work aligns with the standards, please let to bomb the outside of the Art Institute to show theirs is us know. a legitimate, worthy and complex art form born from a rich legacy, that their graffiti is modern art. As the character of As always, we look forward to continuing the conversations Seven tells us, ‘This is a chance to show people that there fostered on stage in your classrooms, through this guide are real artists in this city.
    [Show full text]
  • General Info.Indd
    General Information • Landmarks Beyond the obvious crowd-pleasers, New York City landmarks Guggenheim (Map 17) is one of New York’s most unique are super-subjective. One person’s favorite cobblestoned and distinctive buildings (apparently there’s some art alley is some developer’s idea of prime real estate. Bits of old inside, too). The Cathedral of St. John the Divine (Map New York disappear to differing amounts of fanfare and 18) has a very medieval vibe and is the world’s largest make room for whatever it is we’ll be romanticizing in the unfinished cathedral—a much cooler destination than the future. Ain’t that the circle of life? The landmarks discussed eternally crowded St. Patrick’s Cathedral (Map 12). are highly idiosyncratic choices, and this list is by no means complete or even logical, but we’ve included an array of places, from world famous to little known, all worth visiting. Great Public Buildings Once upon a time, the city felt that public buildings should inspire civic pride through great architecture. Coolest Skyscrapers Head downtown to view City Hall (Map 3) (1812), Most visitors to New York go to the top of the Empire State Tweed Courthouse (Map 3) (1881), Jefferson Market Building (Map 9), but it’s far more familiar to New Yorkers Courthouse (Map 5) (1877—now a library), the Municipal from afar—as a directional guide, or as a tip-off to obscure Building (Map 3) (1914), and a host of other court- holidays (orange & white means it’s time to celebrate houses built in the early 20th century.
    [Show full text]
  • Talking Chalk: Defacing the First Amendment in the Public Forum
    TALKING CHALK: DEFACING THE FIRST AMENDMENT IN THE PUBLIC FORUM Marie A. Failinger* I. INTRODUCTION ...................................................................................... 755 II. CHALKING AS A CONTENT DILEMMA ................................................... 759 III. THE PROBLEM OF ANALOGY: IS CHALKING REAL GRAFFITI? .............. 764 IV. CONCLUSION ......................................................................................... 773 I. INTRODUCTION The common law lives on analogy—its power to change depends on whether the creative new things individuals do every day that get them into trouble can be correctly assimilated to conduct that has previously been ruled legal or illegal, determined to be the subject of damages, or protected as part of individual liberty. We might find this dilemma captured in the famous Sesame Street ditty that goes, “One of these things is not like the others, one of these things just doesn’t belong . .”1 Since the Supreme Court’s development of ever-more nuanced versions of the public forum doctrine, starting with cases such as Perry Education Association v. Perry Local Educators’ Association,2 among other refinements of its Speech Clause jurisprudence,3 much free speech jurisprudence has taken on a common law caste, one analogy after another. Because the Supreme Court has provided more robust protection for free speech rights in “public forums,” like streets, parks, and sidewalks, the courts must parse possible analogies to determine whether a sidewalk leading up to a * Professor of Law, Hamline University School of Law. 1 JOE RAPOSO & JON STONE, ONE OF THESE THINGS (IS NOT LIKE THE OTHERS) (Columbia 1970), available at http://members.tripod.com/tiny_dancer/one.html. The Sesame Street analogical process has been cited by more than one legal academic explaining a basic tool of legal analysis.
