Faces Behind Graffiti My Research Focused on an in Depth Consideration of the Graffiti Community and History Behind Street Art
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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. -
Exterior Exhibition MAP
Exterior299 NW 25th Exhibition St., Miami, FL MAP33127 786.580.4678 NW 26th St. 1. Abstrk and Entes 2. Ezo 3. Jules Muck 4. Zephyr 5. AMERICAN HISTORY 6. Slick The World’s 1st Museum 7. JonOne of Graffiti is now open! 8. Niels “Shoe” Meulman Tickets available at museumofgraffiti.com 9. Erni Vales 10. Quake, Bacon & Hiero @museumofgraffiti 11. Ticoe and Rasterms 12. Marvel 13. Ces, Doves, Mast, & Yes2 14. Reds 15. Lady Pink NW 3rd Ave. NW 3rd NW 25th St. Exterior Exhibition MAP 1. This wall is a collaboration between two Latin American artists, Abstrk from Miami and Entes from Peru. The artists combine fictional characters with portraits of locally and nationally renown graffiti writers like Lady Pink, Reds, Verse, and the curator of the Museum of Graffiti, Mare139. The faces are so cohesive that only a trained eye can differentiate between Abstrk’s vampire style and Entes’ signature characters. Be sure to grab a pamphlet inside the Museum so you can play “What’s the difference?”. 2. Artist Ezo has been painting aerosol art since 1979. His interest in documenting the ephemeral graffiti artform led him to founding one of the first internet graffiti directories in 1997. Fast forward to 2020, Ezo still focuses on preserving graffiti history as evidenced by him painting this portrait of Phase II who is considered to be a legend in the graffiti art movement and is generally credited with originating the "bubble letter" style of aerosol writing. Phase II passed away on December 20, 2019, two weeks after the opening of the Museum of Graffiti. -
Illstyle and Peace Study Guide
STUDY GUIDE Illstyle and Peace Productions Useful Vocabulary and Terms to Share Break beat: The beat of the most danceable section of a song. Popping: A street dance style based upon the Additional Resources technique of quickly contracting and relaxing muscles to cause a jerk in the dancer’s body Johan Kugelberg, Born in the Bronx; a visual record Locking: A dance style relying on perfect timing and of the early days of hip hop NYPL link frequent “locking” of limbs in time with music. 6 step: A basic hip-hop move in which the dancer’s Jeff Chang , Can’t Stop, Won’t Stop NYPL link arms support the body which spins in a circle above the floor. Eric Felisbret, Graffiti New York NYPL link Downrock: All breakdance moves performed with a part of the body (other than the feet) is in Bronx Rhymes interactive map contact with the floor. http://turbulence.org/Works/bronx_rhymes/what.html Smithsonian article on birth of hip-hop: http://invention.smithsonian.org/resources/online_arti Background Information for Students cles_detail.aspx?id=646 There are four essential elements of hip-hop: 5 Pointz, New York Graffiti Mecca: http://5ptz.com/ DJing: The art of spinning records and using two turn- NY Times Articles on 5 Pointz: tables to create your own instrument. http://goo.gl/i1F2I0 Also the art of touching and moving records with your hands. http://goo.gl/kOCFnv Breakdancing: A style of dancing that includes gymnastic moves, head spins, and backspins. Young 5Pointz Buzzfeed article with photos: people who were into dancing to the “breaks” at Bronx http://goo.gl/1ItqX9 parties started calling themselves B-boys and B-girls, and their style of dancing came to be known as NY Times Article on Taki183, one of the first taggers breakdancing. -
Arts & Culture
CITY OF BELLEVUE GRAND arts & culture Planning and Community Development July 11, 2017 Special Meeting “The arts are an important expression of how people think of and experience the city and each other. Bellevue seeks to foster a strong arts and cultural community chiefly supported through a wide range of artists, art and cultural institutions, and arts groups offering a variety experiences to an engaged audience.” -City of Bellevue, Comprehensive Plan, Urban Design & the Arts Element A g e n d a Tuesday, July 11, 2017 Bellevue Arts Commission Meeting: 4:30 p.m. Bellevue City Hall, 1E-109 Commission Staff Contact: 425.452.4105 1. CALL TO ORDER 4:30 Chair Manfredi will call the meeting to order. 2. APPROVAL OF AGENDA AND MINUTES 4:30 – 4:35 A. Chair Manfredi will ask for approval of the agenda. B. Chair Manfredi will ask for approval of the June 2017 regular meeting minutes. 3. ORAL COMMUNICATIONS 4:35 – 4:40 Chair Manfredi will entertain oral communications limited to three minutes per person or five minutes if representing the official position of a recognized community organization for other than main agenda items and public hearing subject. A maximum of three people are permitted to speak to each side of any one topic. 4. ACTION ITEMS AND DISCUSSION ITEMS A. Grand Connection Briefing 4:40 – 5:10 B. Draft Grand Connection Art & Cultural Element 5:10 – 5:55 C. Bellevue Creative Edge update 5:55 – 6:10 5. COMMISSION QUICK BUSINESS 6:10 – 6:15 6. REPORTS 6:15 – 6:20 A. -
