Street Art Explosion Project
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Alison Young Art and Belonging: on Place, Displacement And
10 NUART JOURNAL 2019 VOLUME 1 NUMBER 2 10–19 ART AND BELONGING: ON PLACE, DISPLACEMENT AND PLACELESSNESS Alison Young University of Melbourne Street art is often talked about as contributing to a sense of place. Mural projects, festivals, and street artworks are said to foster feelings of belonging, recognition, and connection to a place. More than this, street art is increasingly used in place-branding and in commercial transactions. This article poses some questions about the implications of the way that street art relates to place and both makes and unmakes spaces of connection and disconnection. It will begin with the use of street artwork to sell property development, identifying this as a contemporary characteristic of the now well-known relationship between art and gentrification. As a counterpoint to the commercialisation of the sense of place generated by street art, it examines the work of artists such as Ian Strange, Francis Alÿs, and Stanislava Pinchuk, who make art located in displacement, dislocation, and dispossession. ART AND BELONGING 11 INTRODUCTION time, it did not take long for this apparent correlation to be Where does street art take place? Found in train converted into a belief that commissioned art interventions tunnels, abandoned buildings, warehouses, train carriages would have the same effect on markets. Mural projects, in railyards, alleyways, and on rooftops, street art has usually involving large-scale gable end murals painted with never been found only in the street. The qualifying adjective the consent of residents or city authorities, can now be in the art form’s name provides an indication of simply one found in innumerable cities and towns. -
Street Art Explosion Walking
ADELAIDE FRINGE 02. HER MAJESTY’S REAR WALL Artist: Anthony Lister STREET ART Anthony Lister was born in Brisbane, Australia, in 1979, and later completed a Bachelor of Fine EXPLOSION 17 Arts degree at the Queensland College of the Arts. He helped pioneer the stencil and street art WALKING MAP movement in Brisbane before moving to New York in 2003 to work with his mentor, Max Gimblett. Lister says “I am interested in culture, and society’s K judgment systems on culture” he tells us when I N we ask about why he was drawn to them as a 16 18 G painter. “Ballerinas are kind of like strippers, only they don’t take their clothes off. I’m interested in breaking art. I’m interested in philosophy.” W 03. PITT ST CARPARK WALL HINDLEY ST I L Artist: Vans the Omega 15 L I 47 14 A Based mostly, but not always, in Adelaide, Vans M the Omega has been creating and paining for 13 more than 2 decades. His influences include architecture, ancient scripts, engineering, nature, as 12 well as the idea of movement and balance. He has experience in a number of disciplines, including 11 design, photography, and clothing, and used all his CURRIE ST S influence to create works that continue to push T the boundaries and satisfy his desire to reinvent 10 and perfect his craft. Today Vans is renowned for 8,9 his diverse use of mediums, colour palettes and Lig ht styles including portraiture, geometric pattern and quare/ traditional graffiti lettering. As one of Australia’s 7 most influential street artists, Vans the Omega is uwi often credited as a pioneer of both the local and international graffiti scene. -
The Art of the Illegal
COMING TO MELBOURNE THIS SUMMER Explore I MELBOURNE Evening Standard 63 THE ART OF ADNATE, SOFLES AND SMUG ADNATE, ARTISTS THE ILLEGAL 11 JAN – 18 FEB PRESENTED BY MTC AND ARTS CENTRE MELBOURNE Peter Barrett traces the evolution ARTS CENTRE MELBOURNE, PLAYHOUSE DEAN SUNSHINE of street art in Melbourne Photo of Luke Treadaway by Hugo Glendinning Photo of Luke Treadaway mtc.com.au | artscentremelbourne.com.au PHOTOGRAPHY Curious-Jetstar_FP AD_FA.indd 1 1/12/17 10:37 am Explore I MELBOURNE n a back alley in Brunswick, a grown man is behaving like a kid. Dean Sunshine should be running his family textiles business. IInstead, the lithe, curly-headed 50-year-old is darting about the bluestone lane behind his factory, enthusiastically pointing out walls filled with colourful artworks. It’s an awesome, open-air gallery, he says, that costs nothing and is in a constant state of flux. Welcome to Dean’s addiction: the ephemeral, secretive, challenging, and sometimes confronting world of Melbourne street art and graffiti. Over the past 10 years, Dean has taken more than 25,000 photographs and produced two + ELLE TRAIL, VEXTA ART SILO DULE STYLE , ADNATE, AHEESCO, books (Land of Sunshine and artist, author and educator, It’s an awesome, Street Art Now) documenting Lou Chamberlin. Burn City: ARTISTS the work of artists who operate Melbourne’s Painted Streets open-air gallery, 64 in a space that ranges from a presents a mind-boggling legal grey area to a downright diversity of artistic expression, he says, that costs illegal one. “I can’t drive along a from elaborate, letter-based street without looking sideways aerosol “pieces” to stencils, nothing and is in down a lane to see if there’s portraits, “paste-ups” (paper something new there,” he says. -