    [Show full text]
  • Moral Rights: the Anti-Rebellion Graffiti Heritage of 5Pointz Richard H
    digitalcommons.nyls.edu Faculty Scholarship Articles & Chapters 2018 Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard H. Chused New York Law School, [email protected] Follow this and additional works at: https://digitalcommons.nyls.edu/fac_articles_chapters Part of the Entertainment, Arts, and Sports Law Commons, Land Use Law Commons, and the Property Law and Real Estate Commons Recommended Citation Chused, Richard H., "Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz" (2018). Articles & Chapters. 1172. https://digitalcommons.nyls.edu/fac_articles_chapters/1172 This Article is brought to you for free and open access by the Faculty Scholarship at DigitalCommons@NYLS. It has been accepted for inclusion in Articles & Chapters by an authorized administrator of DigitalCommons@NYLS. Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard Chused* INTRODUCTION Graffiti has blossomed into far more than spray-painted tags and quickly vanishing pieces on abandoned buildings, trains, subway cars, and remote underpasses painted by rebellious urbanites. In some quarters, it has become high art. Works by acclaimed street artists Shepard Fairey, Jean-Michel Basquiat,2 and Banksy,3 among many others, are now highly prized. Though Banksy has consistently refused to sell his work and objected to others doing so, works of other * Professor of Law, New York Law School. I must give a heartfelt, special thank you to my artist wife and muse, Elizabeth Langer, for her careful reading and constructive critiques of various drafts of this essay. Her insights about art are deeply embedded in both this paper and my psyche. Familial thanks are also due to our son, Benjamin Chused, whose knowledge of the graffiti world was especially helpful in composing this paper.
    [Show full text]
  • NYC Graffiti Case Could Leave Its Mark on Legal Arena
    NEW YORK NYC Graffiti Case Could Leave Its Mark on Legal Arena A lawsuit concerning the destruction of former graffiti-art mecca 5Pointz could be a watershed moment in the interpretation of the Visual Artists Rights Act A mural by Maria Castillo, aka Toofly, at 5Pointz that was demolished in 2014 was submitted as evidence in a trial against developer Jerry Wolkoff in federal district court in Brooklyn. PHOTO: 5POINTZ By Thomas MacMillan Nov. 27, 2017 2:36 p.m. ET 21 COMMENTS The outcome of a federal civil lawsuit in Brooklyn concerning the destruction of former graffiti-art mecca 5Pointz could hold an important lesson for artists and landlords: Make your agreements in writing. Earlier his month, jurors issued an advisory ruling in favor of the plaintiffs—21 artists who sued real-estate developer Jerry Wolkoff after he whitewashed and demolished his warehouses in Long Island City, Queens. Until it came down in 2014, the complex, known as 5Pointz, had stood for more than a decade as an open-air museum of graffiti art by some of the medium’s most revered practitioners. The Brooklyn federal court judge presiding over the case will now decide whether the landlord is liable and the artists are entitled to damages. That decision is expected in December or January. The plaintiffs haven’t asked for a specific amount, but could win several million dollars in damages. But even before the case is resolved, legal observers are marking the jury ruling as a possible watershed moment in the interpretation of a seldom-used federal law called the Visual Artists Rights Act.
    [Show full text]
  • 5Pointz Decision
    Case 1:13-cv-05612-FB-RLM Document 172 Filed 02/12/18 Page 1 of 100 PageID #: 4939 UNITED STATES DISTRICT COURT EASTERN DISTRICT OF NEW YORK --------------------------------------------------x JONATHAN COHEN, SANDRA Case No. 13-CV-05612(FB)(RLM) FABARA, STEPHEN EBERT, LUIS LAMBOY, ESTEBAN DEL VALLE, RODRIGO HENTER DE REZENDE, DANIELLE MASTRION, WILLIAM TRAMONTOZZI, JR., THOMAS LUCERO, AKIKO MIYAKAMI, CHRISTIAN CORTES, DUSTIN SPAGNOLA, ALICE MIZRACHI, CARLOS GAME, JAMES ROCCO, STEVEN LEW, FRANCISCO FERNANDEZ, and NICHOLAI KHAN, Plaintiffs, -against- G&M REALTY L.P., 22-50 JACKSON DECISION AVENUE OWNERS, L.P., 22-52 JACKSON AVENUE, LLC, ACD CITIVIEW BUILDINGS, LLC, and GERALD WOLKOFF, Defendants. --------------------------------------------------x MARIA CASTILLO, JAMES COCHRAN, Case No. 15-CV-3230(FB)(RLM) LUIS GOMEZ, BIENBENIDO GUERRA, RICHARD MILLER, KAI NIEDERHAUSEN, CARLO NIEVA, RODNEY RODRIGUEZ, and KENJI TAKABAYASHI, Plaintiffs, -against- Case 1:13-cv-05612-FB-RLM Document 172 Filed 02/12/18 Page 2 of 100 PageID #: 4940 G&M REALTY L.P., 22-50 JACKSON AVENUE OWNERS, L.P., 22-52 JACKSON AVENUE, LLC, ACD CITIVIEW BUILDINGS, LLC, and GERALD WOLKOFF, Defendants. -----------------------------------------------x Appearances: For the Plaintiff For the Defendant ERIC BAUM DAVID G. EBERT ANDREW MILLER MIOKO TAJIKA Eisenberg & Baum LLP Ingram Yuzek Gainen Carroll & 24 Union Square East Bertolotti, LLP New York, NY 10003 250 Park Avenue New York, NY 10177 BLOCK, Senior District Judge: TABLE OF CONTENTS I ..................................................................5 II ..................................................................6 A. The Relevant Statutory Framework . 7 B. The Advisory Jury . 11 C. The Witnesses and Evidentiary Landscape. 13 2 Case 1:13-cv-05612-FB-RLM Document 172 Filed 02/12/18 Page 3 of 100 PageID #: 4941 III ................................................................16 A.
