DOCSLIB.ORG

Urban-Art-Lab-Magazine-English.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Urban-Art-Lab-Magazine-English.Pdf To all those visiting the Style Scouts® Urban Art Lab: In this special edition of Creative World 2019 you will find a compact collection of information on urban art, street art and graffiti. We shall be presenting you with the main aspects of our special show in the style of a classical black book, as the sketchbooks of graffiti artists are traditionally called. Starting with an explanation of the term, we have assem- bled basic information for you, covering the historical development of graffiti, right up to the most important techniques and tools of urban art. In the second part of this magazine you will find profiles of the artists participating in the Urban Art Lab, plus a feature on the Style Scouts® Graffiti Academy. „…our Urban Art Lab is intended to provide an initial introduction to the history, culture and technique of this You can find further information on our web- art form. Urban art becomes tangible through the work site. But feel free just to speak to us directly, of authentic graffiti artists of different generations...“ too! Carlos Lorente (Style Scouts®) That is exactly why we can only reach a proper attribu- tion of urban art and the techniques and tools connected with it if we have the various traditions and the history of Almost all forms of art in public spaces can be subsumed graffiti and street art clearly before our eyes. under the expression „urban art.“ In contrast to its illegal manifestations on trains and walls, it also seeks a com- To understand the most important disciplines, the question mercial path through galleries, takes place increasingly in of the artist‘s motivation is the most meaningful approach. interior spaces and studios, and is developing free from Political graffiti aims at provocation and message, street the strict rules of the classical graffiti scene. art ideally operates creatively in terms of public space, and style writing is based on the dissemination of an Nevertheless, the most important players in urban art artist‘s name in as unmistakable a style as possible. come from in the original disciplines of graffiti, and their creative DNA is indissolubly linked with them. STYLE WRITING STREET ART POLITICS A SHORT TIMELINE about 30.000 BC Cave paintings Ancient times about 1965 „Fresco painting“ Cornbread & Taki 183 about 1830 „The Birth of Style Writing“ „KYSELAK“ Tags The Urban Art Lab Mural has been designed and realised by Bond in colla- feature is the ability to animate parts of the design with an augmented-reality boration with Crow from Style Scouts®. Using the sketches below, we shall app. You will find more information about this on the Urban Art explain to you the most important epochs and contents. The mural‘s particular Lab stand. 1982 Film „Wildstyle“ 1980s Subway art and global graffiti – the hip-hop wave Future of Graffiti Early forms of street art Post-graffiti, urban contemporary, Stencil art, political murals calligraffiti, digital graffiti LETTER STUDY „S“ TAGS/HANDSTYLES SIMPLE STYLE BUBBLE STYLE SEMI-WILDSTYLE WILDSTYLE 3D-STYLE STYLES Style writing is without doubt the discipline of urban art Semi-Wildstyle with the greatest global dissemination and a mature tradi- Abstract letters with decorative elements, arrows tion and culture. The artistic focus is here on the stylistic and linkages. design of letters. Depending on the style, legibility is not always guaranteed for outside observers. Wildstyle Particularly abstract lettering style, featuring wild The aim of every writer is a distinctive style and the widest fragmentation and numerous decorative elements. possible dissemination of the artist‘s name on different media. Here is a selection of major styles: 3D-Style In 3D style the letters are placed in an imaginary Tags and Handstyles perspective space. Through effects of light and shadow Characteristic signature of a writer. Handstyles often and the avoidance of outlines (contours) a three-dimen- have components of calligraphy. sional impression is strengthened. Simple Style Simple block-lettering style. As a rule, easily legible and quick to do. Bubble Style Rounded, soft letters which are easily legible. Often inspired by the lettering in comics. TOOLS & TECHNOLOGY PAPER & BLACKBOOKS Paper and blackbooks (sketchbooks) are the traditional media for graffiti, to record ideas and draft designs for mural work. In this process black books in particular enjoy a high value. In the form of personal bibles and lovingly designed poesy albums they mostly remain hidden from outsiders and document the personal develop- ment of an artist. Before digital photography began to hold sway and social media became the preferred platforms for self-portrayal, black books were the central treasury of information for this global art form. TOOLS • Pencils • Crayons • Ink pens • Graphic markers • Calligraphy pens TOOLS & TECHNOLOGY INDOOR & MIXED MEDIA The classical tools of graffiti are only suitable for interiors to a limited extent. Sol- vent-based spray cans produce