September 4Th September 5Th
facebook.com/nolimitboras @nolimitboras @nolimitboras During 4-7th of September the city of Borås will turn into a gigant outdoor gallery Abecita Art Museum) the city has now opened it´s walls to the mural culture. This art created by 11 internationally well known street artists representing 8 different movement, which began with artists painting murals illegally, is now being embraced countries (The Netherlands, France, Brasil, Italy, Germany, Poland, Spain and Sweden). by the public and is letting artists turn Borås into beautiful public spaces that are The artists, some of which have been painting graffiti and street-art as far back as blanketed by artwork of artists worldwide. 1981, are bringing a wide range of talent to Sweden. The walls, which the artists will be painting over the course of the four days long event, reaches as high as 7-storey The murals that will decorate the city of Borås are hopefully here to stay for a long time buildnings. to be enjoyed by many. Borås, with it´s history in opening it´s doors to art (from the International Sculpture A warm welcome to No Limit Street Art Borås – don´t forget to share your experience Biennale to it´s extensive exhibitions at the Borås Museum of Modern Art and on social media! BLEK LE RAT (pronounced: [blзk le KOBRA Brazilian artist Eduardo Kobra The program will be updated continously – please check nolimitboras.com for updates ʁa]; born Xavier Prou, 1952) was one utilizes bright colors and bold lines whi- and more info. of the first graffiti artists in Paris, and le staying true to a kaleidoscope theme has been described as the “Father of throughout his art. -
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 – Legally Speaking
Legally Speaking: Street Art Intellectual property lawyer, Sharon Givoni, spends a vast amount of time working with professional photographers. While most cases involve the photographer taking legal action, they can also easily find themselves as the defendant. One example is when photographing street art, and Sharon has kindly taken the time to discuss this area of law. Street art has gained credibility as a legitimate way for artists to communicate their works to the public outside of the confines of the mainstream art world. The art takes various forms, ranging from bright alleyways to large-scale murals, sanctioned and unsanctioned alike. ‘More than ever before, photographers are an essential part of this scene,’ Lou Chamberlin wrote in her book, Street Art This photograph taken by Melbourne. ‘Known as paint spotters, they spend their spare Chris Scott shows graffiti in time chasing and documenting new pieces as soon as they an incidental fashion go up.’ A consequence of this, however, is the raft of legal issues that could potentially arise for photographers of street art. Imagine the following scenarios: – You photograph street art and reproduce it on a canvas with other images that you superimposed to create ‘art’ which you sell at a gallery. You are then surprised to receive a letter of demand from the street artist’s lawyer claiming a share of the sale. – You conduct a shoot for a magazine in an alleyway in Melbourne. In the background of the shot is some street art. Will publishing the photographs be an infringement of copyright? What if it is impossible to determine who created the art? – You take photographs of street art, frame and sell them. -
Graffiti: a New Emerging Art Form in Indian Streets
International Journal of Humanities and Social Science Research International Journal of Humanities and Social Science Research ISSN: 2455-2070 Impact Factor: RJIF 5.22 www.socialsciencejournal.in Volume 4; Issue 4; July 2018; Page No. 30-34 Graffiti: A new emerging art form in Indian streets Neha Singh Research Scholar, Department of Fine Arts, Aligarh Muslim University, Uttar Pradesh, India Abstract The roots of graffiti can be traced back in the ancient history, and it reemerged with the rise of the hip-hop culture, and constant transformation, graffiti art is integral. Graffiti can be created on concrete building, paper, walls, under the bridge in any public place. Graffiti art can be both two dimensional and three dimensional; it can be illusionistic and