    [Show full text]
  • Adam America Real Estate to Develop 210,000 S/F Mixed-Use Building At
    Adam America Real Estate to develop 210,000 s/f mixed-use building at 22-12 Jackson Avenue in Long Island City August 06, 2015 - Owners Developers & Managers Queens, NY Adam America Real Estate has closed on the purchase of 22-12 Jackson Ave. in Long Island City. Adam America’s partner on this transaction is an investment fund managed by MSD Partners, L.P. High-End Condominiums, Luxury Amenities & First-Rate Retail Space Adam America will develop an approximately 210,000 s/f mixed-use property containing 186 residential units, 5,000 s/f of retail space at this location with Eran Chen of ODA Architecture as the design architect and Isaac and Stern as the architect of record. The 11-story building will contain studio, one, two and three-bedroom apartments, as well as over 5,000 square feet of luxury amenities including a swimming pool, spa, residents lounge, bike storage, storage, a fitness center, children’s playroom, doorman, courtyard and 15,466 s/f of private parking. Santander Bank is financing the acquisition. “We are excited to partner with MSD on this transaction and incorporate their extensive institutional investment experience into the project strategy,” noted Omri Sachs, co-founder of Adam America. Striking Art-Inspired Design 22-12 Jackson Ave. will bring high-end architecture to Long Island City with a striking design that draws upon the neighborhood’s artistic community and the building’s location directly across from MoMA PS1 and the 5 Pointz development. The building will offer sweeping views of New York City and is just two blocks and one subway stop away from Midtown Manhattan via the E and 7 lines at Court Sq.
    [Show full text]
  • App. 1 950 F.3D 155 (2D Cir. 2020) United States Court of Appeals
    App. 1 950 F.3d 155 (2d Cir. 2020) United States Court of Appeals, Second Circuit Maria CASTILLO, James Cochran, Luis Gomez, Bien- benido Guerra, Richard Miller, Carlo Nieva, Kenji Taka- bayashi, Nicholai Khan, Plaintiffs-Appellees, Jonathan Cohen, Sandra Fabara, Luis Lamboy, Esteban Del Valle, Rodrigo Henter De Rezende, William Tramon- tozzi, Jr., Thomas Lucero, Akiko Miyakami, Christian Cortes, Carlos Game, James Rocco, Steven Lew, Francisco Fernandez, Plaintiffs-Counter- Defendants-Appellees, Kai Niederhause, Rodney Rodriguez, Plaintiffs, v. G&M REALTY L.P., 22-50 Jackson Avenue Owners, L.P., 22-52 Jackson Avenue LLC, ACD Citiview Buildings, LLC, and Gerald Wolkoff, Defendants-Appellants. Nos. 18-498-cv (L), 18-538-cv (CON) August Term 2019 Appeal from the United States District Court for the Eastern District of New York Nos. 15-cv-3230 (FB) (RLM), 13-cv-5612 (FB) (RLM), Frederic Block, District Judge, Presiding. Argued August 30, 2020 Decided February 20, 2020 Amended February 21, 2020 Attorneys and Law Firms ERIC M. BAUM (Juyoun Han, Eisenberg & Baum, LLP, New York, NY, Christopher J. Robinson, Rottenberg Lipman Rich, P.C., New York, NY, on the brief), Eisenberg & Baum, LLP, New York, NY, for Plaintiffs-Appellees. MEIR FEDER (James M. Gross, on the brief), Jones Day, New York, NY, for Defendants-Appellants. App. 2 Before: PARKER, RAGGI, and LOHIER, Circuit Judges. BARRINGTON D. PARKER, Circuit Judge: Defendants‐Appellants G&M Realty L.P., 22‐50 Jack- son Avenue Owners, L.P., 22‐52 Jackson Avenue LLC, ACD Citiview Buildings, LLC, and Gerald Wolkoff (collec- tively “Wolkoff”) appeal from a judgment of the United States District Court for the Eastern District of New York (Frederic Block, J.).