unpleasant odours and vapours which are injuri- ous to health. So water-based spray paint is a good alternative, which can also be worked using airbrush and paintbrush. Paint markers and high-coverage acrylic paints can be used in addition. In mixed-media technique almost all conceivable undersurfaces can be painted. TOOLS • Water-based spray cans • Paint markers • Airbrush pistols • Acrylic paints • Paintbrushes SURFACES • Glass and plexiglass • Wood • Textiles • Cardboard boxes • Linen • and much more TOOLS & TECHNOLOGY OUTDOOR & WALLS The outdoors are the natural terrain of graffiti and street art. Styles, murals and wall paintings need sufficient space and an interaction with the public sphere. Irrespective of whether urban art is practised within legal limits or illegally, some techniques have developed as standard. Since the 60s solvent-based spray cans (e.g. car paints) have been used, since these can be applied simply and ra- pidly. The line width can be modified simply by using multiple and various spray cans. Nowadays there are high-co- verage acrylic paints in all qualities and innumerable gradations of colour, opening up undreamed-off possibilities to artists. Wall paints, acrylic paints, rollers and paintbrushes are also popular tools for preparing preliminary sketches or to form the groundwork for large wall surfaces, or to design it completely. Tapes and adhesive tapes are likewise well-established aids. TOOLS • Spray cans and nozzles • Brushes • Rollers • Wall paint • Tapes SURFACES • Walls and concrete • Steel • and much more www.loomit.de Loomit from Munich is regarded as the most important German-speaking graffiti artist. Working since 1983, he belongs to the first generation of European urban art and was involved not only in the first completely over-painted suburban-railway train but, through his innumerable journeys and wall paintings, has had a formative influence on the international scene and has provided it with networking. Stylistically and technically Loomit moves effortlessly bet- ween style writing, street art and muralism. His readiness to experiment with the materials he uses for his work should be particularly emphasised. www.instagram.com/dejoematic Since the 80s Dejoe has been inextricably linked with Berlin‘s graffiti scene. He enjoys world-wide recognition for his unmistakable style, which transforms the letters D-E-J-O-E into dynamic shapes and abstractions. Work on paper and classically in black books is close to the artist‘s heart, and he is also enjoying success as a hip-hop DJ. Thus he is one of the founding fathers of a regularly meeting sketch circle, at which artists can exchange creative experience through the use of sketches. www.truluv.de Bond TruLuv from Leipzig is one of the most exciting exponents of street art when it comes to experimenting in lettering, shapes and materials. He is constantly alienating his own illustrations, which mostly contain the letters BOND, both calligraphically and stylistically. Large spatial multimedia installations, illuminated lighting graffiti and, most recently, experiments in augmented reality are also part of his repertoire. The Urban Art Lab‘s history mural has been realised by Bond and enriched with digital elements. www.instagram.com/wildfanta Fanta (WCDIB) is a founding father of the Munich graffiti scene and outstandingly networked both nationally and internationally. Coming rather from classical style writing, including a considerable number of authentic references to steel, he has developed stylistically over the last few years and advanced to ornamental abstraction. Recurring deco- rative elements in his original wild-style letters develop a life of their own and form meshworks of shapes and colours, some of which suggest a calligraphic approach. www.instagram.com/kidcrow_id www.instagram.com/fokus.81 CROW FOKUS (Kid) Crow has been working as a graffiti artist since Fokus has likewise been working as a graffiti artist since 1986. Stylistically he comes between semi-wild styles the mid-90s. His playful wild styles are extremely dyna- and cartoon figures. As early as 1998 he began to mic and empathetic. Since 2017 he has also been one of share his knowledge and organised Personal Initiative the workshop coaches at the Style Scouts® Graffiti Aca- Workshops and hip-hop jams. Since 2002 he has also demy. Together with Crow he is responsible for hosting been engaged in youth work and for a time looked after the action space and answers visitors‘ questions. young delinquents. In the process he was inspired in 2011, together with Hombre, to found Style Scouts®, the first graffiti academy with proper teaching in Germany, which opened its doors in Nuremberg in autumn 2015. Through Style Scouts® well-known graffiti artists and experienced teachers have developed a concept which gives children, young people and adults access to graf- fiti. As participants in workshops they work actively on design and experience the power of their own creativity and expressive skills. All are equal before the spray can Hip-hop and graffiti culture is not interested in origins or level of education.