The Social Organization of the Hip Hop Graffiti Subculture
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1995 The Social Organization of the Hip Hop Graffiti Subculture Victoria Arriola Wilson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Social and Cultural Anthropology Commons Recommended Citation Wilson, Victoria Arriola, "The Social Organization of the Hip Hop Graffiti Subculture" (1995). Dissertations, Theses, and Masters Projects. Paper 1539626015. https://dx.doi.org/doi:10.21220/s2-yr21-sx21 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE SOCIAL ORGANIZATION OF THE HIP HOP GRAFFITI SUBCULTURE A Thesis Presented to The Faculty of the Department of Sociology The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Victoria Arriola Wilson 1995 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, August 15 David Aday, ffr. A- Gary Kreps Kathleen Slevin TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv LIST OF TABLES v LIST OF ILLUSTRATIONS vi ABSTRACT vii CHAPTER I. HIP HOP GRAFFITI: A HISTORICAL PERSPECTIVE 2 CHAPTER II. GRAFFITI: BASIC TERMS 14 CHAPTER III. THE SOCIAL ORGANIZATION OF GRAFFITI 24 CHAPTER IV. CONCLUSIONS: THE IMPLICATIONS OF SOCIAL POLICY 55 APPENDIX A: SUMMARY OF CREW CHARACTERISTICS 67 APPENDIX B: HIP HOP AND GANG SLANG 69 APPENDIX C: FORMAL INTERVIEW SCHEDULE 76 BIBLIOGRAPHY 83 iii ACKNOWLEDGEMENTS The writer wishes to express her appreciation to Professor David Aday, Jr., under whose guidance this investigation was conducted, for his patient guidance and criticism throughout the investigation. -
Yesler Terrace Redevelopment 2017 Annual Implementation Report
Yesler Terrace Redevelopment 2017 Annual Implementation Report This report documents the key accomplishments, activities and milestones in 2017 to achieve housing production goals, enhance educational, health, and employment opportunities for people, and build amenities that foster a thriving and cohesive Yesler Terrace neighborhood. 1 Executive Summary Yesler Terrace is a 30-acre site near downtown Seattle initially developed by Seattle Housing Authority in the early 1940s as Seattle’s first publicly subsidized housing. Now, close to 80 years later, it is becoming a thriving, mixed-income community that is respectful of the neighborhood’s rich history and cultural traditions, while also creating safe, healthy and sustainable affordable housing, new parks and open spaces, increased transportation options and enhanced economic opportunities. The vision and success of the Yesler neighborhood transformation is rooted in many deep collaborative partnerships including the Yesler Terrace Community Council, Yesler Citizen Review Committee, HUD, the City of Seattle, Seattle University, the Kresge Foundation, the RAVE Foundation and the JP Morgan Chase Foundation. Highlights of major accomplishments in 2017 include: 2 3 4 5 Investing in People, Neighborhood, and Housing Seattle Housing and our partners are implementing a holistic approach to a safe, healthy, and sustainable community that meets the needs of all people regardless of their background or income. Throughout the Yesler Terrace neighborhood transformation, Seattle Housing Authority includes residents and community partners through the Citizen Review Committee (CRC). The CRC is made up of a diverse array of participants representing the immediate neighborhood and stakeholders throughout the city. Resident members were selected by the Yesler Terrace Community Council. -
Is Street Art a Crime? an Attempt at Examining Street Art Using Criminology
Advances in Applied Sociology 2012. Vol.2, No.1, 53-58 Published Online March 2012 in SciRes (http://www.SciRP.org/journal/aasoci) http://dx.doi.org/10.4236/aasoci.2012.21007 Is Street Art a Crime? An Attempt at Examining Street Art Using Criminology Zeynep Alpaslan Department of Sociology, Hacettepe University, Ankara, Turkey Email: [email protected] Received February 1st, 2012; revised February 29th, 2012; accepted March 13th, 2012 A clear and basic definition is the fundamental element in understanding, thus explaining any social sci- entific concept. Street art is a social phenomenon, characterized by its illegal nature, which social scien- tists from several subjects have increasingly been examining, interpreting and discussing for the past 50 years. Even though the concept itself has been defined much more clearly over the years, its standing concerning whether it is a crime or form of art is still a borderline issue. This paper attempts to first try to define street art under a type of crime, then examine it using criminological perspective, with crimino- logical and deviance theories in order to understand and explain it better using an example, the KÜF Pro- ject from Ankara Turkey. Keywords: Street Art; Definition; Criminology; Crime Theory; KÜF Project Introduction what it has to offer. The street artists, who use the technologies of the modern time to claim space, communicate ideas, and Art, in the general sense, is the process and/or product of de- express social and/or political views, have motivations and liberately arranging elements in a way that appeals to the senses objectives as varied as the artists themselves. -