    [Show full text]
  • Art Institutions: Initiators and Reflectors of Neighbourhood Change | By: Ekaterina Mizrokhi and Melissa Vincent 2 Change
    ARTS INSTITUTIONS: INITIATORS AND REFLECTORS OF NEIGHBOURHOOD CHANGE Arts institutions, such as prominent, established superstar global cities such as Paris, London, and museums and galleries, complement the inherent most definitely New York. New York City is heterogeneity and the definitive dynamic mix of often the backdrop for the dynamic trends of urbanity.1 As civic anchors, they are institutional urbanization facing contemporary cities as one of entities that occupy sizeable amounts of land,2 the world’s most influential economic and real estate and social capital.3 Anchor institutions cultural nodes. As the home of over 83 museums7 have an interdependent relationship with the dispersed among its 5 boroughs, the communities they’re located in, interacting in headquarters of some of the world’s most various capacities such as service providers, celebrated fashion designers and a plethora of workforce developers and community studios and artist-run spaces,8 New York’s infrastructure builders. Anchor institutions dominance as a crucial center of the arts is drive shared value for both the institution and derived from its dense concentration of creative the neighbourhood.4 As destination landmarks and cultural producers. that denote world-class status, these institutions are magnets for high profile investment, creating Perhaps New York’s greatest strength lies in pockets of increased real estate values across its capacity to harness its artistic talents such that the city. they contribute to both the local cultural economy as well as the global marketplace.9 In 2015, 10 of Parallelly, investments into cultural anchor the most expensive works purchased in auction institutions fuel new development and encourage were acquired in New York and the city was the the settlement of high-income residents back into site of two thirds of auction sales over $1 million, the city centre.5 This forces land values to highlighting it as a marketplace for the elite10.
    [Show full text]
  • Stricto Sensu Arquitetura E Urbanismo
    UNIVERSIDADE SÃO JUDAS TADEU Programa de Pós-Graduação – Stricto Sensu Arquitetura e Urbanismo NÚRIA MOLENA Grafite. Da transgressão à integração, 1950-2015. ORIENTADOR: Prof. Dr. Fernando Guillermo Vázquez Ramos São Paulo 2015 UNIVERSIDADE SÃO JUDAS TADEU Programa de Pós-Graduação – Stricto Sensu Arquitetura e Urbanismo NÚRIA MOLENA Grafite. Da transgressão à integração, 1950-2015. Dissertação apresentada ao Programa de Pós-Graduação Stricto Sensu em Arquitetura e Urbanismo da Universidade São Judas Tadeu, para obtenção do título de mestra. ORIENTADOR: Prof. Dr. Fernando Guillermo Vázquez Ramos São Paulo 2015 UNIVERSIDADE SÃO JUDAS TADEU Curso de Pós-Graduação – Stricto Sensu Arquitetura e Urbanismo Núria Molena Grafite. Da transgressão à integração, 1950-2015. Dissertação apresentada ao Programa de Pós-Graduação Stricto Sensu em Arquitetura e Urbanismo da Universidade São Judas Tadeu, para obtenção do título de mestra. Aprovada em dezembro de 2015 por: Prof. Dra. Paula de Vincenzo Fidelis Belfort Mattos ________________________ Prof. Dra. Lóris Graldi Rampazzo _____________________________________ Prof. Dr. Fernando Guillermo Vázquez Ramos__________________________ São Paulo 2015 DEDICATÓRIA Dedico esse trabalho ao meu filho Miguel. AGRADECIMENTOS A Universidade São Judas Tadeu, pela bolsa e oportunidade de realizar este curso. Às professoras mestras e amigas Mônica Cristina de Paula e Sandra Vita, pela amizade, orientação, apoio е confiança. À minha coordenadora Dra. Paula de Vincenzo Fidelis Belfort Mattos pela oportunidade е apoio na elaboração desta dissertação. Ao mеυ orientador, pelo emprenho dedicado à elaboração desta dissertação. Ao Maicon Andrade Machado pela cooperação com nosso filho. Agradeço ao Edgard Leite pela ajuda, estímulo e compreensão. Aos meus pais, pelo amor, incentivo е apoio incondicional. RESUMO MOLENA, Núria.