Load more

Recommended publications
  • 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]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:__June 5, 2007_______ I, Jennifer Lynn Hardin_______________________________________, hereby submit this work as part of the requirements for the degree of: Masters of Arts in: Art History It is entitled: “ A Season in Hell”: David Wojnarowicz’s Rimbaud in New York Series (1978-79) This work and its defense approved by: Chair: Dr.Kimberly Paice______________ Dr. Michael Carrasco___________ Dr. Mikiko Hirayama____________ _______________________________ _______________________________ “A Season in Hell”: David Wojnarowicz’s Rimbaud In New York Series (1978-79) A thesis submitted to the Art History Faculty of the College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Masters of Arts in Art History Jennifer Hardin June 2007 Advisor: Dr. Kimberly Paice Abstract David Wojnarowicz (1954-1992) was an interdisciplinary artist who rejected traditional scholarship and was suspicious of institutions. Wojnarowicz’s Arthur Rimbaud in New York series (1978-79) is his earliest complete body of work. In the series a friend wears the visage of the French symbolist poet. My discussion of the photographs involves how they convey Wojnarowicz’s notion of the city. In chapter one I discuss Rimbaud’s conception of the modern city and how Wojnarowicz evokes the figure of the flâneur in establishing a link with nineteenth century Paris. In the final chapters I address the issue of the control of the city and an individual’s right to the city. In chapter two I draw a connection between the renovations of Paris by Baron George Eugène Haussman and the gentrification Wojnarowicz witnessed of the Lower East side.
    [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]
  • 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]
  • Street Art Rising Marshall Soules—[email protected]
    Vol 1 No 2 (Autumn 2020) Online: jps.library.utoronto.ca/index.php/nexj Visit our WebBlog: newexplorations.net Street Art Rising Marshall Soules—[email protected] This illustrated article discusses the various manifestations of street art—graffiti, posters, stencils, social murals—and the impact of street art on urban environments. Continuing perceptions of street art as vandalism contributing to urban decay neglects to account for street art’s full spectrum of effects. As freedom of expression protected by law, as news from under-privileged classes, as images of social uplift and consciousness-raising, and as beautification of urban milieux, street art has social benefits requiring re-assessment. Street art has become a significant global art movement. Detailed contextual history includes the photographer Brassai's interest in Parisian graffiti between the world wars; Cézanne’s use of passage; Walter Benjamin's assemblage of fragments in The Arcades Project; the practice of dérive (passage through diverse ambiances, drifting) and détournement (rerouting, hijacking) as social and political intervention advocated by Guy Debord and the Situationist International; Dada and Surrealist montage and collage; and the art of Quebec Automatists and French Nouveaux réalistes. Present street art engages dynamically with 20th C. art history. The article explores McLuhan’s ideas about the power of mosaic style to subvert the received order, opening spaces for new discourse to emerge, new patterns to be discovered. The author compares street art to advertising, and raises questions about appropriation, authenticity, and style. How does street art survive when it leaves the streets for galleries, design shops, and museums? Street art continues to challenge communication strategies of the privileged classes and elected officials, and increasingly plays a reconstructive role in modulating the emotional tenor of urban spaces.
    [Show full text]
  • Public Art, Cultural Landscapes, and Urban Space in Venice, California
    The Contours of Creativity: Public Art, Cultural Landscapes, and Urban Space in Venice, California Zia Salim California State University, Fullerton Abstract This cross-sectional study examines spatial and thematic patterns of public art in Venice, Los Angeles’s bohemian beach community, to de- termine how public wall art marks the cultural landscape. To do this, 353 items of public art were field surveyed, photographed, and mapped, with the resulting inventory being subjected to content analysis. Data from secondary sources, including the city’s history and demographics, were used to contextualize the results. The results indicate that most public art is located on commercial buildings, with a smaller concentration on residential buildings. A majority of public art in Venice includes three main types of elements: local elements, people, and nature. Although public art is an especially dynamic and ephemeral subject of study, I conclude that an analysis of the locations and themes of public art helps to explain its aesthetic and historic functions and demonstrates its role in Venice’s cultural landscape. Keywords: cultural landscape, public art, street art, murals, Venice Introduction The beach community of Venice is the eclectic epicenter of Los Angeles: for decades wanderers, non-conformers, hippies, and tourists have congregated in this seaside spot to partake in Venice’s unconventional atmosphere and unique architecture. Images of the beach, the boardwalk, and the canals and their bungalows are predominant in popular imaginations of Venice’s urban geography, while popular understandings of Venice’s social geography con- sider its (counter)cultural dimensions as a haven for poets and performers, surfers and skaters, bodybuilders and bohemians, musicians and mystics, and spiritualists and free spirits.