inclusive of various techniques. Graffiti can be composed with spray paint, marker pens, stencils, acrylics, or steel. Moreover, it appeals to consumers of fine and street art, designers, grassroots politicians, and musicians. It can be seen that from a few years, with the emergence of modern art, graffiti is becoming the visual language of social equity, personal expression, and integral art in India. This paper looks at the history and evolution of graffiti and how it is emerging as a new art form and gaining the popularity among the people of India. Keywords: graffiti, emergence, street art, evolution, communication etc. Introduction Objectives Graffiti art can be used as a powerful weapon in order to raise . To explore the role and influence of graffiti on present art awareness about social and political situations to the people. scenario in India. -
Grafficity Visual Practices and Contestations in Urban Space
EVA YOUKHANA AND LARISSA FÖRSTER (EDS.) GRAFFICITY Visual Practices and Contestations in Urban Space MORPHOMATA Graffiti has its roots in urban youth and protest cul- tures. However, in the past decades it has become an established visual art form. This volume investigates how graffiti oscillates between genuine subversiveness and a more recent commercialization and appropria- tion by the (art) market. At the same time it looks at how graffiti and street art are increasingly used as an instrument for collective re-appropriation of the urban space and so for the articulation of different forms of belonging, ethnicity, and citizenship. The focus is set on the role of graffiti in metropolitan contexts in the Spanish-speaking world but also includes glimpses of historical inscriptions in ancient Rome and Meso- america, as well as the graffiti movement in New York in the 1970s and in Egypt during the Arab Spring. YOUKHANA, FÖRSTER (EDS.) — GRAFFICITY MORPHOMATA EDITED BY GÜNTER BLAMBERGER AND DIETRICH BOSCHUNG VOLUME 28 EDITED BY EVA YOUKHANA AND LARISSA FÖRSTER GRAFFICITY Visual Practices and Contestations in Urban Space WILHELM FINK unter dem Förderkennzeichen 01UK0905. Die Verantwortung für den Inhalt der Veröffentlichung liegt bei den Autoren. Umschlagabbildung: © Brendon.D Bibliografische Informationen der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen National biblio grafie; detaillierte Daten sind im Internet über www.dnb.dnb.de abrufbar. Alle Rechte, auch die des auszugsweisen Nachdrucks, der fotomechanischen Wiedergabe und der Übersetzung vorbehalten. Dies betrifft auch die Verviel fältigung und Übertragung einzelner Textabschnitte, Zeichnungen oder Bilder durch alle Verfahren wie Speicherung und Übertragung auf Papier, Transpa rente, Filme, Bänder, Platten und andere Medien, soweit es nicht § 53 und 54 UrhG ausdrücklich gestatten. -
Reading the Walls in Bogotá: Imaginaries of Violence in the Urban Visual Landscape
Reading the Walls in Bogotá: Imaginaries of Violence in the Urban Visual Landscape Alba Griffin School of Modern Languages Newcastle University Thesis submitted for the degree of Doctor of Philosophy July 2019 Abstract This thesis examines urban imaginaries of violence in Bogotá, Colombia, through the lens of graffiti and street art. Signs of these aesthetic practices are abundant in the city, and my research brings together a range of subcultures, styles, motivations and messages to highlight the role of the urban visual landscape as a site through which imaginaries of violence are critiqued, negotiated and (re)produced. Informed by an ethnographic approach, the analysis focuses on the meanings attached to graffiti and street art in different areas of the city, collected through interviews and focus groups with their creators and the wider public. The thesis is structured around three case studies, which present some of the key contemporary trends in graffiti and street art in Bogotá. In the first, the dynamics of graffiti and street art on Calle 26 reveal competing ways of seeing political violence and diverse expectations of peace through the representation of memories of violence. In the second case study, the process of beautification is used to counteract the stigma attached to vulnerable neighbourhoods in Ciudad Bolívar and La Perseverancia, but it is hampered by the realities of structural and direct violence. Finally, in La Candelaria, attitudes to graffiti and street art are entangled in aesthetic hierarchies that reflect social hierarchies, which underscores the structural inequalities embedded in public space. The socio-spatial context informs the practices and imaginaries in, and of, these different places, and serves to highlight the heterogeneity of urban social groups and their diverse claims to space. -
Download Mural Artist Catalogue