Guerrilla Artists of New York City
IVOR MILLER Guerrilla artists of New York City In the early 1970s, the New York City subways burgeoned with a new art form. While Norman Mailer and a handful of writers and photographers celebrated the phenomenon, others saw it as an attack on society. By the mid-1980s, NY City’s young guerrilla artists had developed their craft to produce full car murals that became a tourist attraction for visitors from around the world. To regain control over the subways, New York mayors Lindsay and, later, Koch initiated and sustained a multi-million dollar campaign to erase the paintings and arrest the painters. While the passionate and bold murals have vanished for ever from New York’s subways, the art form has become a worldwide phenomenon with adherents in Europe, Australia, New Zealand and all major US cities. In New York, the original painters still call themselves ’painters’, ’aerosol artists’, graffiti artists’ or ’writers’, and the most dedicated of them continue to create their work in public spaces and for art galleries. Since the beginning of their movement in 1971, New York City subway painters have used diverse cultural ideas in their creative processes. Most of the great painters were young (between 12 and 15) when they began. At that age, they were especially conscious of and open to cultural motifs from the world around them: their families taught them movement and language from their particular heritage; TV taught them advertising techniques; currents running within their communities taught them something about politics and the history of Ivor Miller is in the Department of Performance Studies, Northwestern University, and is currently researching the existence of Afro-Cuban religion in contemporary Cuban society. -
The Graffiti Subculture: Youth, Masculinity and Identity in London
The Graffiti Subculture Youth, Masculinity and Identity in London and New York Nancy Macdonald The Graffiti Subculture This page intentionally left blank The Graffiti Subculture Youth, Masculinity and Identity in London and New York Nancy Macdonald © Nancy Macdonald 2001 Every effort has been made to trace all copyright holders but if any have been inadvertently overlooked the publishers will be pleased to make the necessary arrangements at the first opportunity. All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published in hardcover 2001 First published in paperback 2002 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N. Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. -
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. -
Banksy. Urban Art in a Material World
Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition -
Female Graffiti Artists in a Gendered City
GIRLS' NIGHT OUT: FEMALE GRAFFITI ARTISTS IN A GENDERED CITY Erin Gentry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Committee: Amy Bingaman, Advisor Maisha Wester ii ABSTRACT Amy Bingaman, Advisor Graffiti art is often thought of as a boys' subculture because it is seen as too dangerous and aggressive for girls to be involved. Despite this assumption, girls have been invested in graffiti art since its beginnings in the early 1970's, and continue to contribute to the subculture's development today. This thesis explores the often ignored position of female graffiti artists by looking both at the physical and the social spaces in which female graffiti artists work. The city is explored as a masculine space that is hostile to female graffiti artists. The subculture of graffiti is inhospitable as well, because female graffiti artists are often fetishized and objectified, and their talents are under constant scrutiny within the subculture. This thesis employs personal interviews with several female graffiti artists and then uses a cultural studies approach to develop an understanding of the position of females in graffiti. Finally, it explores the ways in which the hyper-masculine natures of both the city and the subculture have affected the subjectivities of female graffiti artists through a visual analysis of self-portraits of the artists. iii To all the girls in boys' clubs. iv ACKNOWLEDGEMENTS First, I would like to thank CLAW, MISS 17, and SWOON for their valuable input, openness and willingness to help, without which this thesis would not exist.