    [Show full text]
  • When the Wall Talks: a Semiotics Analysis of Graffiti Tagged by “Act Move”
    When The Wall Talks: A Semiotics Analysis of Graffiti Tagged by “Act Move” A Journal Paper Hasan IbnuSafruddin (0707848) English Education Department, Faculty of Language and Arts Education, Indonesia University of Education, Dr. Setiabudhi 229, Bandung 40154, Indonesia Email: [email protected] Abstract: In Indonesia Graffiti phenomenon has become a popular culture. Graffiti exists around us; in public space, wall, and toilet.Its existence sometime lasts just a few days then beingerased, but some other exists for a long time. Some people think graffiti is a kind of vandalism, some other think it is a piece of art. That makes the graffiti interesting to me. The author believe there must be a purpose and meaning in creating graffiti. Bandung city is popular as the place of creative people; there are many communities of Bomber, graffiti creator called.The author choose some graffiti tagged by Act Move around Bandung as the sample for my analysis. Different with other graffiti, Act Move more applies more the words form rather than pictures. In this paper the author would like to analyze five graffiti tagged by Act Move around Bandung city through the Roland Barthes framework. Barthes‟ Frame work isapplied to find out the meaning of graffiti. After doing descriptive analysis of the graffiti the author also do an interview with the Bomber of Act Move to enrich the data and make the clear understanding of this study. The finding of this study is the meaning of denotation, connotation and myth or ideology of the graffiti. The author expect this study can give the exploration and interpretation the meaning beyond and surface of graffiti.
    [Show full text]
  • United States District Court Eastern District of New York
    Case 1:13-cv-05612-FB-RLM Document 189-1 Filed 03/15/18 Page 1 of 41 PageID #: 5697 UNITED STATES DISTRICT COURT EASTERN DISTRICT OF NEW YORK -------------------------------------------------------------------- x JONATHAN COHEN, SANDRA FABARA, : STEPHEN EBERT, LUIS LAMBOY, ESTEBAN : DEL VALLE, RODRIGO HENTER DE REZENDE, : Index No. 13-cv-05612 (FB) (RLM) DANIELLE MASTRION, WILLIAM : TRAMONTOZZI, JR., THOMAS LUCERO, AKIKO : MIYAKAMI, CHRISTIAN CORTES, DUSTIN : Hon. Frederic Block SPAGNOLA, ALICE MIZRACHI, CARLOS GAME, : JAMES ROCCO, STEVEN LEW, FRANCISCO : DEFENDANTS’ FED. R. CIV. P. FERNANDEZ, and NICHOLAI KHAN, : 52 AND 59 MEMORANDUM IN : SUPPORT OF MOTION TO SET Plaintiffs, : ASIDE FINDINGS OF FACT : AND CONCLUSIONS OF LAW : -against- AND FOR A NEW TRIAL, OR : ALTERNATIVELY, TO : VACATE THE JUDGMENT IN G & M REALTY L.P., 22-50 JACKSON AVENUE : OWNERS, L.P., 22-52 JACKSON AVENUE, LLC, ACD PLAINTIFFS’ FAVOR AND : ENTER JUDGMENT FOR CITIVIEW BUILDINGS, LLC and GERALD : WOLKOFF, DEFENDANTS, OR : ALTERNATIVELY, : Defendants. FOR REMITTITUR -------------------------------------------------------------------- x : MARIA CASTILLO, JAMES COCHRAN, : LUIS GOMEZ, BIENBENIDO GUERRA, : Index No. 15-cv-03230 (FB) (RLM) RICHARD MILLER, KAI NIEDERHAUSEN, : CARLO NIEVA, RODNEY RODRIGUEZ, and : KENJI TAKABAYASHI, : : Plaintiffs, : : -against- : : : 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. --------------------------------------------------------------------
    [Show full text]
  • C:\Users\Mikei\Appdata\Local\Temp
    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- 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 MEIR FEDER ANDREW MILLER Jones Day Eisenberg & Baum LLP 250 Vesey Street 24 Union Square East New York, NY 10281 New York, NY 10003 DAVID G. EBERT MIOKO C. TAJIKA Ingram Yuzek Gainen Carroll & Bertolotti, LLP 250 Park Avenue New York, NY 10177 BLOCK, Senior District Judge: On February 12, 2018, I issued my decision granting plaintiffs $6,750,000 as statutory damages for the willful destruction of 45 of plaintiffs’ 49 works of visual art by defendant Gerald Wolkoff (“Wolkoff”). Cohen v. G&M Realty L.P., 2018 WL 851374, at *2 (E.D.N.Y. Feb. 12, 2018) (“Cohen II”).1 Defendants now move 1 The decision incorrectly states: “Plaintiffs, 21 aerosol artists, initiated this lawsuit over four years ago.” Cohen II, 2018 WL 851374, at *1 (E.D.N.Y.