    [Show full text]
  • FIGURE 7.1. Demonstration/Performance by The
    07 Chapter 7.qxd 12/8/2006 2:46 PM Page 192 FIGURE 7.1. Demonstration/performance by the Art Workers Coalition at the Guggenheim Museum, New York, 1971, in support of AWC cofounder Hans Haacke, whose exhibition was canceled by the museum’s director over his artwork Shapolsky et al., Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971. Photographer unknown. L 07 Chapter 7.qxd 12/8/2006 2:46 PM Page 193 7. Artists’ Collectives Mostly in New York, 1975–2000 ALAN W. MOORE The question of collectivism in recent art is a broad one. Artists’ groups are an intimate part of postmodern artistic production in the visual arts, and their presence informs a wide spectrum of issues including modes of artistic practice, the exhibition and sales system, publicity and criticism, even the styles and subjects of art making. Groups of all kinds, collectives, collaborations, and organizations cut across the landscape of the art world. These groups are largely autonomous organizations of artistic labor that, along with the markets and institutions of capital expressed through galleries and museums, comprise and direct art. The presence of artistic collectives is not primarily a question of ideology; it is the expression of artistic labor itself. The practical requirements of artistic production and exhibition, as well as the education that usually precedes active careers, continuously involves some or a lot of collective work. The worldwide rise in the number of self- identiWed artist collectives in recent years reXects a change in patterns of artistic labor, both in the general economy (that is, artistic work for com- mercial media) and within the special economy of contemporary art.
    [Show full text]
  • I Poteri Del Curatore in Pendenza Di Azione Revocatoria Ordinaria
    ANGELA SALTARELLI STREET ART E DIRITTO: UN RAPPORTO ANCORA IN VIA DI DEFINIZIONE SOMMARIO: 1. Premessa: Street art e problematiche legali– 2. Street art: rapporto tra diritto d’autore e diritto di proprietà – 2.1. Le opere d’arte urbana autorizzate – 2.2. Le opere d’arte urbana indipendente – (a) Mancata autorizzazione da parte del titolare del supporto – (b) Mancato consenso da parte di un terzo – 3. Street art e diritto di riproduzione – 4. Street art e diritto penale – 5. Street art e legislazione in materia di beni culturali e paesaggistici – 6. Conclusioni 1. Premessa: Street art e problematiche legali L’arte di strada o arte urbana - meglio conosciuta con la definizione inglese di Street art – è il nome attribuito a quelle forme d’arte visiva realizzate in luoghi pubblici. La dottrina statunitense ritiene che la Street Art sia caratterizzata essenzialmente da tre elementi: (i) la realizzazione in contesti urbani; (ii) generalmente senza autorizzazione da parte del titolare del supporto su cui l’opera è creata, e (iii) in un posto visibile al pubblico1. La Street art nasce negli Stati Uniti, alla fine degli anni sessanta2 e da allora tale fenomeno artistico si è diffuso anche in Europa, raggiungendo un incredibile successo di pubblico, una notevole attenzione da parte dei mezzi di comunicazione, oltre ad essere divenuto uno degli strumenti dei processi Avvocato. 1 P.N. Salib, The law of Banksy: who owns street art?, The University of Chicago Law Review, vol. 82, iss. 4, art. 10, 2015. 2 Gli storici dell’arte ritengono che una teorizzazione della Street Art sia avvenuta grazie all’intervista del New York Times del 21 luglio 1971 “Taki 183 Spawns Pen Pals” all’artista Taki 183.
    [Show full text]