HAND PAINTED MURALS ARTIST CATALOGUE SYDNEY STREET ARTIST #1 • Paints free hand aerosol SID TAPIA • Skills ranges from cartoon to photo realistic murals • Famous for lots of street art around the world SYDNEY STREET ARTIST #2 • Paints with mixture of enamels, acrylics and aerosol • Award winning artist SCOTT MARSH • Degree in fine arts from COFA UNSW and a Bachelor of Secondary Education (Visual Arts) from UTS • Famous for Cross over between graffiti and high art SYDNEY STREET ARTIST #3 • Known for his razor sharp linework and glowing colour palette • Bachelor of Fine Arts with First Class Honours at the University JAMES JIRAT of New South Wales College of Fine Arts • Commissions by the likes of Facebook, HBO, Nike and Microsoft SYDNEY STREET ARTIST #4 • His unconventional printmaking practice merges digital and analogue processes CAM SCOTT • Thought provoking works that possess a distinctive aesthetic • Completed an Honours degree in fine arts at the University of New South Wales SYDNEY STREET ARTIST #5 • Master in the lost arts of hand painting signage, glass art, pinstriping, aged signage and murals NATHAN PICKERING • Draws inspiration from brightly coloured 80’s signage themes in old motels SYDNEY STREET ARTIST #6 • Travels the world creating commissioned murals • Mixes surreal and figurative imagery, integrated with the urban environment and explore themes of waste, consumption, loss FINTAN MAGEE and transition • Bachelor of Fine arts- Griffith University, QCA SYDNEY STREET ARTIST #7 • Uses a variety of mediums and methods to make -
Artist Biographies Berlin, 14 September 2017 Page 1/20
Artist Biographies Berlin, 14 September 2017 Page 1/20 1010 YOUR CONTACT PERSON The street artist 1010 (ten-ten) from Hamburg, Germany has advanced himself to become one NANCY HENZE of the most internationally sought after graffiti artist with his graphic murals, featuring optical PRESS/PUBLIC RELATIONS illusions giving more depth to walls. One of his most spectacular activities included a graffito, which he sprayed on a French highway in 2015. The work creates the illusion that a crater from M: +49 173 1416030 the road is leading into an abyss. T: +49 30 47081536 F: +49 30 47081520 E: [email protected] 1UP 1UP stands for One United Power. Behind the name is an anonymous graffiti crew from Berlin. URBAN NATION Although the exact number of members is unknown, the group's active members include men ALT-MOABIT 101 A and women from age 20 to 30. The crew have created graffiti art all over Berlin. Their more D – 1559 BERLIN famous pieces include works on rooftops and large murals. URBAN-NATION.COM 2501 URBAN NATION IS AN INITIATIVE OF 2501 is an Italian artist from the Urban Contemporary Art movement, whose work featuring THE STIFTUNG BERLINER LEBEN circles and dominant lines conveys a feeling of depth and action. In contrast to his paintings characterized by their size, rich details, and complexity, his installations rely on natural, organic presentations. 3D 3D is the name used by Robert Del Naja, lead singer of the band Massive Attack – which gives him significant influence. Even more interesting is the question whether the 52-year-old Brit may in fact be the street art icon Banksy himself. -
Urban Scrawl: Satire As Subversion in Banksy's Graphic Discourse Joshua Carlisle Harzman University of the Pacific, [email protected]
University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 2018 Urban Scrawl: Satire as Subversion in Banksy's Graphic Discourse Joshua Carlisle Harzman University of the Pacific, [email protected] Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Art and Design Commons, and the Communication Commons Recommended Citation Harzman, Joshua Carlisle. (2018). Urban Scrawl: Satire as Subversion in Banksy's Graphic Discourse. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/3122 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. 1 URBAN SCRAWL: SATIRE AS SUBVERSION IN BANKSY’S GRAPHIC DISCOURSE by Joshua Carlisle Harzman A Thesis Submitted to the Graduate School In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS College of the Pacific Communication University of the Pacific Stockton, CA 2018 2 URBAN SCRAWL: SATIRE AS SUBVERSION IN BANKSY’S GRAPHIC DISCOURSE by Joshua Carlisle Harzman APPROVED BY: Thesis Advisor: Teresa Bergman, Ph.D. Committee Member: Marlin Bates, Ph.D. Committee Member: Paul Turpin, Ph.D. Department Chair: Paul Turpin, Ph.D. Dean of Graduate Studies: Thomas H. Naehr, Ph.D. 3 URBAN SCRAWL: SATIRE AS SUBVERSION IN BANKSY’S GRAPHIC DISCOURSE Copyright 2018 by Joshua Carlisle Harzman 4 DEDICATION This thesis is dedicated to my parents, Connie Lynn and Bradley Earl Harzman, for their unyielding love and tenacious support of my scholarship.