    [Show full text]
  • Street Art Of
    Global Latin/o Americas Frederick Luis Aldama and Lourdes Torres, Series Editors “A detailed, incisive, intelligent, and well-argued exploration of visual politics in Chile that explores the way muralists, grafiteros, and other urban artists have inserted their aesthetics into the urban landscape. Not only is Latorre a savvy, patient sleuth but her dialogues with artists and audiences offer the reader precious historical context.” —ILAN STAVANS “A cutting-edge piece of art history, hybridized with cultural studies, and shaped by US people of color studies, attentive in a serious way to the historical and cultural context in which muralism and graffiti art arise and make sense in Chile.” —LAURA E. PERÉZ uisela Latorre’s Democracy on the Wall: Street Art of the Post-Dictatorship Era in Chile G documents and critically deconstructs the explosion of street art that emerged in Chile after the dictatorship of Augusto Pinochet, providing the first broad analysis of the visual vocabulary of Chile’s murals and graffiti while addressing the historical, social, and political context for this public art in Chile post-1990. Exploring the resurgence and impact of the muralist brigades, women graffiti artists, the phenomenon of “open-sky museums,” and the transnational impact on the development of Chilean street art, Latorre argues that mural and graffiti artists are enacting a “visual democracy,” a form of artistic praxis that seeks to create alternative images to those produced by institutions of power. Keenly aware of Latin America’s colonial legacy and Latorre deeply flawed democratic processes, and distrustful of hegemonic discourses promoted by government and corporate media, the artists in Democracy on the Wall utilize graffiti and muralism as an alternative means of public communication, one that does not serve capitalist or nationalist interests.
    [Show full text]
  • 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.
    [Show full text]
  • Writing Boston: Graffiti Bombing As Community Publishing
    Community Literacy Journal Volume 12 Issue 1 Fall “The Past, Present, and Future of Article 7 Self-Publishing: Voices, Genres, Publics” Fall 2017 Writing Boston: Graffiti Bombing as Community Publishing Charles Lesh Auburn University, [email protected] Follow this and additional works at: https://digitalcommons.fiu.edu/communityliteracy Recommended Citation Lesh, Charles. “Writing Boston: Graffiti Bombing as Community Publishing.” Community Literacy Journal, vol. 12, no. 1, 2017, pp. 62-86. doi:10.25148/clj.12.1.009117. This work is brought to you for free and open access by FIU Digital Commons. It has been accepted for inclusion in Community Literacy Journal by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. community literacy journal Writing Boston: Graffiti Bombing as Community Publishing Charles Lesh Keywords: Community publishing, graffiti, circulation, space and place, public writing Mission Around 12:00pm. My phone vibrates with a text from NIRO, a graffiti writer. “Down for tonight?” A few seconds later, a second text: “Big plans.” • Around 1:00am. As we leave NIRO’s apartment, we ditch all identification: school IDs, drivers’ licenses, etc. “It’s just more questions the cops can ask us if we get caught,” he explains. We look suspicious: NIRO, openly carrying a five-gallon jug of reddish-pink paint, markers rattling in his pockets; me, with a smaller jug of dark red paint in my messenger bag, two paint rollers jutting out. On the porch, NIRO pulls out his phone: “OK, so this spot isn’t on Google Maps, but here is where we’re going.” He points to a beige area on the map, a cartographic margin.
    [Show full text]